Music
Sight Readings
Jazz photography has attracted increasing attention in recent years. Photographs of musicians are popular with enthusiasts while historians and critics are keen to incorporate photographs as illustrations. Yet there has been little interrogation of these photographs and it is noticeable that what has become known as the jazz photography 'tradition' is dominated by a small number of well-known photographers and 'iconic' images.
Many photographers including African American photojournalists studio photographers early twentieth-century émigrés the Jewish exiles of the 1930s and vernacular snapshots are frequently overlooked. Drawing on ideas from contemporary photographic theory supported by extensive original archival research Sight Readings is a thorough exploration of twentieth century jazz photography and it includes discussions of jazz as a visual subject its attraction to different types of photographers and offers analysis of why and how they approached the subject in the way they did.
One of the remarkable things about this book is its movement back and forth between detailed archive research the empirical documentation of photographers their techniques working practices equipment etc. and cultural theory the sophisticated discussion of aesthetics cultural sociology the politics of identity etc. The result is both a fine scholarly achievement and an engaging labour of love.
Consent Practices in Performing Arts Education
This book explores consent as a foundational principle to guide practices and policies in university level performing arts education. It includes descriptions of the structural power dynamics present in educational spaces as well as tools for defusing them. It adapts the consent-forward protocols that are foundational to intimacy training in order to apply them to classroom and rehearsal spaces across performing arts disciplines.
This includes opening lines of communication actively discussing personal boundaries and modeling behavior that respects those boundaries. Additionally the book uses experiential reflections to address the real-world challenges that teachers face as they work to reshape their teaching habits and processes to include consent practices.
Ethno Music Gatherings
This book presents key findings from a 4-year project that sought to understand Ethno Gatherings an organized residential folk world and traditional music programme for young people aged 18-30. In response to three lines of enquiry pedagogy and professional development participant experience and the impact it had upon those who attended the authors examine the complexity of an Ethno music experience. By considering its history and current practices the following themes are explored: non-formal music making personal authenticity holistic praxis musical possible selves intercultural music exchange sustainability social media engagement song sharing and future practices. Constructed through data drawn from participant observations interviews online social media analysis onsite and video observations surveys and questionnaires the authors ask critical questions concerning Ethno’s history ethos pedagogy and philosophical ideals. First held in Sweden in 1990 Ethno Gatherings are now located in over 40 countries worldwide and are part of JM Internationals youth music programmes. As a collection of integrated thought the book’s purpose is to illuminate new understandings of what Ethno does to support its future growth and development.
From Broadway to The Bronx
The depiction of New York City in song across a variety of different genres focusing on jazz genres as well as the work of both New York born artists like Billy Joel or Lin-Manuel Miranda and artists living most of their life in New York City like Shinehead or Debbie Harry that are intimately connected with the city.
The book analyzes songs written about New York City and engage with the depiction of the city within them but mainly use it as a way to deal with several musical genres that the city has been home to and instrumental in developing. These include the musical theatre scene on Broadway and beyond but also early 20th century sheet music hip hop disco punk dancehall jazz swing rock or pop music. The collection includes essays from authors with a cultural studies media studies cultural history or musicology background making possible a far-ranging treatment of the interconnection of the city space and its musical history.
Places and Purposes of Popular Music Education
This book provides a manuscript-megaphone for a variety of perspectives on popular music education including those we do not usually hear from but who are doing far and away the coolest most relevant and most interesting things.
It includes rants manifestos and pieces that are pithy and punchy and poignant which have resulted in a wide tonal variety among chapters from more traditionally scholarly pieces replete with citations and references through descriptions of practice to straight-up polemics. It is more about beliefs experiences and motivation about frustrations aspirations and celebrations. The chapters are intended to whet appetites prime pumps open eyes and keep cogs turning. This book is organized into four parts: Beyond the Classroom Identity and Purpose Higher Education and Politics and Ideology. This book is intended for academics of all ages and stages but the writing is often deliberately non-academic in tone.
The book will appeal to those working in popular music studies communication studies education research and should be of interest to those involved in policy decisions at national and regional levels. It is also directly relevant to researchers looking music industry and music ecosystems nationally regionally and internationally as education and popular music industry DIY and community sectors continue to enmesh in complex and evolving ways.
Designing and Conducting Practice-Based Research Projects
This is a textbook aimed primarily at upper undergraduate and Master’s students undertaking practice-based research in the arts and includes practical guidance examples exercises and further resources.
