Bøger i Routledge Research in Music serien

A contribution to the field of urban music studies, this book presents new interdisciplinary approaches to the study of music in urban social life. It takes musical performance as its key focus, exploring how and why different kinds of performance are evolving in contemporary cities in the interaction among social groups, commercial entrepreneurs, and institutions. From conventional concerts in rock clubs to new genres such as the flash mob, the forms and meanings of musical performance are deeply affected by urban social change and at the same time respond to the changing conditions. Music has taken on complex roles in the post-industrial city where culture and cultural consumption have an unprecedented power in defining publics, policies, and marketing strategies. Further, changes in real estate markets and the penetration of new media have challenged even fairly modern music cultures. At the same time, new music cultures have emerged, and music has become a driver for cultural events and festivals, channeling the dynamics of a society characterized by the social change, media intensity, and the neoliberal forces of post-industrial urban contexts. The volume brings together scholars from a broad range of disciplines to build a shared understanding of post-industrial contexts in Europe and the United States. Most directly grounded in contemporary developments in music studies and urban studies, its broad interdisciplinary range serves to strengthen the relevance of urban music studies to fields such as anthropology, sociology, urban geography, and beyond. Offering in-depth studies of changing music culture in concert venues, cultural events, and neighborhoods, contributors visit diverse locations such as Barcelona, Berlin, London, New York, and Austin.

As percussion music has progressed and become woven into the fabric of Western musical culture, several divergent paths comprised of various traditions and a multiplicity of aesthetic sensibilities have since emerged for the percussionist to pursue. This edited collection highlights the progressive developments that continue to investigate uncharted musical grounds. Using historical studies, philosophical insights, analyses of performance practice, and anecdotal reflections authored by some of today's most engaged performers, composers, and scholars, this book aims to illuminate the unique destinations found in the artistic journey of the modern percussionist.

AWARD WINNER OF THE 2018 SOCIETY OF ETHNOMUSICLOGY ELLEN KOSKOFF PRIZEThis is the first sustained examination of ecomusicology-the study of the intersections of music/sound, culture/society, and nature/environment.

This book explores multicultural representation in western European operatic genres in the modern world. It reveals approaches to reflecting identity, transmitting meaning, and inspiring creation, and the ambiguities of cultural values and practices that occur across the time and place(s) of performance. In theorizing coloniality through intercultural exchange in opera, essays explore topics that involve immigrant, indigenous, exoticist, and other cultural representations. The book offers a more integrated understanding of the interdisciplinary fields inherent in opera, including musicology, sociology, anthropology, and others in Theatre, Gender, and Cultural Studies.

This edited collection seeks to explore the role of DIY or Pro-Am (Professional-Amateur) practitioners of popular music archiving and preservation. It looks critically at ideas around `DIY preservationism¿, `self-authorised¿ and `unauthorised¿ heritage practice and the `DIY institution¿, while also unpacking the potentialities of bottom-up, community-based interventions into the archiving and preservation of popular music¿s material history. With an international scope and an interdisciplinary approach, this is an important reference for scholars of popular music, heritage studies and cultural studies.

This book is the first musical, cultural, and technological history of loudness, highlighting how loudness calls attention to musical, discursive, affective, and technological continuities across seemingly disparate traditions. It explores the role of dynamics in music theory, the problematic status of the decibel in the acoustic sciences, debates about orchestration technique, and criticism in jazz, rock, and disco. Examining how loudness inflects issues in music studies including taste, race, gender, and youth, it charts an interdisciplinary path forward, highlighting the insights gained when popular music is studied alongside various forms of art music and acoustic mediation.