Music Scenes: Local, Translocal and Virtual

Andy Bennett, Richard A. Peterson
Vanderbilt University Press, 2004 - 264 páginas
While more than 80 percent of the world's commercial music is controlled by four multinational firms, most music is made and enjoyed in diverse situations divorced from such corporate behemoths. 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 hiphop - 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. The editors distinguish between three types of scenes - local, translocal, and virtual - which provide the organizing framework for the essays. Aspects of local scenes, which are confined to specific areas, are explored through essays on Chicago blues, rave, karaoke, teen pop, and salsa. The section on translocal scenes, which involve the coming together of scattered local scenes around a particular type of music and lifestyle, includes articles on Riot Grrrls, goths, art music, and anarcho-punk. Aspects of virtual scenes, in which fans communicate via the internet, are illustrated using alternative country, the Canterbury sound, postrock, and Kate Bush fans. Also included is an essay that shows how the social conditions in places where jazz was made influenced that music's development.

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Music scenes: local, translocal and virtual

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Editors Bennett (sociology, Univ. of Surrey, U.K.; Popular Music and Youth Culture) and Peterson (sociology, emeritus, Vanderbilt Univ.; The Production of Culture) bring impressive credentials to this ... Leer comentario completo


Introducing Music Scenes
Jazz Places
The Symbolic Economy of Authenticity in the Chicago Blues Scene
Behind the Rave Structure and Agency in a Rave Scene
Scenes Dimensions of Karaoke in the United States
Tween Scene Resistance within the Mainstream
Doin It Right Contested Authenticity in Londons Salsa Scene
Riot Grrrl Is The Contestation over Meaning in a Music Scene
Music Festivals as Scenes Examples from Serious Music Womyns Music and SkatePunk
Not For Sale The Underground Network of AnarchoPunk
Internetbased Virtual Music Scenes The Case of P2 in AltCountry Music
New Tales from Canterbury The Making of a Virtual Scene
The Fanzine Discourse over Postrock
Kate Bush Teen Pop and Older Female Fans
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Translocal Connections in the Goth Scene

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Acerca del autor (2004)

Andy Bennett is lecturer in sociology at the University of Surrey. He is the author of Popular Music and Youth Culture: Music, Identity and Place and Cultures of Popular Music. With Kevin Dawe, he co-edited Guitar Cultures.

Richard A. Peterson is professor emeritus of sociology at Vanderbilt University, and founding chair of the Culture Section of the American Sociological Association. His books include The Production of Culture, Creating Country Music: Fabricating Authenticity, and The Sounds of Social Change: Studies in Popular Culture, co-edited with R. Serge Denisoff.

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