The book offers definitions and a brief background to practice-related research in the arts contextualization of practice-based methods within that frame a step-by-step approach to designing practice-based research projects chapter summaries examples of practice-related research exercises for progressing methods design and evaluating research approach and lists for further reading. This textbook can serve as the foundation for a wider online “living” textbook for practice-related research in the arts.
Designing and Conducting Practice-Based Research Projects
This is a textbook aimed primarily at upper undergraduate and Master’s students undertaking practice-based research in the arts and includes practical guidance examples exercises and further resources.
The book offers definitions and a brief background to practice-related research in the arts contextualization of practice-based methods within that frame a step-by-step approach to designing practice-based research projects chapter summaries examples of practice-related research exercises for progressing methods design and evaluating research approach and lists for further reading. This textbook can serve as the foundation for a wider online “living” textbook for practice-related research in the arts.
The Psychology of Metal Music, Culture, and Dis/ability
Heavy metal has long been associated with deviance and non-conformity (Messick and Aranda 2020; Snell and Hodgetts 2007; Lynxwiler and Gay 2000) but it is less clear if that encompasses nonvoluntary forms of non-conformity. Metal culture prides itself on being inclusionary (Wray 2018) although that is more an ideal than an objective reality since despite becoming more inclusionary since its 1960s’ inception biases have prevented women (Shadrack 2021; Berkers and Schaap 2018; Heesch and Scott 2016) individuals from some religions (Moberg 2012; Hecker 2005; Kartheus 2015) and non-white fans (Dawes 2012) from being treated equally. These biases have been explored in academic and popular literature but there is less written about metal fans with dis/abilities. Consistent with Goodley (2018) this chapter uses the term ‘dis/ability’ to reference a broad range of disabilities and disorders because it acknowledges the duality of these conditions and avoids potentially ableist associations.
This chapter focuses on how widespread dis/ability is among metal fans the role of stigma historical contextualization and what psychological functions are fulfilled that make metal culture an appealing place for membership. Included here is preliminary theoretical work based on existing trends and evidence which are substantiated further by qualitative data. This chapter speaks of dis/abilities in broad strokes so although there is overlap across people of differing life experiences further nuance is needed when speaking of individual dis/abilities and experiences. This chapter outlines some possible psychological functions metal culture can provide for members with dis/abilities including mood and symptom maintenance representation social relatedness a sense of belonging and as an outlet for sharing experiences.
Disabled Drone: Trans-Feminist Noisecraft
In December 2018 Steff Juniper submitted their major research paper for their master’s in Critical Disability Studies at York University entitled Trans-feminist Witchcraft: A Psychiatric Survivor Narrative an arts-based autoethnography on witchcraft as radical healing and the politics of psychiatric survival and disability justice. It merged theories of disability mad queer and transgender studies to ground discussions on the embodiment theories of phenomenology (Merleau-Ponty 2008; Ahmed 2006) and enactive cognition. Steff submitted a demo cassette tape of their drone attached to the paper and through including creative writing personal narrative poetry prose and short story the paper aimed to convey the emotional non-linearity of experiencing the body and language as a limited social convention to express emotion.
Steff’s drone cassette tape sits in the office at York University’s Critical Disability Studies Department for those interested in what an arts-based approach to disability studies research may look feel or sound like. They will be drawing on the work in their master’s thesis in the formation of their submission to elucidate how the creation of drone is a process of communication and sublimation as a neurodivergent mad and disabled artist. Additionally they will explore how their identity politic grew as being foundational from the experience of ‘being a metalhead’. Their submission encompasses a phenomenological approach to their experience as a trans and disabled noise artist. Primarily they will explore how they have used making loud noise and strong-felt vibrations as a spiritual experience and activist tool to heal themselves and empower others to use their creativity to process feelings of alienation.
Content Warnings: Gender Dysphoria Gender-based Violence Psychiatric Oppression Transphobia Suicide and Suicidal Ideation
The carnelian caught my eye round surreptitiously plump like a blood python. I picked it up and felt the weight in my hands triangularly spherical smooth points of three. It asks how to acknowledge the weight of being alive so that when the lightness of lightning strikes I can notice.1
‘United We Never Shall Fall’: Metal and Disability
Outsiders to metal may conclude incorrectly that a music culture that valorizes strength would hold no place for the disabled. In fact metal’s frequent identification with social outsiders lyrical themes of personal struggle and fans’ strong sense of community hold considerable appeal for a surprising number of disabled persons. With this chapter we seek to open a conversation between the growing and increasingly sophisticated literature bringing together disability studies and popular music scholarship on the one hand and the metal studies literature on the other.
