By John Connell
Sound Tracks is the 1st entire publication at the new geography of renowned song, reading the advanced hyperlinks among locations, track and cultural identities. It offers an interdisciplinary viewpoint on neighborhood, nationwide and international scenes, from the 'Mersey' and 'Icelandic' sounds to 'world music', and explores the various meanings of tune in a number nearby contexts.In a global of intensified globalisation, hyperlinks among house, song and identification are more and more tenuous, but locations supply credibility to track, no longer least within the 'country', and tune is usually associated with position, as a stake to originality, a declare to culture and as a advertising and marketing gadget. This publication develops new views on those relationships and the way they're positioned inside of cultural and geographical notion.
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Additional info for Soundtracks : Popular Music, Identity and Place
Hence ‘Kaluli songs map the sound world as a space–time continuum of place, of connection, of exchange, of travel, of memory, of fear, of longing and of possibility’ (Feld 2000b: 199). More than in most other cultures the environment contributed to the creation of a musical ethos. See: Feld 1982, 1984. 26 M U S I C A N D P L AC E : ‘ F I X I N G AU T H E N T I C I T Y ’ Unravelling authenticity: roots and regional traditions Traditional music is imbricated within local culture, and inseparable from it: an expression of the ethos of small-scale society.
Friedson 1996: xvi). Nature and society were indistinguishable, music linked rituals and everyday life, and aesthetic configurations were part of a comprehensive pattern of reality. Relatively simple divisions and relationships are more intricate in complex societies. Amongst the Aymara of the Peruvian Andes mountains, groups of 23 M U S I C A N D P L AC E : ‘ F I X I N G AU T H E N T I C I T Y ’ panpipe players accompany community festivals. Panpipe players are divided into three groups – broadly high, medium and low voices – and in contrast to European musical forms where the high and low voices are most important, the Aymara consider the middle group the most important.
Monroe, eventually a mandolin player, grew up in western Kentucky, far from the bluegrass district, while Scruggs and Platt, both guitarists, were from North Carolina. Bluegrass had a brief boom before it was ignored by radio stations because of its connotation of ‘old-time hayseeds’, only to benefit from the folk-song revival of the 1950s and 1960s when it was seen as ‘the living link back to the older acoustic forms of country and folk music’ (Peterson 1997: 213) or ‘the latest expression of poor, rural, working-class pioneer America’ (Rosenberg 1985: 13).
Soundtracks : Popular Music, Identity and Place by John Connell