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Musical Pathways through Algerian London
No full textLondon’s Algerian diaspora community has grown significantly over the past two decades as individuals and families have moved from North Africa and France to the UK to study and work. This chapter suggests that the musical practices of Algerians in London are closely entwined with the city in which they live and that through musicking Algerian performers and audiences construct a shared notion of ‘Algerian-London’. It focuses on the works of two scholars to provide a framework for this chapter. Firstly, the author is influenced by Ruth Finnegan’s notion of urban ‘pathways’, which she explicates in her classic ethnographic study of music-making in Milton Keynes in the UK. Secondly, his thinking is shaped by Ayona Datta’s notion of a ‘geographical turn’ within diaspora and transnationalism studies, from which she claims that ‘the movement of goods, ideas, people, and capital across nation-states allows us to explore more situated politics of power that shape migrants’ relations to other spaces and scales’
Person-environment relationships: influences beyond acoustics in musical performance
Get PDFThe environment in which a musical performance takes place is highly influential over a musician’s playing and performance and over their experience while doing so. Existing research within music performance studies tends to focus on the effects of the acoustic characteristics within an environment on a musician’s playing. This chapter aims to reveal how person-environment relationships can be influential in the context of a musical performance, focusing on themes of behaviour-settings, socio-cultural significance, and personal meaning. Environmental psychology is a discipline concerned with the study of the interactions between humans and their surroundings; how behaviour-settings, social instruction, and place attachment affect the ways we perceive and experience our built environment. The chapter discusses themes of behaviour-settings, social and cultural significance, and personal meaning. A local musician is likely to be familiar with the cultural significance of an environment, whereas a visiting musician may approach it with an outsider’s perspective
Chinese Street Pop and Performing with the Urban Environment
Get PDFThe urban environment is more than simply a setting that contains the regular pop shows found in various public spots in the city of Wuhan in China. Instead, the performances are formed from the sounds and other material conditions of their situation. Their sustainability as sources of income for performers and organisers, I argue, relies on a synergy between the acoustic qualities of the music and the wider sound environment, including in senses that draw upon the particular physical geography of this river city. Zooming in to look at individual street performance venues reveals also that different layouts are associated with characteristic patterns of audience behaviour, and there are links between these patterns and contrasting modes of social engagement. These modes, in turn, are significant in how singers negotiate legitimacy in their identities as performers, with different material circumstances and wider cultural perceptions of street performing in China shaping the struggles and successes of the group whose fortunes I follow in this article
The Social and Spatial Basis of Musical Joy: Folk Orc as Special Refuge and Everyday Ritual
No full textThis chapter draws on existing literature in the fields of music psychology, sociology, and ethnomusicology to suggest possible (if speculative) ways in which this joy and longer term happiness may be a result of social, musical, and spatial factors. It examines experiences of joy in the folk ‘orchestra’ Folk Orc in their rehearsals at CODA music centre in New Milton, Dorset. The chapter discusses how Folk Orc fits into everyday lives, with either a continuous link or as a space cognitively separated from the everyday. The structure of a Folk Orc rehearsal can be described in terms of a ritual. The group meets weekly at the same time, day, and place, with seasonally determined hiatuses. The social, ritual nature of Folk Orc rehearsals and the joy that accompanies them may be thought of in terms of Durkheim’s effervescence, which explains how music is a necessary condition for expression of a ‘collective sentiment’
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Audiencing in China: Foreign Rock Musicians’ Perceptions of Difference and Sameness
Get PDFThis article reports on perceptions of audiencing – the active roles of witnessing and validating involving physical expressivity – raised by a selection of foreign musicians in relation to their experiences of performing rock and related genres in China. It highlights the connections between embodied dimensions of face-to-face musical experiences and the lenses of national difference and sameness bound up in debates over the colonial implications of “intercultural” musical encounters
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