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 CuraAao to Seattle, Music and Urban Geography 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 music theory, musicology, 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, as well, this book will offer those concerned with the social effects of space new theoretical models. Ranging from Anonymous 4 to Alanis Morissette, from Curaao to Seattle, Music and Urban Geography presents a truly wide-ranging, interdisciplinary, and theoretically ambitious view of both musical and urban change. Adam Krims is Professor of Music Analysis at the University of Nottingham. His previous book, Rap Music and the Poetics of Identity (2000), was a CHOICE Outstanding Academic Book of the Year.

This collection of essays aims to reflect the views of music scholars who bring critical theory to bear on the theory and analysis of music. The essayists intend to avoid fixation on aesthetics and focus instead on the social and psychological concerns that are sometimes considered marginal to the subject. In general, this text is a response to the question, "Must the practise of music analysis and music theory always re-inscribe the ideology of aesthetic autonomy?" It is hoped that these responses should appeal not only to cultural theorists but also to a larger audience engaged in critical theory.

This is the first book to discuss in detail how rap music is put together musically. Whereas a great deal of popular music scholarship dismisses music analysis as irrelevant or of limited value, the present book argues that it can be crucial to cultural theory. It is unique for bringing together perspectives from music theory, musicology, cultural studies, critical theory, and communications. It is also the first scholarly book to discuss rap music in Holland, and the rap of Cree Natives in Canada, in addition to such mainstream artists as Ice Cube.

This is the first book to discuss in detail how rap music is put together musically. Whereas a great deal of popular music scholarship dismisses music analysis as irrelevant or of limited value, the present book argues that it can be crucial to cultural theory. It is unique for bringing together perspectives from music theory, musicology, cultural studies, critical theory, and communications. It is also the first scholarly book to discuss rap music in Holland, and the rap of Cree Natives in Canada, in addition to such mainstream artists as Ice Cube.