{"product_id":"the-bloomsbury-handbook-of-popular-music-space-and-place-9781501336287","title":"The Bloomsbury Handbook of Popular Music Space","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003ePopular music scholars have long been interested in the connection between place and music. This collection brings together a number of key scholars in order to introduce readers to concepts and theories used to explore the relationships between place and music. An interdisciplinary volume, drawing from sociology, geography, ethnomusicology, media, cultural, and communication studies, this book covers a wide-range of topics germane to the production and consumption of place in popular music. Through considerations of changes in technology and the mediascape that have shaped the experience of popular music (vinyl, iPods, social media), the role of social difference and how it shapes sociomusical encounters (queer spaces, gendered and racialised spaces), as well as the construction and representations of place (musical tourism, city branding, urban mythologies), this is an up-to-the-moment overview of central discussions about place and music. The contributors explore a range of contexts\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003eThe latest addition to Bloomsbury’s Popular Music Handbook series is a well-conceived and intelligently organized introduction to one of the most interesting areas of contemporary popular music scholarship: the study of musical spaces and places.  The editors do an excellent job of arranging a variety of voices and bring together contrasting approaches in a way that makes coherent a topic that is, it seems, limitless! There are essays here on the bedroom, the studio and the record shop; on the toilet circuit of small gigs and the portaloo logistics of large festivals; on French \u003ci\u003ebanlieus\u003c\/i\u003e, South African townships, Brazilian \u003ci\u003efavelas\u003c\/i\u003e and English suburbia; on musical cities as conceived by policy makers, tourists and musicians; on travelling at home with a Frank Sinatra album and feeling  at home in the circuits of the digital universe; on the historical space of heritage and musical nationalism; on experiencing the noise of cities and the sounds of the countryside. This is a rich field of scholarship indeed! -- Simon Frith, Professor of Music, University of Edinburgh, Scotland, author of Performing Rites: On the Value of Popular Music (1998)\u003cbr\u003eThe experience and the forms of music might seem to become ever less tethered to locality, but this collection of essays from many disciplines and countries shows how space cannot but structure sound, from global commodity flows to the \u003ci\u003ebanlieu\u003c\/i\u003e and the bedroom. With succinct chapters providing evocative case studies and quick access to the relevant theoretical literatures, the \u003ci\u003eHandbook\u003c\/i\u003e will be much appreciated as the primary gateway into researching the variegated geographies of today’s popular music. -- Arun Saldanha, Associate Professor in the Department of Geography, Environment and Society at the University of Minnesota, USA, author of Space After Deleuze (Bloomsbury, 2017)\u003cbr\u003eThis is not another book about the relationship between music and the city. It is not another book about musical cities. Nor is it a book about musical scenes. Following the primordial path of Simmel or Lefebvre, this edited book expands, systematizes and updates the fruitful (and foundational) relations between music, space and place from a theoretical and empirical point of view.  It is a crucial work of transdisciplinary profile that equates space, place (and even the non-place) in a dialogical relationship through the presentation of the different dynamics and means of appropriation and consumption of music spaces and places - home, radio, record store, nightclub, live concert, mobile devices. It unveils the relationships between space, place, music production and performance in the city, in the bedroom, in the (virtual-) studio, in the record or in the live gig.  Music does not exist without space and the place. Considering the contemporary metamorphosis of this equation, this edited book shows us the impressive number of 29 chapters dedicated to the different issues, disciplines, theories, methods and geographical latitudes that are at stake. It ranges from suburban breakout, to South African township life, Rio de Janeiro's Favelas funk, postcolonial noise and even trans-national music.  The plethora of meanings of the relationship between music, space and place is further explored in terms of its historicity, heritage, memory, tourism, events\/festivals or cinema. In short, this edited book has come to occupy a place - which was empty because fragmentary - for all the academics, researchers, students, music lovers, managers and politicians who have music and its 'territories' as their field of action. Moreover, I can tell you how much I missed it. -- Paula Guerra, Professor of Sociology, University of Porto, Portugal, co-editor of Punk, Fanzines and DIY Cultures in a Global World: Fast, Furious and Xerox (2020) and Underground Music Scenes and DIY Cultures (2019)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003e\u003ci\u003eList of contributors\u003c\/i\u003e \u003ci\u003eIntroduction (Geoff Stahl, Victoria University of Wellington, New Zealand and J. Mark Percival, Queen Margaret University, Edinburgh)\u003c\/i\u003e \u003cb\u003e\u003ci\u003eSection I: Theory \u0026amp; method\u003c\/i\u003e\u003c\/b\u003e \u003cb\u003e1. \u003c\/b\u003eMusic, space, place and non-place \u003ci\u003e(Geoff Stahl, Victoria University of Wellington, New Zealand)\u003c\/i\u003e \u003cb\u003e2.