Adam Krims – författare

Music and Urban Geography is the first book to theorize musical aspects of the tremendous changes that have overtaken major cities in the developed world over the past few decades. Drawing on musicology, music theory, urban geography, and historical materialism, Krims maps changes not only in how music represents cities, but also in how music sounds and is deployed socially in new urban contexts. Taking on venerable musicological debates from entirely new perspectives, Krims argues that the cultural-studies approach now predominant in cultural musicology fails to address contemporary realities of production and consumption; instead, the social effects of space and new patterns of urban production play a shaping role, in which music takes on new forms and functions, with representation playing a significant but not always decisive role. While music scholars increasingly concern themselves with place, Krims theorizes it together with the shaping role of space.Pushing urban geography into new cultural contexts Music and Urban Geography will offer those concerned with the social effects of space newtheoretical models. Ranging from Anonymous 4 to Alanis Morissette, from Curacao to Seattle, this text presents a truly wide-ranging, interdisciplinary, and theoretically ambitious view of both musical and urban change.

Music and Urban Geography is the first book to theorize musical aspects of the tremendous changes that have overtaken major cities in the developed world over the past few decades. Drawing on musicology, music theory, urban geography, and historical materialism, Krims maps changes not only in how music represents cities, but also in how music sounds and is deployed socially in new urban contexts. Taking on venerable musicological debates from entirely new perspectives, Krims argues that the cultural-studies approach now predominant in cultural musicology fails to address contemporary realities of production and consumption; instead, the social effects of space and new patterns of urban production play a shaping role, in which music takes on new forms and functions, with representation playing a significant but not always decisive role. While music scholars increasingly concern themselves with place, Krims theorizes it together with the shaping role of space.Pushing urban geography into new cultural contexts Music and Urban Geography will offer those concerned with the social effects of space newtheoretical models. Ranging from Anonymous 4 to Alanis Morissette, from Curacao to Seattle, this text presents a truly wide-ranging, interdisciplinary, and theoretically ambitious view of both musical and urban change.

This is the first book to discuss in detail how rap music is put together musically and how it contributes to the formation of cultural identities for both artists and audiences. It also argues that current skeptical attitudes toward music analysis in popular music studies are misplaced and need to be reconsidered if cultural studies are to treat seriously the social force of rap music, popular musics, and music in general. Drawing extensively on recent scholarship in popular music studies, cultural theory, communications, critical theory, and musicology, Krims redefines 'music theory' as meaning simply 'theory about music', in which musical poetics (the study of how musical sound is deployed) may play a crucial role when its claims are contextualized and demystified. Theorizing local and global geographies of rap, Krims discusses at length the music of Ice Cube, the Goodie MoB, KRS-One, Dutch group the Spookrijders, and Canadian Cree rapper Bannock.

This is the first book to discuss in detail how rap music is put together musically and how it contributes to the formation of cultural identities for both artists and audiences. It also argues that current skeptical attitudes toward music analysis in popular music studies are misplaced and need to be reconsidered if cultural studies are to treat seriously the social force of rap music, popular musics, and music in general. Drawing extensively on recent scholarship in popular music studies, cultural theory, communications, critical theory, and musicology, Krims redefines 'music theory' as meaning simply 'theory about music', in which musical poetics (the study of how musical sound is deployed) may play a crucial role when its claims are contextualized and demystified. Theorizing local and global geographies of rap, Krims discusses at length the music of Ice Cube, the Goodie MoB, KRS-One, Dutch group the Spookrijders, and Canadian Cree rapper Bannock.

This collection of essays, which reflects the views of music scholars who bring postmodern critical theory to bear on the theory and analysis of music, is long overdue. The essayists in this volume are not fixated on aesthetics; rather, they focus on the social and discursive concerns that had previously been considered marginal to their subject. 'Music/Ideology' is a response to the question: Must the practice of music analysis and music theory always reinscribe the ideology of aesthetic autonomy? And, if not, under what circumstances does it reinscribe that ideology?The responses to these questions should appeal not only to music and cultural theorists, but also to larger audience engaged in critical theory. These essays serve as an introduction to the broad array of issues arising from approaches that represent the full spectrum, from music-theoretical to Marxist and feminist issues. Such questions are of vital importance and not only to those who ae engaged in establishing a connection among music theory, music analysis an aesthetic ideology. 'Music/Ideology' presents today's most interesting critical thinkers in postmodern theory and music theory, introducing an inter-disciplinary approach and covering a wide range of subjects-both by implication and explication.