Music Scenes
281 pages

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281 pages
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These fourteen original essays examine the fascinating world of music scenes, those largely inconspicuous sites where clusters of musicians, producers, and fans explore their common musical tastes and distinctive lifestyle choices. Although most music scenes come and go with hardly a trace, they nevertheless give immense satisfaction to their participants, and a few--New York bop jazz, Merseybeat, Memphis rockabilly, London punk, Bronx hip-hop--achieve fame and spur musical innovations. To date, serious study of the scenes phenomenon has focused mainly on specific music scenes while paying less attention to recurrent dynamics of scene life, such as how individuals construct and negotiate scenes to the various activities. This volume remedies that neglect.



Publié par
Date de parution 11 juin 2004
Nombre de lectures 0
EAN13 9780826591814
Langue English
Poids de l'ouvrage 4 Mo

Informations légales : prix de location à la page 0,1000€. Cette information est donnée uniquement à titre indicatif conformément à la législation en vigueur.


C U L T U R A L S T U D I E S / M U S I C O L O G Y Where the music is born . . . Just as Durkheim’s studies of totem andWhile more than 80 percent of the world’s com-ritual cast light on themercial music is controlled by four multinational firms, most music is made in all sorts of venues role of the sacred in and locales divorced from such corporate behe-everyday life, so the moths. These fourteen original essays examine the vibrant case studies in fascinating world of “music scenes,” those largely this volume illuminate inconspicuous sites where clusters of musicians, music’s broader social producers, and fans explore their common musi-significance throughcal tastes and distinctive lifestyle choices.  Although most music scenes come and go with probing explorations hardly a trace, a few—New York bop jazz, Mersey-of the particular beat, Memphis rockabilly, London punk, Bronx settings.hip-hop—achieve fame and spur musical innova-—Paul DiMaggio tions.  Three types of scenes—local, translocal, and vir-tual—are explored here. Local scenes, which are confined to specific areas, are examined in essays on Chicago blues, rave, karaoke, teen pop, and sal-sa. Essays on translocal scenes, which involve the Vanderbilt coming together of scattered local scenes around a particular type of music and lifestyle, focus on University riot grrrls, UK goth, art music, and anarcho-punk. Virtual scenes, in which fans communicate via the internet, are illustrated using alternative country, Press the Canterbury sound, post-rock, and Kate Bush fans. Also included is an essay that shows how the Nashville, TN 37235 social conditions in places where jazz was made influenced that music’s development.
ISBN 0-8265-1451-0 ™xHSKIMGy514516z
Andy Bennett is senior lecturer in sociology at the University of Surrey. He is the author ofPopular Music and Youth Culture: Music, Identity and PlaceandCultures of Popular Music.Kevin Dawe, With he co-editedGuitar Cultures.A. Peterson Richard is professor emeritus of sociology at Vanderbilt University, and founding chair of the Culture Sec-tion of the American Sociological Association. His books includeThe Production of Culture; Creating Country Music: Fabricating Authenticity; andThe Sounds of Social Change: Studies in Popular Culture,co-edited with R. Serge Denisoff.
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Music Scenes Local, Translocal, and Virtual
Music Scenes Local, Translocal, and Virtual
Edited by Andy Bennett and Richard A. Peterson
Vanderbilt University Press âŝîÉ
© 2004 Vanderbilt University Press All rights reserved First Edition 2004
is book is printed on acid-free paper. Manufactured in the United States of America
“Jazz Places” © Howard Becker, used with permission.
Library of Congress Cataloging-in-Publication Data
Music scenes : local, translocal & virtual / edited by Andy Bennett and Richard A. Peterson.—1st ed. p. cm. Includes bibliographical references and index. ISBN 0-8265-1450-2 (cloth : alk. paper) ISBN 0-8265-1451-0 (pbk. : alk. paper) 1. Popular music—History and criticism. I. Bennett, Andy, 1963– II. Peterson, Richard A. ML3470.M895 2004 781.64’09-dc22 2003018798
Dedicated to all those who keep music alive in scenes around the world
Introducing Music Scenes1 Richard A. Peterson and Andy Bennett
