Music, Space and Place: Popular Music and Cultural Identity

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Contents: Introduction, Sheila Whiteley
Music, space and place, Andy Bennett
Rap and Hip Hop: community and identity, Sheila Whiteley
Musical production and the politics of desire, Stan Hawkins. Part 1 Music Space and Place: The musical construction of the diaspora: the case of reggae and Rastafari, Sarah Daynes
Who is the 'other' in the Balkans? Local ethnic music as a different source of identities in Bulgaria, Claire Levy
'Power-geometry' in motion: space, place and gender in the lyra music of Crete, Kevin Dawe
Interrogating the production of sound and place: the Bristol phenomenon, from Lunatic Fringe to Worldwide Massive, Peter Webb. Part 2 Rap and Hip Hop: Community and Cultural Identity: The emergence of rap Cubano: an historical perspective, Deborah Pacini
Doin' damage in my native language: the use of 'resistance vernaculars' in Hip Hop in Europe and Aotearoa/New Zealand, Tony Mitchell
Rapp'in' the Cape: style and memory, power in community, Lee Watkins. Part 3 Musical Production and the Politics of Desire: Positioning the producer: gender divisions in creative labour and value, Emma Mayhew
'Believe': vocoders, digital female identity and camp, Kay Dickinson
On performativity and production in Madonna's 'Music', Stan Hawkins
He's got the power: the politics of production in girl group music, Jacqueline Warwick. Bibliography
Index.

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Music, Space and Place examines the urban and rural spaces in which music is experienced, produced and consumed. The editors of this collection have brought together new and exciting perspectives by international researchers and scholars working in the field of popular music studies. Underpinning all of the contributions is the recognition that musical processes take place within a particular space and place, where these processes are shaped both by specific musical practices and by the pressures and dynamics of political and economic circumstances. Important discourses are explored concerning national culture and identity, as well as how identity is constructed through the exchanges that occur between displaced peoples of the world's many diasporas. Music helps to articulate a shared sense of community among these dispersed people, carving out spaces of freedom which are integral to personal and group consciousness. A specific focal point is the rap and hip hop music that has contributed towards a particular sense of identity as indigenous resistance vernaculars for otherwise socially marginalized minorities in Cuba, France, Italy, New Zealand and South Africa. New research is also presented on the authorial presence in production within the domain of the commercially driven Anglo-American music industry. The issue of authorship and creativity is tackled alongside matters relating to the production of musical texts themselves, and demonstrates the gender politics in pop. Underlying Music, Space and Place, is the question of how the disciplines informing popular music studies - sociology, musicology, cultural studies, media studies and feminism - have developed within a changing intellectual climate. The book therefore covers a wide range of subject matter in relation to space and place, including community and identity, gender, race, 'vernaculars', power, performance and production.

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Popular Music

within the wide variety of disciplines the essays cover, the book adds to the literature in some discerning ways and would be of interest not only to scholars of popular music but to anyone interested in cultural studies, socio-linguistics, and issues of power and gender relations who wish to extend their reference material into the field of musicology

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