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The Bloomsbury Handbook of Popular Music, Space and Place de Geoff Stahl

The Bloomsbury Handbook of Popular Music, Space and Place: Bloomsbury Handbooks

Editat de Geoff Stahl, J. Mark Percival
en Limba Engleză Paperback – 21 feb 2024
Popular music scholars have long been interested in the connection between place and music. This collection brings together a number of key scholars in order to introduce readers to concepts and theories used to explore the relationships between place and music. An interdisciplinary volume, drawing from sociology, geography, ethnomusicology, media, cultural, and communication studies, this book covers a wide-range of topics germane to the production and consumption of place in popular music. Through considerations of changes in technology and the mediascape that have shaped the experience of popular music (vinyl, iPods, social media), the role of social difference and how it shapes sociomusical encounters (queer spaces, gendered and racialised spaces), as well as the construction and representations of place (musical tourism, city branding, urban mythologies), this is an up-to-the-moment overview of central discussions about place and music. The contributors explore a range of contexts, moving from the studio to the stage, the city to the suburb, the bedroom to festival, from nightclub to museum, with each entry highlighting the diverse and complex ways in which music and place are mutually constitutive.
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Specificații

ISBN-13: 9781501390678
ISBN-10: 1501390678
Pagini: 410
Dimensiuni: 178 x 254 x 25 mm
Greutate: 0.71 kg
Editura: Bloomsbury Publishing
Colecția Bloomsbury Academic
Seria Bloomsbury Handbooks

Locul publicării:New York, United States

Caracteristici

Offers an evaluation of selected methodological approaches to the analysis of popular music and place

Notă biografică

Geoff Stahl is a Senior Lecturer in Media Studies at Victoria University of Wellington, New Zealand. He is was an executive member of the International Association for the Study of Popular Music (IASPM), and a current editorial board member of the New Zealand Journal of Media Studies. He is author of several books including Understanding Media Studies (2010), and Poor But Sexy: Reflections on Berlin Scenes (2014). J. Mark Percival is Senior Lecturer in Media at Queen Margaret University, Scotland. His areas of interest and publications include local music production, music radio, and representations of popular music with a focus on speed and volume.

Cuprins

List of contributorsIntroduction (Geoff Stahl, Victoria University of Wellington, New Zealand and J. Mark Percival, Queen Margaret University, Edinburgh)Section I: Theory & method1. Music, space, place and non-place (Geoff Stahl, Victoria University of Wellington, New Zealand)2. Rhythmanalysis and circulation (Will Straw, McGill University, Canada)3. Global, local, regional and translocal: Towards a relational approach to scale in popular music (Hyunjoon Shin, Sungkonghoe University, South Korea and Keewong Lee, Sungkonghoe University, South Korea)4. Sociological perspectives on music and place (Andy Bennett, Griffith University, Australia)5. Ethnomusicology and place (Kimberly Cannady, Victoria University of Wellington, New Zealand)6. Political economies of urban music (Shane Homan, Monash University, Australia) 7. Sensobiographic walking and ethnographic approach of the Finnish school of soundscape studies (Helmi Järviluoama, University of Eastern Finland, Finland)Section II: Space, place and consumption8. At Home with Sinatra (Keir Keightley, University of Western Ontario, Canada)9. Music radio (J. Mark Percival, Queen Margaret University, UK)10. The record shop (Nabeel Zuberi, University of Auckland, New Zealand)11. The nightclub (Hillegonda C Rietveld, London South Bank University, UK)12. The live venue (Robert Kronenburg, University of Liverpool, UK)13. Mobile listening cultures (Raphaël Nowak, Griffith University, Australia)Section III: Space, place, production and performance14. In the City - Glasgow (Martin Cloonan, University of Turku, Finland)15. Bedroom production (Emília Barna, Budapest University of Technology and Economics, Hungary)16. The Studio (Ruth Dockwray, University of Chester, UK)17. The virtual studio (Martin K. Koszolko, RMIT, Australia)18. The space of the record: Something happening somewhere (Simon Zagorski-Thomas, University of West London, UK)19. The live gig (Sam Whiting, RMIT, Australia)Section IV: Cities, suburbs, nations and beyond20. Suburban breakout: Nomadic reverie in British pop (Andrew Branch, University of East London, UK)21. Sounding South African township life (Kathryn Olsen, University of KwaZulu-Natal, South Africa)22. Funk - A musical symbol of Rio de Janeiro's favelas (Vincenzo Cambria, UNIRIO/Federal University of the State of Rio de Janeiro, Brazil) 23. Banlieue: Postcolonial noise: How did French rap (re)invent 'the banlieue'? (Christina Horvath, University of Bath, UK) 24. Music and the nation (Melanie Schiller, University of Groningen, The Netherlands)25. Transnational music (Simone Krüger Bridge, Liverpool John Moores University, UK)Section V: Selling, celebrating, representing space and place26. Music and Heritage (Catherine Strong, RMIT, Australia)27. Music and Tourism (Leonieke Bolderman, Erasmus University, The Netherlands)28. Festivals (Chris Anderton, Solent University, UK)29. Cinematic places: Popular music soundtracks and the charge of the real (Kate Bolgar Smith, SOAS University of London, UK)Index

Recenzii

The latest addition to Bloomsbury's Popular Music Handbook series is a well-conceived and intelligently organized introduction to one of the most interesting areas of contemporary popular music scholarship: the study of musical spaces and places. The editors do an excellent job of arranging a variety of voices and bring together contrasting approaches in a way that makes coherent a topic that is, it seems, limitless! There are essays here on the bedroom, the studio and the record shop; on the toilet circuit of small gigs and the portaloo logistics of large festivals; on French banlieus, South African townships, Brazilian favelas and English suburbia; on musical cities as conceived by policy makers, tourists and musicians; on travelling at home with a Frank Sinatra album and feeling at home in the circuits of the digital universe; on the historical space of heritage and musical nationalism; on experiencing the noise of cities and the sounds of the countryside. This is a rich field of scholarship indeed!
The experience and the forms of music might seem to become ever less tethered to locality, but this collection of essays from many disciplines and countries shows how space cannot but structure sound, from global commodity flows to the banlieu and the bedroom. With succinct chapters providing evocative case studies and quick access to the relevant theoretical literatures, the Handbook will be much appreciated as the primary gateway into researching the variegated geographies of today's popular music.
This is not another book about the relationship between music and the city. It is not another book about musical cities. Nor is it a book about musical scenes. Following the primordial path of Simmel or Lefebvre, this edited book expands, systematizes and updates the fruitful (and foundational) relations between music, space and place from a theoretical and empirical point of view.It is a crucial work of transdisciplinary profile that equates space, place (and even the non-place) in a dialogical relationship through the presentation of the different dynamics and means of appropriation and consumption of music spaces and places - home, radio, record store, nightclub, live concert, mobile devices. It unveils the relationships between space, place, music production and performance in the city, in the bedroom, in the (virtual-) studio, in the record or in the live gig.Music does not exist without space and the place. Considering the contemporary metamorphosis of this equation, this edited book shows us the impressive number of 29 chapters dedicated to the different issues, disciplines, theories, methods and geographical latitudes that are at stake. It ranges from suburban breakout, to South African township life, Rio de Janeiro's Favelas funk, postcolonial noise and even trans-national music.The plethora of meanings of the relationship between music, space and place is further explored in terms of its historicity, heritage, memory, tourism, events/festivals or cinema. In short, this edited book has come to occupy a place - which was empty because fragmentary - for all the academics, researchers, students, music lovers, managers and politicians who have music and its 'territories' as their field of action. Moreover, I can tell you how much I missed it.