Music and Heritage

Music and Heritage provides new thinking about the diverse ways people engage with heritage. By exploring the relationships that exist between music, place and identity, the book illustrates how people form attachments to place and how such attachments are represented by sound and music-making

Autorentext

Liam Maloney is an Associate Lecturer in Music and Sound Recording in the Music Research Centre at the University of York (UK).

John Schofield is Director of Studies in Cultural Heritage Management in the Department of Archaeology at the University of York (UK).

Klappentext

Music and Heritage provides new thinking about the diverse ways people engage with heritage. By exploring the relationships that exist between music, place and identity, the book illustrates how people form attachments to place and how such attachments are represented by sound and music-making. Presenting case studies and perspectives from across a range of genres, the volume argues that combining music with heritage provides an alternative and productive opportunity to think about heritage values and place attachment. Contributions to this edited collection use a diversity of methods, perspectives, cues and genres to reflect critically on issues related to these and other interconnections in ways that encourage new thinking about the character, meaning and purpose of cultural heritage, and the various ways in which people can interact with it through sound - thus re-encountering the supposedly familiar world around them. Taking heritage studies, musicology and place-making research in new directions, Music and Heritage will be of interest to academics and students engaged in the study of heritage, history, music, geography and anthropology. It will also be relevant to those with an interest in how music relates to place-making and place attachment, as well as to practitioners and policymakers working in the planning, design and creative sectors.

Inhalt

1. Sonic identity and the making of heritage: 'This must be the place'; I. Parklife: (New) Town and (Old) Country; 2. The soundscape and cosmology of the Norwegian band Wardruna: Guardians of runes and makers of memories; 3. Pastoral longing in popular music: From Skye to Tennessee; 4. Composing archaeology: The problems of recreating heritage in music; 5. Space and place in English morris dance; 6. Heritage culture and artistic reciprocity: Remediating the mythical; II. On & On: Cities/Industry/Infrastructure; 7. Decentring Liverpool's popular music heritage: Routes Jukebox; 8. Music and Community in 1980s Malta: the unconventional heritage of Fort Tigné; 9. The City as Archive: How industry and electronic music forged Sheffield's sonic identity; 10. Music heritage, cultural justice and the Steel City: archiving and curating popular music history in Wollongong, Australia; 11. House music, Chicago and the uncomfortable heritage of racial segregation; 12. Intersections of genre, heritage, and place in the New Wave of American Heavy Metal; III. Interzone: Comparative Notes on a Northern Town; 13. How a Northern Quarter music venue was crucial in the reinterpretation of 19th-century Broadside Ballads: Manchester's Improving Daily; 14. Community archaeology, identity and the excavation of Manchester's Reno Nightclub; 15. Morrissey, memory and traces of lost time in Manchester: from the archive to the anti-archive; IV. No Future: Remembrance; 16. Hardcore heritage: consecrating the northern anxiety of Terveet Kädet; 17. Historically Authentic Truths (the HAT trick): facts, fancies, and footnotes; 18. Relating ruin experience with the creative process in Radcliffe Tower: Redirected Reflections; 19. An experimental approach to heritage and music through a SOUNDmound at Sandby borg, Sweden: developments in method and practice; 20. Hearing the past in the present: an augmented reality approach to site reconstruction through architecturally informed new music; 21. Station to station: rock music memorial roots and routes in London