By Andrew Leyshon, David Matless, George Revill
Song is omnipresent in human society, yet its language can now not be considered as transcendent or common. Like different artwork kinds, track is produced and ate up inside of complicated financial, cultural, and political frameworks somewhere else and at varied historic moments. Taking an explicitly spatial method, this special interdisciplinary textual content explores the position performed by way of track within the formation and articulation of geographical imaginations--local, neighborhood, nationwide, and worldwide. individuals convey how music's facility to be recorded, kept, and broadcast; to be played and obtained in inner most and public; and to evoke extreme emotional responses for people and teams make it a key strength within the definition of a spot. masking wealthy and sundry terrain--from Victorian England, to Sixties l. a., to the workplaces of Sony and Time-Warner and the landscapes of the yank Depression--the quantity addresses such themes because the evolution of musical genres, the globalization of song creation and advertising and marketing, replacement and hybridized song scenes as websites of localized resistance, the character of soundscapes, and problems with migration and nationwide identification.
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Sample text
The general geographies of music and the body is a topic beyond this Introduction, but the issue runs through a number of chapters in this volume. 1 THE GLOBAL MUSIC INDUSTRY ContradicHons in the Commodi/ication a/ the Sublime JOHN LOVERING This chapter offers a modest contribution to the small but growing literature on the political economy of music. 1 It begins with an outline of the development of the music industry as a capitalist business, then focuses on the implications of the current global restructuring of the industry, and it concludes with a discussion of the relationships between what are commonly but misleadingly described as the "local" and "global" levels.
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