Part I Local Scenes
Jazz Places17 Howard Becker Becker shows that the social space in which music is performed shapes the music that is produced by focusing on two innovative periods in the development of jazz—the first, the earliest days of bebop in the 1930s gang-controlled underworld of Kansas City, and the second, the university tours and concerts that helped shape cool jazz in the 1950s.
Notes on Contributors
The Symbolic Economy of Authenticity in the Chicago Blues Scene31 David Grazian
Drawing on years of ethnographic research, Grazian shows how the signifiers of authenticity in the Chicago blues scene of the past are manipulated by contemporary artists, bartenders, and club owners to satisfy the expectations of today’s fans and tourists, who differ sharply in their expectations of what “real” Chicago blues is.
Music Scenes:Local, Translocal, and Virtual
Behind the Rave: Structure and Agency in a Rave Scene48Ken Spring
Spring uses participant observation and interviews to trace the rise and fall of an intense rave scene in a small industrial city. He focuses on the interests behind the rave scene—bar owners, promoters, DJs, drug dealers, police, and city officials—who, for a brief period, made it possible to put on raves in a risk-free environment.
“Scenes” Dimensions of Karaoke  in the United States64 Rob Drew
Much like early punk, karaoke encourages the liberating sensibility that “anyone can do it.” While for many in the United States karaoke is an excuse for drunken self-expression, Drew shows that for a goodly number it is a regular social activity that gives great personal satisfaction and knits participants together in a number of overlapping scenes, each appropriate for its locale.
“Tween” Scene: Resistance  within the Mainstream Melanie Lowe
Using focus groups, Lowe explores the realm of youthful fandom that surrounds Britney Spears, which exists worldwide and in fans’ own rooms. Girls gush over their favorite and simultaneously challenge her overly sexualized media image, revealing a reception strategy that allows them to take pleasure in music oen at odds with their budding feminist consciousness.
“Doin’ It Right”: Contested Authenticity  in London’s Salsa Scene96Norman Urquia
Urquia shows that questions of authenticity operate at several levels in the London salsa scene. Non-Latin dancers offer a variety of claims on salsa as their own, while salsa dance teachers continually strive for more exhibitionist personal styles to attract students. Over time, ironically, the original Latin form has lost its identity as authentic salsa.
Part II Translocal Scenes
“Riot Grrrl Is . . .”: Contestation over Meaning  in a Music Scene115Kristin Schilt
Schilt describes how widely dispersed scenes devoted to feminism and punk music came together to create the Riot Grrrl movement, in which every girl could be a riot grrrl. She shows how this fusion rapidly made the translocal scene visible and led to its fissuring, as musical and political differences came to the fore.
Translocal Connections in the Goth Scene Paul Hodkinson
With the collapse of the worldwide mass media–promoted genre of goth music in the early 1990s, numerous groups of goths linked up to form a translocally connected movement. Hodkinson shows how goth fans mutually reinforced each other through their symbols of goth identity, frequent travel to distant goth events, compilation of goth records, fanzines, Internet communication, and mail-order specialty stores.
Music Festivals as Scenes: Examples from Serious Music, Womyn’s Music, and SkatePunk Timothy J. Dowd, Kathleen Liddle, and Jenna Nelson
Dowd, Liddle, and Nelson explore the Yaddo Festival, devoted to serious (art) music, the Michigan Womyn’s Festival, and the Vans Warped Tour to illustrate the ways in which festivals—large organized events in which scenes periodically reproduce themselves in a cloistered area protected from the gaze of outsiders—can be scenes.
“Not for Sale”: The Underground Network  of Anarcho-Punk168Tim Gosling
More than their local counterparts, translocal scenes depend on recordings and those who make them to get the music known and to build the sense of a scene. Gosling shows the role of band-owned record companies in the anarcho-punk scene of the 1980s and explains why the U.S.-owned companies were much more effective scene builders than were their English counterparts.
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