Music geography in Russia: non-auratic places and institutionalization “in becoming”

ABSTRACT

This paper focuses on the Tsoi Wall in Moscow, an iconic place on Russia's music map that appeared in Moscow in 1990 in memory of the cult Soviet rock musician Viktor Tsoi, to develop a framework for studying non-auratic music place – that is, places that are not connected with the biographies of musicians or musical events, but emerge directly from the experiences of visitors and fans. These places are constantly negotiated and only lightly formalized, but are nevertheless enduring. To analyze this type of place, we propose a concept of institutionalization “in becoming”. The case of the Tsoi Wall reveals that light formalization (vague and changing positions and rules, and openness to different interpretations of a place and ways of using it) leads to the recognition of the place as a significant one and to its popularity. We put institutionalization “in becoming” in a wider context and juxtapose it with well-studied musical places in Europe and the US.     

THE SEVEN THEMES OF MUSIC GEOGRAPHY*

Music geography first emerged as a subfield of cultural geography c. 1970, During the past 25 years, a significant body of research has been published in scholarly journals, books, and reference works. Seven major themes are outlined in the formation of music geography: I - origins (non-‘geographical’); II - world distribution and types; III - location analysis; IV-source areas of musical activities; V - trends based on electricity; VI - impact of music on landscapes; and VII - global music. A view is offered of how an eighth theme (technological innovations) might develop on the basis of recent observations. La géographiede la musique est apparueau début comme un sous-domaine de la géographie de la culture aux alentours de 1970. Au cours des vingt-cinq dernières années, un grand nombre de travaux sur ce sujet a été publié dans des revues scientifiques, des livres et des ouvrages de référence. On peut cerner sept thèmes principauxdans la formation de la géographie de la musique: 1. les origines (non ‘géographiques’); 2. la répartition mondiale et les genres; 3. /‘analyse de /‘emplacement; 4. les sources régionales des activités musicales; 5. les tendances fondées sur l'électricité; 6. l'impact de la musique sur les paysages; 7. la musique globale. À partir de récentes observations, on propose une perspective sur l'élaboration éventuelle d'un huitième thème, à savoir les innovations technologiques. Mots-clés:géographie de la musique, géographie de la culture, sources régionales, paysage sonore, musique globale.     

Encountering soviet geography: oral histories of British geographical studies of the USSR and Eastern Europe 1945–1991

This paper considers the history of British geographical studies of the USSR and Eastern Europe 1945–1991, presenting material from a research project which has included thirty-two oral history interviews. Oral history is an especially fruitful research methodology in this context due to the distinct issues of formality and informality involved in researching the Soviet bloc. After discussing the nature of the subdiscipline and the Cold War context, including the role of the British state in shaping the field, the paper considers the role of formal academic meetings and exchanges, and the place of unofficial spaces of encounter in the formation of an intellectual culture. The paper concludes by reflecting on the merits of oral history in studies of the production of geographical knowledge.     

中国现场音乐演出空间特征及成因

以秀动网上的演出信息为数据来源,获取2017年中国现场音乐演出的数据,运用变异系数、香农—威纳指数和ArcGIS可视化表达等方法,分析我国现场音乐演出的空间分布特征并探讨其形成原因.研究发现:①中国现场音乐演出数量在月季分布和演出风格上分布极不均衡.②在区域、省域和城市三个尺度上,中国现场音乐演出的数量和风格分布特征各...     

“The music never stopped”: naming businesses as a method for remembering the Grateful Dead

ABSTRACT

Memorialization on the cultural landscape is a common method of celebrating the legacy of an event or person significant to the history of geographical location. The Grateful Dead is a band that continues to define the ideals of the late-1960s San Francisco Sound through their music’s creative freedom and inclination toward experimentation. Although the original lineup of the Grateful Dead is no longer intact, the spirit of the music they created and their psychedelic appeal has been preserved on the cultural landscape. Despite differing reasons for naming their business after the band, hundreds of business owners in the United States have collectively preserved the Grateful Dead’s presence on the cultural landscape. In this paper we explore the distribution of businesses in the United States with Grateful Dead-related names, and how the presence of these business names enriches the cultural landscape with the memory of the band’s music as a product of the iconic San Francisco Sound.     

70年来中国历史民族地理研究的主要进展

历史民族地理是现代中国历史人文地理的一个分支,其研究成果涉及中国民族史、民族学(人类学)、历史人文地理以及边疆史地等多个学科。中华人民共和国成立70年来,历史民族地理的发展也经历了一个曲折而复杂的过程。改革开放以来,随着各个相关学科的蓬勃发展,历史民族地理研究成果丰硕,成绩斐然,已初步成为历史人文地理研究领域的一个重要分支。     

Re-placing imperial landscapes: colonial monuments and the transition to independence in Kenya

Public monuments in colonial Nairobi were visual links to the British empire, and served as a means of asserting imperial power. During this period, colonial memories and identities were inscribed into Nairobi’s landscape by the dominant group, the elite of the European population. However, at the moment of Kenya’s achievement of independence from colonial rule, such identities and assertions of power were challenged as statues were removed from the city. This paper examines the forces behind the decolonisation of Nairobi’s monumental landscape and how this landscape visualised the changing political and cultural contexts of the city. Comparisons are made with the removal of statues from Sudan, India and the Democratic Republic of Congo in order to situate the Kenyan experience. Through a comparative examination of the decolonisation of Nairobi’s monumental landscape, this paper illustrates how the removal of public monuments from the city was exploited by both the coloniser and the colonised.     