Heavy Metal and Disability
The relationship between metal and disability is distinctive. Persisting across metal’s sub-genres is a preoccupation with exploring and questioning the boundary that divides the body that has agency from the body that has none. This boundary is one that is familiar to those for whom the agency of the body is an everyday matter of survival.
Metal’s preoccupation with unleashing and controlling sensorial overload acts both as an analogue of neurodiversity and as a space in which those who are neurodivergent find ways to understand and leverage their sensory capacities. Metal offers potent resources for the self-understanding of people with disabilities. It does not necessarily mean that this potential is always explored or that metal scenes are hospitable to those with disabilities. This collection is disability-positive validating people with disabilities as different but not damaged.
While metal scholars who contribute to this collection see metal as a space of possibility in which dis/ability and other intersectional identities can be validated and understood the collection does not imply that the possibilities that metal affords are always actualised. This collection situates itself in a wider struggle to open up metal challenging its power structures; a struggle in which metal studies has played a significant part.
Between necessity and fragments of alternativity: DIY experiences in French roller derby
Between 1935 and 1970 roller derby was a co-ed North American sport practised on roller skates and played on a banked track. The 2000s marked its revival when a group of women decided to give it a new lease of life: roller derby is now exclusively for women and takes place on a flat track. Teams assert their independence from established institutions and follow a model of ‘do-it-yourself’ organization. According to some critics the roller derby revival is a continuation of the feminist Riot Grrrl movement. This article aims to understand how French roller derby players use the ‘alternative’ heritage of American women. By mobilizing the frameworks of Cultural Studies and Sport Subculture the article reflects on the ways in which the legacy of Riot Grrrl as a movement to challenge a dominant order enables derby teams to create alternatives to mainstream sports models. Through 90 interviews and participant observation conducted between January 2020 and the present day the study was able to show a use of the DIY ethos articulated between resourcefulness and a claim to independence. While Riot Grrrl radically defends the values of the punk movement against the prevailing economic and gender order French roller derby and its teams propose a hybrid sporting model articulated between reflections on a different way of looking at sport and a move away from the DIY model of the early days.
Family first: Yahritza y Su Esencia, family bands and the musical education of Mexican Americans
Beginning with a description of música Mexicana’s rising stars Yahritza y Su Esencia a ‘family band’ of young Mexican American musicians we suggest that school music educators become more informed of the musical interests involvements and learning styles of Mexican American students at home within their families and in the communities that surround them. Yahritza’s trademark sierreño style is described and contextualized in light of other notable genres such as mariachi música nortena son jarocho banda grupera and trap corridos. The phenomenon of family bands within Mexican American communities is explored as a means of children’s musical enculturation away from school juxtaposed with a history of exclusion of Mexican American students from school music opportunities. The article addresses limitations of the American model of school music programmes including (1) the need for opportunities for Mexican American (and other) populations to access meaningful musical education experiences and (2) the gap between the music genres offered within the curriculum and those that Mexican American (and other) students experience at home and within their communities. Even as we acknowledge and applaud the presence of family bands and other strong music community music practices among Mexican Americans we call for a national initiative among music educators to ensure that the music which students learn in school is at least germane to students’ home experiences.
Nihilism and the ‘death of God’ in the work of Siouxsie and the Banshees
This article locates Siouxsie and the Banshees within the philosophical tradition of existentialism specifically the work of Nietzsche and Heidegger. Aspects of 1970s British punk-rock share with Nietzsche a concern with the condition of ‘nihilism’. For Nietzsche with the western decline in the belief in God humankind no longer has an external source of authority within which meaning evaluation and morality are anchored. Nietzsche’s philosophical project can be read as an elaboration of the conditions under which the creation of new values may be possible to avoid nihilistic despair. Following Nietzsche’s retreat into the Self Heidegger is concerned with authentic existence: his philosophical project can be read as a call to an authentic life. The song ‘Israel’ by Siouxsie and the Banshees can be read as a commentary on the collective anxiety surrounding the ‘death of God’ nihilism and a preoccupation with authentic existence in the twentieth century.
