By John Connell
Sound Tracks is the 1st finished e-book at the new geography of well known track, reading the advanced hyperlinks among areas, song and cultural identities. It offers an interdisciplinary standpoint on neighborhood, nationwide and worldwide scenes, from the 'Mersey' and 'Icelandic' sounds to 'world music', and explores the varied meanings of track in more than a few nearby contexts.In a global of intensified globalisation, hyperlinks among area, track and id are more and more tenuous, but areas supply credibility to tune, now not least within the 'country', and track is usually associated with position, as a stake to originality, a declare to culture and as a advertising gadget. This e-book develops new views on those relationships and the way they're positioned inside of cultural and geographical concept.
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Extra info for Sound Tracks : Popular Music, Identity and Place (Critical Geographies)
Uncertainty in the face of industrialisation triggered cultural conservatism. In North America and Europe folk music had gradually become disengaged from the small-scale, sometimes domestic, context in which it originated. In the United States twentieth-century fiddle contests emphasised prizes and public display, as opposed to the older tradition of playing at house parties and barn dances, a simultaneous process of commodification and the convergence of different regional styles. Many genres of music were not at risk, but declined and were transformed in the twentieth century.
Suya communities, like many Amazonian societies, were divided into two social groups (moieties), replicated in the structure of ritual and spatial organisation, and in the divisions of songs into halves (sung by the different moieties) and the structure of the songs themselves (Seeger 1987). In Malaysian Temiar society musical participation in curative medical practice was often collective, bringing together divisions in society, specifically to overcome social and political factionalism, and thus sources of ill-health; some forms of illness were perceived to result from the soul being lost or mislaid, hence treatment involved singing a ‘way’ to bring the soul back home; metaphorically music linked domains of travelling, knowledge, singing and healing (Roseman 1991: 9).
The same performance or piece of music may simultaneously carry different meanings and offer different interpretations, even within small-scale societies. This ambiguity enables people to manipulate symbolic meanings for their own purposes (Kaemmer 1993: 110), emphasises the lack of homogeneity within societies and points to the role of individual agency (evident, directly, in the presence of composers). Music is composed and performed by people who ‘are creating something that is at once a re-creation and a new creation under unique circumstances’ (Seeger 1987: 85, 86).