Afterword: Sounds and the City

Lashua, Brett; Wagg, Stephen; Spracklen, Karl; Yavuz, M.Selim

doi:10.1007/978-3-319-94081-6_20

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“…Together with the advancement of technology such as cassette tape and CD, audiences from mainland China were exposed to a greater variety of popular music from Hong Kong, Taiwan, and the West (de Kloet, 2005). Boosted by further opening and reforms and the increasing influence of foreign culture in the 1990s, cities such as Beijing and Shanghai “saw a boom in spaces dedicated to live musical performances, which catered to foreigners and to a newly emerging class of white-collar Chinese eager to learn foreign ways” (Field, 2019, p. 157). These venues include cafes, discos, and nightclubs.…”

Section: An Insider’s Viewmentioning

confidence: 99%

“…The Jazz Bar Peace Hotel and Paramount Ballroom continued to provide jazz music in contemporary Shanghai, attracting tourists from home and abroad and local Shanghainese who wanted to experience the 1920s to 1930s Shanghai through music and interior design. Despite venues that feature DJs or use music as an ornament, Shanghai also saw the rise of the first jazz and blues livehouses in the 1990s such as the House of Blues and Jazz and the Cotton Club, dedicated more exclusively to music performance and incubating a new generation of local musicians (Field, 2019).…”

Section: An Insider’s Viewmentioning

confidence: 99%

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Engaging With Objects and Feelings: The Making of Live Music Space in Shanghai’s Livehouses

2022

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Livehouse is a small venue for live music performance, a term commonly used in the Asian context. This article adopts an insider’s perspective to look at the connections between livehouse and its audiences. Instead of treating spaces and objects as silent textures of live music experiences, we regard livehouse as an active site filled with ideas and feelings. The meaning of livehouse is made by audiences through both human and non-human agents and extends to the broader social and cultural context of Shanghai. By highlighting the power of things and networking in between, this article combines the affordance theory to illustrate the experiential dimensions and interpretive processes of livehouse audiences in Shanghai. Drawing on ethnographic data from 26 in-depth interviews and participant observation, we conclude the social, cultural, and emotional affordances of livehouses perceived through tangible and intangible objects and settings.

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Section: An Insider’s Viewmentioning

confidence: 99%

Section: An Insider’s Viewmentioning

confidence: 99%

Engaging With Objects and Feelings: The Making of Live Music Space in Shanghai’s Livehouses

2022

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Ewa Mazierska, <i>Popular Viennese Electronic Music, 1990–2015</i>

Bottà

2020

POMH

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For a very brief period, which corresponds more or less to the last decade of the twentieth century, popular music was able to circulate across national borders, in some kind of equal exchange among European nations. This was partly due to MTV Europe, which started broadcasting in 1987 as a pan-European and sometimes multilingual TV station. Bands and scenes reached outside the usual national boundaries and for a while Reykjavík, Brussels and Helsinki became as exciting as Liverpool, Los Angeles and London.It was especially idiosyncratic to see established capitals of classical music becoming homes to exciting contemporary acts and scenes, which seemed not to bother about their high culture heritage. Moreover, smaller 'peripheral' nations competed in the pan-European league, exploiting or exploited by their exoticism and not being overshadowed by bigger, more powerful nations. In this context, the Austrian capital of Vienna stood out significantly, as home to an electronic music scene, which provided cosy and laid-back beats to dance floors across the globe.With this in mind, it is significant to read a monograph which takes popular Viennese electronic music as its main subject. There is a steadily growing literature about place and music, which often takes electronic music into account (see for instance:

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Afterword: Sounds and the City

Cited by 2 publications

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Engaging With Objects and Feelings: The Making of Live Music Space in Shanghai’s Livehouses

Engaging With Objects and Feelings: The Making of Live Music Space in Shanghai’s Livehouses

Ewa Mazierska, <i>Popular Viennese Electronic Music, 1990–2015</i>

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