The importance of teaching performance artistry
This article will explain the philosophy and methodology behind developing and teaching the performance artistry curriculum at the Frost School of Music at the University of Miami. Students who study performance artistry are more prepared to work in the popular music industry/marketplace – personally artistically and professionally. They report being more widely informed about the business of their artistry having clearer goals owning their identities embracing communication with their audiences using a more honest voice on their social platforms and feeling freer to take risks. Success in this field is a combination of presentation forethought execution content strategy and effectiveness on top of talent. I will detail performance artistry assignments and illustrate their role in bringing out authenticity and excellence in a collegiate music major population. This curriculum contains valuable training tools in different educational configurations (lecture-style classes private instruction and workshop/masterclass settings) and all genres.
Throbbing Gristle
In 1976 the British band Throbbing Gristle emerged from the radical arts collective COUM Transmissions through core members Genesis P-Orridge and Cosey Fanni Tutti joined by Hipgnosis photographer Peter Christopherson and electronics specialist Chris Carter. Though having performed previously in more low-key arts environments their major launch coincided with the COUM retrospective exhibition Prostitution at London’s ICA gallery showcasing and contextualising an array of challenging objects from COUM’s various actions in performance art and pornography. In a deliberately curated strategy inviting press civic and arts dignitaries extravagant followers of the nascent punk scene and music journalists the band created an instant controversy and media panic that tapped into the restrictive climate and encroaching conservatism of late 1970s Britain. Any opportunities that were being explored by a formative punk ethos and movement around sex censorship and transgression were amplified and exposed by Throbbing Gristle and Prostitution. An outraged Member of Parliament Nicholas Fairbairn took the bait and called the ensemble the ‘wreckers of civilisation’ providing the suitable newspaper headline that would be followed a month later by ‘the filth and the fury’ as the Sex Pistols uttered strong profanities on live television.
The switch from COUM to Throbbing Gristle encompassed a primary mode of expression in making music as opposed to art to further coincide with the energy of the nascent punk scene. The band quickly developed a radically deviant and challenging reputation through pushing the punk format past its strictures in terms of lyrical themes amateurism and considerations of what constitutes music. Through a handful or record releases on their own label Industrial Records and a sporadic string of live performances the band nurtured a strong and devoted following including key journalists and fanzine editors of the punk and post-punk scenes such as Jon Savage and Sandy Robertson. The band’s style of exploring harsh pre-recorded sounds samples of disconcerting narrative and conversation and feeding all sounds through messy electronic processing devices gave rise to the title industrial music. This was further buttressed by performing a strictly timed set of one hour and adopting a non-rockstar mode by appearing disinterested and preoccupied with electronic devices. Having given a name and impetus to the industrial music scene many of their followers and fans formed bands in later years.
Drawing on works such as Andy Bennett’s When the Lights Went Out this book looks at late 1970s Britain before during and immediately after the Winter of Discontent to situate the activism of Throbbing Gristle in this time. It explores how the band worked in and against the time and how they worked in and against punk as punk worked in and against the time and place. Punk acts as a mediating factor and nuisance value as Throbbing Gristle emerged with punk in late 1976 seemingly grappled with it through 1977 and then went on to create and eventually criticise a number of post-punk scenes that had flourished around 1979. Trowell narrates the story through a series of live performances as this is a point where Throbbing Gristle interact with the various city-scenes around England during their original period of operation (1975-1981). The band reflected (and incorporated into their live music) key tropes form the time both ‘mainstream’ and fringe (subcultural avant-garde art counter-culture taboo subjects extremes) such that Throbbing Gristle events had an impact and affect and Trowell traces these as a series of impressions and reverberations amongst fans who went on to do their own music and projects.
Throbbing Gristle
In 1976 the British band Throbbing Gristle emerged from the radical arts collective COUM Transmissions through core members Genesis P-Orridge and Cosey Fanni Tutti joined by Hipgnosis photographer Peter Christopherson and electronics specialist Chris Carter. Though having performed previously in more low-key arts environments their major launch coincided with the COUM retrospective exhibition Prostitution at London’s ICA gallery showcasing and contextualising an array of challenging objects from COUM’s various actions in performance art and pornography. In a deliberately curated strategy inviting press civic and arts dignitaries extravagant followers of the nascent punk scene and music journalists the band created an instant controversy and media panic that tapped into the restrictive climate and encroaching conservatism of late 1970s Britain. Any opportunities that were being explored by a formative punk ethos and movement around sex censorship and transgression were amplified and exposed by Throbbing Gristle and Prostitution. An outraged Member of Parliament Nicholas Fairbairn took the bait and called the ensemble the ‘wreckers of civilisation’ providing the suitable newspaper headline that would be followed a month later by ‘the filth and the fury’ as the Sex Pistols uttered strong profanities on live television.
