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Introduction: music, the city and the modern experience

Published online by Cambridge University Press:  27 March 2013

MARKIAN PROKOPOVYCH
MARKIAN PROKOPOVYCH*
Affiliation:
Institute for East European History, University of Vienna, Spitalgasse 2, Hof 3 (Campus), 1090 Vienna, Austria
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Extract

It is somewhat surprising that music has only recently become a serious subject for urban historians. Musicologists and music historians, urban geographers, planners and all others who deal with diverse aspects of local development, cultural industry and the built environment have fared much better in tackling the fundamental social implications of music in a particular locality. It is not an accident that, for example, the recent volume of Built Environment, ‘Music and the city’, edited by an economic geographer, Robert C. Kloosterman, deals with urban spaces of creativity and the role of black music today, some of which have by now an ascribed ‘urban’ adjective in North America.1 It is also only natural, however, that Kloosterman's enquiry should concentrate on music in the city of the present and rarely venture into the time periods before World War II.

Type
Introduction
Information
Urban History , Volume 40 , Special Issue 4: Music and the city , November 2013 , pp. 597 - 605
Copyright
Copyright © Cambridge University Press 2013 

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References

1 ‘Music and the city’, guest-editor Kloosterman, R.C., Built Environment, 31 (3) 2005CrossRefGoogle Scholar. The list of scholarly works on American urban music is extensive and would be redundant here. Broadly on music and the locality, see Whiteley, S., Bennett, A. and Hawkins, S. (eds.), Music, Space and Place: Popular Music and Cultural Identity (Aldershot and Burlington, 2004)Google Scholar; Connel, J. and Gibson, C., Sound Tracks: Popular Music, Identity, and Place (London and New York, 2003)CrossRefGoogle Scholar; Cohen, S., ‘Music and the city: cultural diversity in a global metropolis’, in Decline, Renewal and the City in Popular Music Culture: Beyond the Beatles (Aldershot and Burlington, 2007), 9–40.Google Scholar See also Krims, A., Music and Urban Geography (New York and Abington, 2007).Google Scholar For the parallel development in German-language cultural studies after the ‘spatial turn’, see Brüstle, C., ‘Klang als performative Prägung von Räumlichkeiten’, in Csáky, M., Kury, A. and Tragatschnig, U. (eds.), Kommunikation- Gedächtnis- Raum: Kulturwissenschaften nach dem ‘spatial Turn’ (Bielefeld, 2004).Google Scholar

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6 Journal of Interdisciplinary History, 36 (4) (2006), Special Issue: ‘Opera and society: part II’, 629–95. The only article to consider the urban dimension of opera in the whole double issue is by Davis, J.A., ‘Opera and absolutism in Restoration Italy, 18151–860’, Journal of Interdisciplinary History, 36 (4) (2006), 569–94.CrossRefGoogle Scholar

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10 Session M14, ‘Music and the city: the modern times’, 10th conference of the European Association for Urban History, 1–4 Sep. 2010, Ghent; Session ‘Music, modernity and urban space: the nineteenth-century experience’, at ‘Leisure, pleasure and the urban spectacle’, conference of the Urban History Group, 31 Mar. – 1 Apr. 2011, Robinson College, University of Cambridge.

11 Johnson, Listening in Paris.

12 On music in the boulevard, see the classic Merlin, O., Quand le Bel Canto régnait sur le Boulevard (Paris, 1978).Google Scholar