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Marxism, Urban Geography and Classical Recording: An Alternative to Cultural Studies

Marxism, Urban Geography and Classical Recording: An Alternative to Cultural Studies * Research for this project was funded by a grant from the Social Sciences and Humanities Research Council of Canada. A version of this essay was presented at `Music, Subjectivity and Analysis', a conference sponsored by the Society for Music Analysis at Goldsmiths College, University of London on 18 November 2000. I should like to thank the SMA for their invitation and the stimulating conversation surrounding the issues in this paper. My thanks also to Dylan Leblanc of SkyscraperPage.com for the use of his photographs. Music Analysis, 20/iii (2001) ß Blackwell Publishers Ltd. 2001. Published by Blackwell Publishers, 108 Cowley Road, Oxford OX4 1JF, UK ADAM KRIMS for instance, is an entertaining demonstration of how that split came about in the United States. For the moment, however, I shall confine my discussion to the `high' genre of classical music, because its contemporary performance provides a unique and almost wholly overlooked occasion to talk about the social change connected with urban restructuring. This is because the performance of the existing classical canon ± still the dominant basis of classical music culture ± always involves a merging of older cultural practices with contemporary conditions. Those contemporary conditions are what Ellen http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Music Analysis Wiley

Marxism, Urban Geography and Classical Recording: An Alternative to Cultural Studies

Krims, Adam
Music Analysis , Volume 20 (3) – Oct 1, 2001
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Publisher
Wiley
Copyright
Copyright © 2001 Wiley Subscription Services, Inc., A Wiley Company
ISSN
0262-5245
eISSN
1468-2249
DOI
10.1111/1468-2249.00143
Publisher site
See Article on Publisher Site

Abstract

* Research for this project was funded by a grant from the Social Sciences and Humanities Research Council of Canada. A version of this essay was presented at `Music, Subjectivity and Analysis', a conference sponsored by the Society for Music Analysis at Goldsmiths College, University of London on 18 November 2000. I should like to thank the SMA for their invitation and the stimulating conversation surrounding the issues in this paper. My thanks also to Dylan Leblanc of SkyscraperPage.com for the use of his photographs. Music Analysis, 20/iii (2001) ß Blackwell Publishers Ltd. 2001. Published by Blackwell Publishers, 108 Cowley Road, Oxford OX4 1JF, UK ADAM KRIMS for instance, is an entertaining demonstration of how that split came about in the United States. For the moment, however, I shall confine my discussion to the `high' genre of classical music, because its contemporary performance provides a unique and almost wholly overlooked occasion to talk about the social change connected with urban restructuring. This is because the performance of the existing classical canon ± still the dominant basis of classical music culture ± always involves a merging of older cultural practices with contemporary conditions. Those contemporary conditions are what Ellen

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Music Analysis – Wiley

Published: Oct 1, 2001

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