\u003c\/b\u003e Rhythmanalysis and circulation \u003ci\u003e(Will Straw, McGill University, Canada)\u003c\/i\u003e \u003cb\u003e3.\u003c\/b\u003e Global, local, regional and translocal: Towards a relational approach to scale in popular music  \u003ci\u003e(Hyunjoon Shin, Sungkonghoe University, South Korea and Keewong Lee, Sungkonghoe University, South Korea)\u003c\/i\u003e \u003cb\u003e4.\u003c\/b\u003e Sociological perspectives on music and place \u003ci\u003e(Andy Bennett, Griffith University, Australia)\u003c\/i\u003e \u003cb\u003e5.\u003c\/b\u003e Ethnomusicology and place \u003ci\u003e(Kimberly Cannady, Victoria University of Wellington, New Zealand)\u003c\/i\u003e \u003cb\u003e6.\u003c\/b\u003e Political economies of urban music \u003ci\u003e(Shane Homan, Monash University, Australia) \u003c\/i\u003e \u003cb\u003e7.\u003c\/b\u003e Sensobiographic walking and ethnographic approach of the Finnish school of soundscape studies \u003ci\u003e(Helmi J\u003c\/i\u003eä\u003ci\u003erviluoama, University of Eastern Finland, Finland)\u003c\/i\u003e  \u003cb\u003e\u003ci\u003eSection II: Space, place and consumption\u003c\/i\u003e\u003c\/b\u003e \u003cb\u003e8. \u003c\/b\u003eAt Home with Sinatra \u003ci\u003e(Keir Keightley, University of Western Ontario, Canada)\u003c\/i\u003e \u003cb\u003e9.\u003c\/b\u003e Music radio \u003ci\u003e(J. Mark Percival, Queen Margaret University, UK)\u003c\/i\u003e \u003cb\u003e10. \u003c\/b\u003eThe record shop \u003ci\u003e(Nabeel Zuberi, University of Auckland, New Zealand)\u003c\/i\u003e \u003cb\u003e11.\u003c\/b\u003e The nightclub \u003ci\u003e(Hillegonda C Rietveld, London South Bank University, UK)\u003c\/i\u003e \u003cb\u003e12.\u003c\/b\u003e The live venue \u003ci\u003e(Robert Kronenburg, University of Liverpool, UK)\u003c\/i\u003e \u003cb\u003e13.\u003c\/b\u003e Mobile listening cultures \u003ci\u003e(Raphaël Nowak, Griffith University, Australia)\u003c\/i\u003e  \u003cb\u003e\u003ci\u003eSection III: Space, place, production and performance\u003c\/i\u003e\u003c\/b\u003e \u003cb\u003e14.\u003c\/b\u003e In the City - Glasgow \u003ci\u003e(Martin Cloonan, University of Turku, Finland)\u003c\/i\u003e \u003cb\u003e15.\u003c\/b\u003e Bedroom production \u003ci\u003e(Em\u003c\/i\u003eí\u003ci\u003elia Barna, Budapest University of Technology and Economics, Hungary)\u003c\/i\u003e \u003cb\u003e16.\u003c\/b\u003e The Studio \u003ci\u003e(Ruth Dockwray, University of Chester, UK)\u003c\/i\u003e \u003cb\u003e17. \u003c\/b\u003eThe virtual studio \u003ci\u003e(Martin K. Koszolko, RMIT, Australia)\u003c\/i\u003e \u003cb\u003e18. \u003c\/b\u003eThe space of the record: Something happening somewhere \u003ci\u003e(Simon Zagorski-Thomas, University of West London, UK)\u003c\/i\u003e \u003cb\u003e19.\u003c\/b\u003e The live gig \u003ci\u003e(Sam Whiting, RMIT, Australia)\u003c\/i\u003e  \u003cb\u003e\u003ci\u003eSection IV: Cities, suburbs, nations and beyond\u003c\/i\u003e\u003c\/b\u003e \u003cb\u003e20.\u003c\/b\u003e Suburban breakout: Nomadic reverie in British pop \u003ci\u003e(Andrew Branch, University of East London, UK)\u003c\/i\u003e \u003cb\u003e21.\u003c\/b\u003e Sounding South African township life \u003ci\u003e(Kathryn Olsen, \u003c\/i\u003e\u003ci\u003eUniversity of KwaZulu-Natal, South Africa)\u003c\/i\u003e \u003cb\u003e22.\u003c\/b\u003e Funk - A musical symbol of Rio de Janeiro's favelas \u003ci\u003e(\u003c\/i\u003e\u003ci\u003eVincenzo Cambria, \u003c\/i\u003e\u003ci\u003eUNIRIO\/Federal University of the State of Rio de Janeiro, Brazil) \u003c\/i\u003e \u003cb\u003e23.\u003c\/b\u003e Banlieue: Postcolonial noise: How did French rap (re)invent 'the banlieue'? \u003ci\u003e(Christina Horvath, University of Bath, UK) \u003c\/i\u003e \u003cb\u003e24.\u003c\/b\u003e Music and the nation \u003ci\u003e(Melanie Schiller, University of Groningen, The Netherlands)\u003c\/i\u003e \u003cb\u003e25.\u003c\/b\u003e Transnational music \u003ci\u003e(Simone Krüger Bridge, Liverpool John Moores University, UK)\u003c\/i\u003e  \u003cb\u003e\u003ci\u003eSection V: Selling, celebrating, representing space and place\u003c\/i\u003e\u003c\/b\u003e \u003cb\u003e26.\u003c\/b\u003e Music and Heritage \u003ci\u003e(Catherine Strong, RMIT, Australia)\u003c\/i\u003e \u003cb\u003e27. \u003c\/b\u003eMusic and Tourism \u003ci\u003e(Leonieke Bolderman, Erasmus University, The Netherlands)\u003c\/i\u003e \u003cb\u003e28. \u003c\/b\u003eFestivals \u003ci\u003e(Chris Anderton, Solent University, UK)\u003c\/i\u003e \u003cb\u003e29.\u003c\/b\u003e Cinematic places: Popular music soundtracks and the charge of the real \u003ci\u003e(Kate Bolgar Smith, SOAS University of London, UK)\u003c\/i\u003e  \u003ci\u003eIndex\u003c\/i\u003e","brand":"Bloomsbury Publishing Plc","offers":[{"title":"Default Title","offer_id":51019957600599,"sku":"9781501336287","price":152.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9781501336287.jpg?v=1750781878","url":"https:\/\/bookcurl.com\/products\/the-bloomsbury-handbook-of-popular-music-space-and-place-9781501336287","provider":"Book Curl","version":"1.0","type":"link"}