1st Edition

Musical Spaces
Place, Performance, and Power



  • Available for pre-order. Item will ship after August 1, 2021
ISBN 9789814877855
August 1, 2021 Forthcoming by Jenny Stanford Publishing
500 Pages

USD $99.95

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Book Description

There is growing recognition and understanding of music’s fundamentally spatial natures, with significances of space found both in the immediacy of musical practices and in connection to broader identities and ideas around music. Whereas previous publications have looked at connections between music and space through singular lenses (such as how they are linked to ethnic identities or how musical images of a city are constructed), this book sets out to explore intersections between multiple scales and kinds of musical spaces. It complements the investigation of broader power structures and place-based identities by a detailed focus on the moments of music-making and musical environments, revealing the mutual shaping of these levels. The book overcomes a Eurocentric focus on a typically narrow range of musics (especially European and North American classical and popular forms) with case studies on a diverse set of genres and global contexts, inspiring a range of ethnographic, text-based, historical, and practice-based approaches.

Table of Contents

Introduction: Musical Spaces

Samuel Horlor

 

Part I

(Trans)local Musical Spaces

 

1. Musical Spaces and Deep Regionalism in Minas Gerais, Brazil

Jonathon Grasse

 

2. ‘Trapped in Oklahoma’: Bible Belt Affect and DIY Punk

Alican Koc

 

3. Musical Pathways through Algerian-London

Stephen Wilford

 

4. Dancing to the Hotline Bling in the Old Bazaars of Tehran

Shabnam Goli

 

Regionality in Learning and Heritage

 

5. Performing Local Music: Engaging with Regional Musical Identities through Higher Education and Research

Daithí Kearney

 

6. Preserving Cultural Identity: Learning Music and Performing Heritage in a Tibetan Refugee School

James Williams

 

7. Claiming Back the Arctic: Evaluating the Effectiveness of Music as a Voice for the Indigenous Subaltern

Kiara Wickremasinghe

 

Music and Spatial Imaginaries

 

8. ‘He Is a Piece of Granite…’: Landscape and National Identity in Early Twentieth-century Sweden

Anne Macgregor

 

9. War, Folklore, and Circumstance: Dimitri Shostakovich’s Greek Songs in Transnational Historical Context

Artemis Ignatidou

 

10. ‘O Monstrous! O Strange!’: Culture, Nature, and the Places of Music in the Mexican Sotavento

Diego Astorga de Ita

 

11. Journeys to Plastic Beach: Navigations across the Virtual Ocean to Gorillaz’ Fictional Island

Alex Jeffery

 

Part II

Music-Making Environments

 

12. Person-Environment Relationships: Influences beyond Acoustics in Musical Performance

James Edward Armstrong

 

13. The Social and Spatial Basis of Musical Joy: Folk Orc as Special Refuge and Everyday Ritual

Thomas Graves

 

14. Echoes of Mongolia’s Sensory Landscape in Shurankhai’s ‘Harmonized’ Urtyn Duu

Sunmin Yoon

 

Designing Creative Spaces

 

15. Staging Ariodante: Cultural Cartographies and Dialogical Performance

Benjamin Davis

 

16. Musicians in Place and Space: The Impact of a Spatialized Model of Improvised Music Performance

David Leahy

 

17. Space, Engagement, and Immersion: From La Monte Young and Terry Riley to Contemporary Practice

Joanne Mills

 

Musical Spaces and Power

 

18. Micronational Spaces: Rethinking Politics in Contemporary Music Festivals

Jelena Gligorijević

 

19. Construction of  Protest Space through Chanting in the Egyptian Revolution (2011): Musical Dimensions of a Political Subject

Oscar Galeev

 

20. Bethlem, Music, and Sound as Biopower in Seventeenth-Century London

Joseph Nelson

 

Epilogue: Towards More Geographic Musicologies

James Williams

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Author(s)

Biography

James Williams is an ethnomusicologist. He is also a senior lecturer at the University of Derby, UK, where he runs the Integrated Master of Arts and Health Practice programme. He lectured in music composition at the University of Hertfordshire, UK (2012–2015), while completing his PhD at the University of Wolverhampton, UK (2016), on the collaborative and creative interactions between professional musicians. Dr. Williams’ research focuses on anthropologies of music-making, investigating behavioural, socio-cultural, and creative processes in a range of contexts and subject areas notably wellbeing and education.Samuel Horlor is a postdoctoral fellow at the Center for Ethnomusicology, Yunnan University, China. He also teaches remotely at Durham University, UK, from where he completed his PhD with a thesis on street music in the Chinese city of Wuhan. He was an Early Career Fellow 2016–2017 at the Institute of Musical Research, London, UK, and has published in reputed journals, including Ethnomusicology Forum and Asian Music.