1st Edition
Music and Heritage New Perspectives on Place-making and Sonic Identity
Music and Heritage provides new thinking about the diverse ways people engage with heritage. By exploring the relationships that exist between music, place and identity, the book illustrates how people form attachments to place and how such attachments are represented by sound and music-making.
Presenting case studies and perspectives from across a range of genres, the volume argues that combining music with heritage provides an alternative and productive opportunity to think about heritage values and place attachment. Contributions to this edited collection use a diversity of methods, perspectives, cues and genres to reflect critically on issues related to these and other interconnections in ways that encourage new thinking about the character, meaning and purpose of cultural heritage, and the various ways in which people can interact with it through sound – thus re-encountering the supposedly familiar world around them.
Taking heritage studies, musicology and place-making research in new directions, Music and Heritage will be of interest to academics and students engaged in the study of heritage, history, music, geography and anthropology. It will also be relevant to those with an interest in how music relates to place-making and place attachment, as well as to practitioners and policymakers working in the planning, design and creative sectors.
1. Sonic identity and the making of heritage: ‘This must be the place’
Liam Maloney and John Schofield
I. Parklife: (New) town and (old) country
2. The soundscape and cosmology of the Norwegian band Wardruna: Guardians of runes and makers of memories Debora Moretti and Einar Selvik
3. Pastoral longing in popular music: From Skye to Tennessee
Richard Worth
4. Composing archaeology: The problems of recreating heritage in music
Sadie Harrison
5. Space and place in English morris dance
David Petts
6. Heritage culture and artistic reciprocity: Remediating the mythical
Steven Hadley, Fay Hield and Carolyne Larrington
II. On and on: Cities/industry/infrastructure
7. Decentring Liverpool’s popular music heritage: Routes Jukebox
Brett Lashua and Yaw Owusu
8. Music and community in 1980s Malta: The unconventional heritage of Fort Tigné
Joshua de Giorgio
9. The city as archive: How industry and electronic music forged Sheffield's sonic identity
Ron Wright and John Schofield
10. Music heritage, cultural justice and the Steel City: Archiving and curating popular music history in Wollongong, Australia
Zelmarie Cantillon, Sarah Baker and Raphael Nowak
11. House music, Chicago and the uncomfortable heritage of racial segregation
Liam Maloney
12. Intersections of genre, heritage, and place in the New Wave of American Heavy Metal
Lewis Kennedy
III. Interzone: Comparative Notes on a Northern Town
13. How a Northern Quarter music venue was crucial in the reinterpretation of 19th-century Broadside Ballads: Manchester’s Improving Daily
David Jennings
14. Community archaeology, identity and the excavation of Manchester’s Reno nightclub
Mike Nevell and Linda Brogan
15. Morrissey, memory and traces of lost time in Manchester: from the archive to the anti-archive
Adam D. Gearey and Benjamin R. Gearey
IV. No future: Remembrance
16. Hardcore heritage: consecrating the northern anxiety of Terveet Kädet
Janne Ikäheimo
17. Historically Authentic Truths (the HAT trick): facts, fancies and footnotes
William Brooks, Stefan Östersjö and Jez Wells
18. Relating ruin experience with the creative process in Radcliffe Tower: Redirected Reflections
Mark Dyer
19. An experimental approach to heritage and music through a SOUNDmound at Sandby borg, Sweden: developments in method and practice
Frances Gill, Bodil Petersson and Fadumo Weheliye
20. Hearing the past in the present: an augmented reality approach to site reconstruction through architecturally informed new music
Ambrose Field
21. Station to station: Rock music memorial roots and routes in London
Paul Graves-Brown and Hilary Orange
Biography
Liam Maloney is an Associate Lecturer in Music and Sound Recording in the Music Research Centre at the University of York (UK).
John Schofield is Director of Studies in Cultural Heritage Management in the Department of Archaeology at the University of York (UK).
'In this ground-breaking and thoughtful volume, Liam Maloney and John Schofield have brought together a series of excellent contributions that focus on the role of sound and sonic identity in a wide-ranging set of environments. Some of the case studies focus on rural, urban, and deindustrialized landscapes and others concentrate on particular soundscapes such as music making venues, and places of commemoration, memory, and archiving. Within the volume is a sort of mini monograph, an intensive multi-angled examination of the sonic environments of Manchester, UK. The work offers new and original insights into what heritage can do and be as the volume shifts effortlessly between tangible and intangible heritage. The book reorients the scope of heritage research in a manner that will be of great interest to scholars, students, and anyone interested in the many ways that sound is threaded through human experience.'
~Carolyn L. White, University of Nevada, USA
'Music and Heritage is an exciting and timely contribution to understanding the significance of popular music as cultural heritage. This collection includes an impressive range of international perspectives, capturing the dynamic interactions between time, place, and music as makers of local and global identities. Accessibly written and engaging, Music and Heritage draws original parallels with archaeology and frames the concept of heritage as a living archive. For academic researchers, cultural workers, and music audiences, this book can expand intellectual horizons and inform creative ideas.'~Dr Asya Draganova, Birmingham City University, UK
'At a time when the culture sector is under increasing threat, this collection offers fresh perspectives on music heritage and how music shapes and is shaped by place. Particularly welcome is its examination of heritage through a focus on sound and sound-making, and through cross-disciplinary approaches and perspectives. The contributors cover a wide range of topics, from English Morris dancing to Chicago House Music, and the chapters are engaging and accessible. Together, they illustrate the importance of sonic identity for characterising places, and enable music heritage to be discussed in relation to the iconic and everyday, the tangible and intangible. The book will be essential reading for students and researchers working across a range of disciplines, and interested in music, sound, place-making and cultural heritage.'
~Sara Cohen, University of Liverpool, UK