中国书画艺术的乐舞精神

通过综合各家学说、考据典、辨析要义,在深入剖析中国“书画”所寓含的深刻人内涵基础上,提出了“乐舞精神”作为其主脉这一独具特色的看法,在一定意义上解决了学术界在此问题上的困惑与长期徘徊的局面。     

音乐景观意象对游客地方依恋的影响研究——以厦门鼓浪屿为例

本研究以典型特殊地方“音乐之岛”鼓浪屿上的音乐景观这类非单一知觉类型的特殊文化景观为研究对象,运用验证性因子分析及结构方程模型探讨音乐景观意象的知觉形成过程及其对地方依恋和满意度的作用,并运用耦合度模型进行音乐景观意象内部要素关系的探索。结果显示：①音乐文化景观意象存在“审美意义理解”、“功能涉入体验”、“音律情感评价”三个重要维度,并且已经到达比较高的耦合阶段;②三个维度间相互影响,共同协调提升,显著影响游客地方依恋,并提升游客满意度;③地方依恋在音乐文化景观意象的三个维度和满意度之间起到了显著的完全中介作用。     

Music in factories: a twentieth-century technique for control of the productive self

This paper discusses the historical use of music to produce more efficient, more committed, industrial workers. First emerging in academia early in the twentieth century, psychological interest in the industrial application of music had grown into a topic of popular interest and government investigation by the 1940s. Catalysed by the need for vast increases in production and the desire to cultivate ‘citizenship’ amongst industrial workers which the Second World War produced, consideration of how music could be employed as an affective soundtrack in factories—to raise employees' work rates, to increase their efficiency, to combat fatigue and boredom, to improve morale, to access and manipulate their emotions and loyalties—became a prominent area of psychological research. This paper examines that psychological research and its largest scale application in the BBC radio show Music While You Work, broadcast daily to millions of British factory workers from 1940 until 1967. The paper focuses particularly on conceptualizations of music's affective power and its utilization to exert ‘emotional control’ over spaces of work and the working self. This paper is centrally concerned with the practice of Music While You Work as a programme broadcasting specifically for factory spaces, and how this confronted the BBC's music policies for a national and domestic audience, impacting on the radical nature of the affective soundtrack to work which was produced.     

A spatial analysis of human fertility in Scotland: Reappraisal and extension

In an earlier study of Scottish fertility (Jones, 1975) it was concluded that a substantial part of the areal variability in county and major city Crude Birth Rates could be attributed to variations in age structure and, to a lesser extent, socio‐economic composition. Because Crude Birth Rate levels are affected by population composition this study seeks to determine the extent to which areal variations in reproduction can be attributed to behavioural rather than structural effects. It is suggested that areal differences in Scottish reproductive behaviour reflect well defined, deeply ingrained and temporally persistent differences within Scottish society.     

Feminist geography in the UK: the dialectics of women-gender-feminism-intersectionality and praxis

Abstract

Feminist praxis has always been about both the individual and the collective; one of the revolutionary and utopian promises of feminism is that of being, bringing, and working together. This piece provides a brief account of some of the significant scholarship and collective activities within British feminist geography over the last twenty five years, with a particular focus on the work of the Women and Geography Study Group/Gender and Feminist Geographies Research Group. We underscore the importance of intersectional approaches to scholarship and praxis in UK feminist geographies in this period, and in going forward, as well as signalling some of the dialectical opportunities and tensions arising from this approach.     

汉画中的纯器乐演奏图

本文针对汉画像石中罕见的纯器乐演奏形象,利用图像学的方法,并借鉴相关学科的研究方法与成果,对图中有关乐器的属性、放置与演奏方法、特殊乐器的来历等,进行了较为细致地综合考证,提出了一些新的看法。     

Sonic geography in a nature region

This paper considers the sonic geography of a region since the late nineteenth century, taking material from the Norfolk Broads, a wetland region in eastern England. This area has been defined through competing cultures of nature and leisure, with the presence, absence and nature of sound a key concern. The theme of sonic geography is set within debates concerning the nature of regional identity, moral geographies of conduct in landscape, and uses of the term ‘soundscape’. The paper draws on surveys of sound, travel guides, press reports, private journals and fictional accounts, showing how in the contested valuation of a regional landscape the aesthetic, ecological and social are enfolded through sonic geography.     

Honoring Susan Hanson's 45 years in geography

The essays in this themed section honor Susan Hanson's 45 years in geography. They are written by senior academic geographers who participated in a series of panels at the Annual meeting of the Association of the American Geographers in Boston in 2008 that celebrated Susan's scholarship and her impact on the discipline of geography.     

Cultural policies for national music in South and North Korea (1960s–70s): a comparative study

ABSTRACT

This article is a comparative study of the cultural policies of North Korea (DPRK) and South Korea (ROK) in the 1960s and 1970s, specifically concerning the disciple of music. In this period, both South and North Korean regimes demonstrated similar conceptualisations of ‘national music’, harmonising Korean traditional music with western musical styles, but the end result differed in the two regimes. The DPRK developed national music through a homogenised musical style by assimilating Korean folk music with a western musical style while excluding traditional court music, with drastic modifications to traditional instruments and musical forms. In contrast, the ROK’s policy on establishing national music resulted in a combination of traditional court music for the ruling class and western classical music, indicating elitism. Particularly, this article argues that these distinct features of their national music were the result of differences in the strength and interest of government officials between the regimes.