Exploring the Networked Worlds of Popular Music: Milieu by Peter Webb

By Peter Webb

This e-book offers an `insider’ view of worlds of renowned tune. It exhibits the connection among tune, creativity, principles and localities through towns, independents, style, globalization and musician’s relationships with each one other. Webb examines teams of musicians, audiences and other people taken with the tune and indicates the articulation in their place in addition to tips to comprehend this theoretically via the town as a centre for tune construction; the economic song encouraged neo-folk style; independence and its a number of meanings as a effective place within the song undefined; the globalization of music; and musicians personal narratives approximately operating jointly and working with the undefined. using case stories of various diverse cities -- Bristol, London, big apple, San Francisco, Berlin -- and genres -- Trip-hop, Hip-hop, business, Neo-folk -- this quantity is a landmark in renowned track experiences.

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Extra info for Exploring the Networked Worlds of Popular Music: Milieu Cultures (Routledge Advances in Sociology)

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Clarke, like Hebdige, also states that the originators of this style are more committed to it and more able to attest to its nature. Clarke evokes Schutz 20 Exploring the Networked Worlds of Popular Music to discuss the primary zone of relevance that one is able to dominate and control and the secondary zone which provide materials to be appropriated for ones own project. This differentiation is taken up by many of the critics of the Birmingham school, as we later show. The co-ordinates of class, style, structural change, and response to that change and the inarticulate understanding of the subcultures of this seem to be a constant in these accounts.

He states that there is nothing fixed or static about subcultural membership. In terms of ‘realist ethnography,’ Muggleton suggests that the strongest exponent of an ethnographic approach, Paul Willis, still overdetermines his analysis by sticking to the Marxist framework that his theoretical leaning depends upon. In Profane Culture (1978) although Willis gives a commitment to ethnography he still emphasises a dialectical, class and materialist analysis which suggests that subcultures are responses to class based change and oppression.

If we look at the work of Bourdieu on the ‘cultural field’ and situate that around a phenomenology that illuminates fine-grained individual experience, we can progress some way to understanding the social phenomena of popular musical milieus. This approach can lead us to understand the importance of location, association, narrative, and production. As stated in Section 1, Chapter 2, a useful starting point for this type of analysis is Jorg Durrschmidt’s book Everyday Lives in the Global City (2000).

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