21/08/2017
by Alenka Barber-Kersovan
0 comments

CfP: Global Trends in the Popular Culture and Nighttime Entertainment of European Cities, 1880s–1930s

The role that dance halls, cabarets and variety theatres, and cultural imports like the cakewalk, tango and jazz played in the rise of a pan-European and global commercial popular culture, has been addressed either from the perspective of a single city or a comparison between Western and North American metropolises. Thus while London, Berlin, Paris and New York have attracted scholarly attention, less is known about how other European cities like Lisbon, Barcelona, Milan, Rome, Vienna, Budapest, Belgrade, Bucharest, Athens, Cracow, St. Petersburg, Copenhagen and Stockholm. With this in mind, during the 14th International Conference on Urban History in Rome a special session will be dedicated to the night time entertainment in Central and Southern Europe. More

15/08/2017
by Alenka Barber-Kersovan
0 comments

Symphony of a Metropolis II: ‘We Stood Like Kings’

The original music for Ruttmanns ‘Symphony of a metropolis’ was composed by Edmund Meisel and played live with a symphony orchestra. However, Ruttmanns semi-documentary portrait of Berlin remains as a strong inspiration for creating new soundtracks up until now. The Belgian neoclassical post-rock band ‘We Stood Like Kings’ specialize in producing live soundtracks for silent films and/or use selected film-scenes as part of their multi-media performances.

 

03/08/2017
by Alenka Barber-Kersovan
0 comments

CfP: Marseille ? Naples : deux métropoles musicales transculturelles de Méditerranée

In addition to numerous other similarities, the Mediterranean cities Marseille and Naples offer very lively music scenes with significant parallels (and, of course, differences). Examples of comparable phenomena point to typical forms of popular song (“canzone napoletana”/”chansons deMarseille”), the close amalgamation of music and theatre (“opérette marseillaise”, “sceneggiata napoletana”, “macchietta”) and the “creolized metropolitan sound”. In order to highlight these issues the University of Insbruck and the Université Aix-Marseille are calling for contributions for a conference entitled Marsiglia ? Napoli: due metropoli musicali transculturali del Mediterraneo / Marseille ? Naples : deux métropoles musicales transculturelles de Méditerranée. More…

31/07/2017
by Alenka Barber-Kersovan
0 comments

Berlin – Symphony of a Metropolis

In his documentary film ‘Berlin – Symphony of a Metropolis’ Walther Ruttmann (1887-1944) experiments with the perception of the city in motion in terms of a musical form: The symphony. With its montage technique and the dramaturgical structure this 60 minutes long silent movie is not only the most popular work of the avantgarde artist, but also a prototype of the ‘city symphony film’ as a specific genre.

 

12/07/2017
by Alenka Barber-Kersovan
0 comments

CfP: Imagine Kingston as a Regenerative City


There are, in Kingston old quarters, a geography of dereliction, social discomfort and crime that rank this city in the top thirty in the world with respect to murder. However, this city is also a global cultural icon, the birthplace of six distinct musical genres.

In order to foster the economical grow of the Jamaican capital, the University of the West Indies in association with the Jamaica Music Museum is calling on artists, educators and scholars from a broad range of disciplines to imagine the towns creative hub in the framework of a major conference on the regeneration of Kingston. More

 

03/07/2017
by Alenka Barber-Kersovan
0 comments

Busking in Berlin: Between an art of living and the art of surviving

Who is busking in Berlin and why? Mark Nowakowski provides a detailed portrait of the street music scene in Berlin and their actors. Besides the role of the artists and the matrix between them, their audience and the city, Mark Nowakowski also analyses the sociocultural dimensions as well as historical transformations of the street music scene in Berlin.

Mark Nowakowski, born in 1978, works as a scientific engineer for sustainable energy at the Federal Environment Agency. The ethnomusicologist graduated in 2004 at the Freien Universität Berlin.

21/06/2017
by R. Kuchar
0 comments

June is New York Music Month

NYC kicks off the first-ever  (NYMM) – a citywide celebration of New York City’s diverse music ecosystem during the month of June. Music is central to the city’s economy, social fabric, and cultural identity. NYMM celebrates this with programming and resources for musicians and the music industry; co-branded concerts; advertising and social media campaigns; a website with a comprehensive calendar of free and ticketed music events; educational programs; and much more. The month is an initiative of the New York City Mayor’s Office of Media & Entertainment in partnership with NY is Music. More

12/06/2017
by R. Kuchar
0 comments

Music City´s Origin – Hector Berlioz´ Euphonia

Topos Music City came up in the essay ‚Euphonia or the Musical City‘ by the French romantic composer Hector Berlioz  (1803-1869) first. Published in 1852 in his collection ‚Evenings with the Orchestra‘ Berlioz envisions a future town, situated on the slopes of Harz in Germany, in which the inhabitants devote themselves exclusively to one single activity – making music. The ideas of this aesthetic utopia, promoting music education, acoustic research and the building of monumental music shrines are now closer to realisation than Berlioz could imagine in his wildest dreams. More…

01/06/2017
by R. Kuchar
0 comments

New Book on Cultural Policy, Urban Music & Migration by Lisa Gaupp: Die exotisierte Stadt. Kulturpolitik und Musikvermittlung im postmigrantischen Prozess.

The book sketches the interaction between music mediation, cultural policies, urban popular music and identityconstruction in today’s complex societies. Likewise, this study reveals how a global transcultural youth culture is emerging and developing under the influence of institutional structures in urban settings. The debates on migration, which have continued to flare up in Germany since the early 1990s, and which are dominated by defensive attitudes regarding what is «one’s own» and other segregating tendencies, show the need for counteracting these tendencies by uncovering the underlying «imagined intercultural identities». The analysis of the «othering» in discourses of multi- or interculturalism within the «dispositive of interculture» and its educational and political objectives demonstrates how one tries to present the «exotic other» as homogenous.
The ethnographic field study analyses how intercultural policies construct and label their target group through ascriptions of otherness, and, in doing so, uncovers which concepts of culture are applied by those responsible for intercultural projects and policies. Furthermore, it displays whether the attributed meanings and identities prove to be right at all.
The results of this analysis demonstrate how a «transcultural» perspective can reveal an alternative point of view in cultural policies. This leads to the conclusion that cultural politics should and need to adapt to the realities of today’s post-migrant social processes. A transcultural post-migrant perspective in cultural politics centers on interactions, crossroads and (contradictory) commonalities, without emphasizing segregating tendencies. Likewise, these features are regarded as advantages within globalized settings and can lead to policies that underline the promotion of post-migrancy as a part of normal life.
Bibliographic Note:
Gaupp, Lisa (2016): Die exotisierte Stadt. Kulturpolitik und Musikvermittlung im postmigrantischen Prozess. Hildesheim: Universitätsverlag Hildesheim/Hildesheim, Zürich, New York: Georg Olms Verlag (Center for World Music – Studies in Music ; Band 1).