Musical Spaces

James Williams is an ethnomusicologist and senior lecturer at the University of Derby, UK. His PhD, from the University of Wolverhampton, UK (2016), focused on the collaborative and creative interactions between professional musicians, while his current research concerns behavioural, socio-cultural, and creative processes in wellbeing and education.Samuel Horlor is a postdoctoral fellow at the Center for Ethnomusicology, Yunnan University, China. He specialises in research on street performance, Chinese pop, and music in urban life. Samuel is the author of Chinese Street Music: Complicating Musical Community (Cambridge University Press, 2021) and articles in journals including Ethnomusicology Forum and Asian Music.

• Part I; (Trans)local Musical Spaces; 1. Musical Spaces and Deep Regionalism in Minas Gerais, Brazil; 2. ‘Trapped in Oklahoma’: Bible Belt Affect and DIY Punk; 3. Musical Pathways through Algerian-London; 4. Dancing to the Hotline Bling in the Old Bazaars of Tehran; Regionality in Learning and Heritage; 5. Performing Local Music: Engaging with Regional Musical Identities through Higher Education and Research; 6. Preserving Cultural Identity: Learning Music and Performing Heritage in a Tibetan Refugee School; 7. Claiming Back the Arctic: Evaluating the Effectiveness of Music as a Voice for the Indigenous Subaltern; Music and Spatial Imaginaries; 8. ‘He Is a Piece of Granite…’: Landscape and National Identity in Early Twentieth-century Sweden; 9. War, Folklore, and Circumstance: Dimitri Shostakovich’s Greek Songs in Transnational Historical Context; 10. ‘O Monstrous! O Strange!’: Culture, Nature, and the Places of Music in the Mexican Sotavento; 11. Journeys to Plastic Beach: Navigations across the Virtual Ocean to Gorillaz’ Fictional Island; Part II; Music-Making Environments; 12. Person ¬Environment Relationships: Influences beyond Acoustics in Musical Performance ; 13. The Social and Spatial Basis of Musical Joy: Folk Orc as Special Refuge and Everyday Ritual; 14. Echoes of Mongolia’s Sensory Landscape in Shurankhai’s ‘Harmonized’ Urtyn Duu; Designing Creative Spaces; 15. Staging Ariodante: Cultural Cartographies and Dialogical Performance; 16. Musicians in Place and Space: The Impact of a Spatialized Model of Improvised Music Performance; 17. Space, Engagement, and Immersion: From La Monte Young and Terry Riley to Contemporary Practice ; Musical Spaces and Power; 18. Micronational Spaces: Rethinking Politics in Contemporary Music Festivals; 19. Construction of Protest Space through Chanting in the Egyptian Revolution (2011): Musical Dimensions of a Political Subject; 20. Bethlem, Music, and Sound as Biopower in Seventeenth-Century London; Epilogue: Towards More Geographic Musicologies