Popular Music Scenes and Cultural Memory

ISBN-13: 9781137402035 / Angielski / Twarda / 2016 / 206 str.

Andy Bennett; Ian Rogers

Opis

This volume explores the ways in which music scenes are not merely physical spaces for the practice of collective musical life but are also inscribed with and enacted through the articulation of cultural memory and emotional geography.

Spis treści

Introduction: Scenes and memory.- Part I: Concepts.- 1.Scene ‘theory’: History, usage and influence.- 2.Music, memory, space and place.- Part II: Case studies.- 3.The origins of taste and precursors of scenes.- 4.Scenes, memory and the spaces of music consumption.- 5.Spaces of local music production.- 6.Virtuality: Images and the local archive.- 7.The distance from an unknown centre: The discourses of periphery and edge in music scenes 

O autorze

Andy Bennett is Professor of Cultural Sociology in the School of Humanities, Languages and Social Science at Griffith University, Australia.  A leading figure in sociological studies of popular music and youth culture, he is author and editor of numerous books including Music, Style, and Aging, Music Scenes (co-edited with Richard A. Peterson) and Remembering Woodstock. 

Ian Rogers is Lecturer of Popular Music in the School of Media and Communication at RMIT University. He is the author of numerous articles on musician ideologies, music policy and local music history and is an accomplished musician and critic. 

Blurb

This volume explores the ways in which music scenes are not merely physical spaces for the practice of collective musical life but are also inscribed with and enacted through the articulation of cultural memory and emotional geography. The book draws on empirical data collected in cites throughout Australia. 

In terms of understanding the relationship between music scenes and participants, much of the existing popular music literature tends to avoid one key aspect of scene: its predominant past-tense and memory-based nature. Nascent music scenes may be emergent and on-going but their articulation in the present is often based on past events, ideas and histories. There is a noticeable gap between the literature concerning popular music ethnography and the growing body of work on cultural memory and emotional geography. This book is a study of the conceptual formation and use of music scenes by participants. It is also an investigation of the structures underpinning music scenes more generally.