This volume explores the role played by music in the formation and articulation of geographical imaginations - local, regional, national and global. Authors show how music's facility to be recorded, stored and broadcast; to be performed and received in private and public; and to rouse intense emotional responses for individuals and groups make it a key force in the definition of a place. Covering rich and varied terrain - from Victorian England, to 1960s Los Angeles, to the offices of Sony and Time-Warner, and the landscapes of the American Depression - the book addresses such topics as the evolution of musical genres, the globalization of music production and marketing, and alternative and hybridized music scenes as sites of localized resistance.
Table of Contents
The global music industry - contradictions in the commodification of the sublime, John Lovering; the early days of the gramophone industry in India - historical, social, and musical perspectives, Gerry Farrell; welcome to Dreamsville - a history and geography of Northern Soul, Joanne Hollows and Katie Milestone; Victoria brass bands - class, taste, and space, Trevor Herbert; locating listening - technological space, popular music, and Canadian Mediation, Jody Berland; Borderlines - bilingual terrain in Scottish song, Steve Sweeney Turner; England's glory - sensibility of place in English music, 1900-1950, Robert Stradling; Samuel Coleridge-Taylor's geography of disappointment - hybridity, identity, and networks of musical meaning, George Revill; global undergrounds - the cultural politics of sound and light in Los Angeles, 1965-1975, Simon Rycroft; from dust strom disaster to pastures of glory - Woody Guthrie and the landscapes of the dust bowl odyssey, John Gold; sounding out of the city - music and the sensuous production of place, Sara Cohen; desire, power, and the sonoric landscape - early modernism and the politics of musical privacy, Richard Leppert.