The switch from COUM to Throbbing Gristle encompassed a primary mode of expression in making music as opposed to art to further coincide with the energy of the nascent punk scene. The band quickly developed a radically deviant and challenging reputation through pushing the punk format past its strictures in terms of lyrical themes amateurism and considerations of what constitutes music. Through a handful or record releases on their own label Industrial Records and a sporadic string of live performances the band nurtured a strong and devoted following including key journalists and fanzine editors of the punk and post-punk scenes such as Jon Savage and Sandy Robertson. The band’s style of exploring harsh pre-recorded sounds samples of disconcerting narrative and conversation and feeding all sounds through messy electronic processing devices gave rise to the title industrial music. This was further buttressed by performing a strictly timed set of one hour and adopting a non-rockstar mode by appearing disinterested and preoccupied with electronic devices. Having given a name and impetus to the industrial music scene many of their followers and fans formed bands in later years.
Drawing on works such as Andy Bennett’s When the Lights Went Out this book looks at late 1970s Britain before during and immediately after the Winter of Discontent to situate the activism of Throbbing Gristle in this time. It explores how the band worked in and against the time and how they worked in and against punk as punk worked in and against the time and place. Punk acts as a mediating factor and nuisance value as Throbbing Gristle emerged with punk in late 1976 seemingly grappled with it through 1977 and then went on to create and eventually criticise a number of post-punk scenes that had flourished around 1979. Trowell narrates the story through a series of live performances as this is a point where Throbbing Gristle interact with the various city-scenes around England during their original period of operation (1975-1981). The band reflected (and incorporated into their live music) key tropes form the time both ‘mainstream’ and fringe (subcultural avant-garde art counter-culture taboo subjects extremes) such that Throbbing Gristle events had an impact and affect and Trowell traces these as a series of impressions and reverberations amongst fans who went on to do their own music and projects.
Where You're From and Where They're At: Connecting Voices, Generations and Place to Create a Leeds Hip Hop Archive
Popular Music in Leeds
This first academic collection dedicated to popular music in Leeds - developed from the work of interdisciplinary scholars drawn from a major public museum exhibition “Sounds of Our City” and built upon contemporary research. Leeds has rich musical histories and heritage a long tradition of vibrant music venues nightclubs dance halls pubs and other sites of musical entertainment.
The city has spawned crooners folk singers punks post- punks Goths DJs popstars rappers and indie rockers yet – with a few exceptions - Leeds has not been studied for its scenes in ways that other UK cities have. In ways that the chapters explore Leeds’ popular music exemplifies and informs understandings of broader cultural and urban changes – both in Britain and across wider global contexts – of the social and historical significance of music as mass media; music and migration; music racialisation and social equity; industrial decline de-industrialisation neoliberalism and the rise of the 24-hour city. Charting moments of stark musical politicisation and de-politicisation while concomitantly tracing arguments about “heritagising” popular music within discussions about music’s “place” in museums and in the urban economy this book contributes to debates about why music matters has mattered and continues to matter in Leeds and beyond.
Hip-Hop Archives
This book focuses on the culture and politics involved in building hip-hop archives. It addresses practical aspects including methods of accumulation curation preservation and digitization and critically analyzes institutional power community engagement urban economics public access and the ideological implications associated with hip-hop culture’s enduring tensions with dominant social values.
The collection of essays are divided into four sections; Doing the Knowledge Challenging Archival Forms Beyond the Nation and Institutional Alignments: Interviews and Reflections. The book covers a range of official unofficial DIY and community archives and collections and features chapters by scholar practitioners educators and curators.
A wide swath of hip-hop culture is featured in the book including a focus on dance graffiti clothing and battle rap. The range of authors and their topics span countries in Asia Europe the Caribbean and North America.
Punk Rock Museum: An interview with Rob Ruckus
Rob Ruckus is a veteran of the Las Vegas punk scene and has played in punk bands and been involved in various punk projects across the past four decades. Since the Punk Rock Museum opened in Las Vegas in April 2023 Rob has managed its Jam Room. The Jam Room features a range of instruments donated to the museum by various punk bands. All the instruments are all available to be played by visitors to the museum and Rob is as enthusiastic about encouraging people to play the instruments as he is talking about the museum or his experiences in punk. Rob spoke with Paul Fields in July 2023.
Music Making and Civic Imagination
In a world facing multiple existential crises music might be seen as little more than a distraction. However in this synthesis of ideas developed over a decade a timely re-appraisal of the potential of musicing for human flourishing is presented emphasising its role in the history of human evolution alongside its potential as a resource for sustainable development.
A holistic philosophy of music is outlined which recognises the complex web of meaning which spreads across complementary musical dimensions of performance and participation whilst emphasising the ‘paramusical’ benefits which arise from both. Highlighting the notion that the social bonds which arise from musicing share much of the neurobiological underpinnings of attachment and love musicing is presented as a resource with the potential for facilitating ethical human connection.
The humanistic values which are thereby materialised during musicing – love reciprocity and justice – form the experiential grounds for inhabiting alternative social realities. The book addresses how such a holistic philosophy of music might be implemented in practice drawing on the author’s professional praxis as a performer educator community musician composer and researcher in particular their experience of musician education at Sage Gateshead Royal College of Music and Trinity-Laban Conservatoire in the UK.
Building Community Choirs in the Twenty-First Century
This book explores how five community choirs construct and imagine collective identity formations in Northern Ireland. Original insight is provided through ethnographic research conducted between 2013-2018. Working with five choirs in disparate locations with different repertoires and demographics resulted in the creation of an integrated comparison that drew out both diversity and commonalities of approach revealing the malleability of choral practice.
The research is framed through communities of practice a theory of learning through engaging with other people in a common endeavour. Research findings demonstrate how choirs re-imagine identity through the manner in which they organise rehearse and perform. Choirs develop a distinct choral identity and ethos highlighting both the musical and social importance of the community of practice. Research suggests that choirs re-imagine multiple conceptions of identities within their groups including gender later age religious faith inclusivity and ethnic diversity that can both influence broader structures of community in the region and be influenced by them.
Community choral practice in Northern Ireland is under-researched. As such this book provides unique insight into how members of community choirs are attempting to transcend sectarian boundaries through their practice developing academic understandings of identity formation community music-making and choral practice.
In Search of Tito’s Punks
The book traces the story of how a song recorded in 1981 by a young punk rock band from a cultural backwater on the English-Welsh border and released on a tiny independent record label became famous in a Yugoslavia formed in the image of Marshall Tito? Why was it 30 years before the members of the band found out? How did this ‘socialist’ country have one of the most vibrant punk scenes in the world?
Gloucester England 1981; multi-racial teenage street-punk band Demob recorded and released what would become their best known and most enduring song No Room For You. A rasping vocal told the story of the 1979 closure of a short-lived punk rock venue at a disused motel on the edge of the provincial city. Depending on your mind-set the lyrics were either a howl of rage at the injustice a wail at the loss or a love-song to an era.
More than three decades later the author – and Demob’s bass player in 1981 – set out to follow the song across a country that no longer exists. On the road he heard the life stories of the heroes of Yugoslavian punk and the punks themselves; from the Tito era through the disintegration and wars forced displacements and permanent exiles to today’s turbulent ‘reconstruction. Who were ’Tito’s punks’ and who are they now?
An unvarnished but also affectionate portrait of Yugoslavia in the years before its demise through to the present seen through the unlikely lens of punk and punk rockers. Part travelogue part history the book is both and neither of those things. Rather it is a mural and soundtrack of a journey through a time and place which no longer exists.
The latest addition to the Global Punk series from Intellect.
Karingido: Vigilante Tricksters and Feedback-Loop Approaches to a Liberation Struggle
Sonic Signatures
Sonic Signatures is an interdisciplinary collaboration of scholars and music-makers who come together to explore how music makes cities. More specifically they argue that the musical encounter composed of an array of production and consumption practices takes on particular and essential meaning at night. Thinking about music as an encounter allows one to appreciate the value and power of migration within the act of music-making.
The majority of voices amplified in the book come from so-called “migrants” understood as someone who was born in one country and currently lives and works in another. Yet these words migration migrant and migrancy are more expansive than that as they indicate a range of movement politics and place-making.
Contributions from Emilie Amrein André de Quadros Nick Dunn Pol Esteve Jillian Fulton-Melanson Jacqueline Georgis Masimba Hwati Ailbhe Kenny Seger Kersbergen Brendan Kibbee Áine Mangaoang Derek Pardue Nick Prior Austin T. Richie Willians Santos Sipho Sithole Gibran Teixeira Braga Katie Young.
A great engaging transdisciplinary contribution to nightlife studies music and the city.