Sonic geographies: Themes, concepts, and deaf spots

Paiva, Daniel

doi:10.1111/gec3.12375

Cited by 35 publications

(13 citation statements)

References 114 publications

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“…Music was important to Lefebvre (Elden, 2004), and in the republication in French of Eléments de Rhythmanalyse in 2019, there are additional chapters on music and semiology and music and the city. More generally, 'sonic geographies' have been especially fertile ground for exploring rhythm (Paiva, 2018).…”

Section: Performancementioning

confidence: 99%

Introduction: Rhythm, Rhythmanalysis and Urban Life

Lyon¹

2021

Rhythmanalysis

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I'm sitting on a train heading into London, lucky to get a window seat. It's a high-speed line and the green of the south east England countryside is a blur. This makes it hard to see the criss-crossing of tracks and roads, this infrastructure of commuting and economic development, that converge towards the city. I feel slightly nauseous if I look at something close to the line. Best to focus on the distance. The rhythms of train travel familiar to me from a childhood spent in the 1970s are my reference point, that 'chuggity-chug' motion of wheels on the track. Speed is relative, of course. Still, the singularity of the high-speed whoosh makes me want to hold my breath as the train tears into a tunnel under the River Thames and then bursts out into the capital. This is the part I like, as the rhythms of the city reveal themselves in turn. I notice the building sites of north east London, the flows or 'circuits' of capital and power that underpin the latest surge of construction. At Stratford International, the smooth turning of the escalators carries passengers from platforms carved deep into the ground up into the station and the nearby shopping centrethe rhythms of consumption are never far in the city. As the train pulls away again, I catch a glimpse of people grouped at bus stops or crossings, the rhythms of vehicles, diverse bodies and the fabric of the street intersecting with one another. After another stretch underground, we approach St Pancras and everything slows down. There's always a short wait ahead of the end of the line, a welcome pause. People meander along the canal path occasionally looking up at the new apartment blocks built within nineteenth century cast-iron gasholders, while longboats await repair and a small nature reserve is a hive of unseen activity against a backdrop of controversial regeneration. Suddenly we are in the station, this grand site of modernity. The train doors open and the crowd moves briefly en masse. Then the 'invisible ties' of the

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Section: Performancementioning

confidence: 99%

Introduction: Rhythm, Rhythmanalysis and Urban Life

Lyon¹

2021

Rhythmanalysis

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“…Deste prisma, as performances artísticas de rua têm sido vistas como um instrumento de desenvolvimento e promoção de cidades e regiões (ANDRADE; MONASTIRSKY, 2018). É de salientar a valorização das performances artísticas de rua como uma semente útil para brotar uma atmosfera de multiculturalismo e globalidade (KYTÖ; HYTÖNEN-NG, 2016;PAIVA, 2018). Apesar disso, nestes casos os artistas de rua são geralmente contratados pelas autoridades públicas para eventos específicos, e o busking nem sempre é permitido.…”

Section: Performance De Rua Versus Economia Formalunclassified

A economia urbana e os artistas de rua: performance, mobilidades e conflitos em um espaço público turistificado

Silva

Paiva

2021

Geo

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Este artigo pretende refletir sobre a complexa relação entre os artistas de rua, as suas performances e o espaço urbano. Para esta reflexão, baseamo-nos num estudo desenvolvido na Baixa lisboeta, localizada no centro histórico da cidade de Lisboa, Portugal. Metodologicamente, o estudo implicou observação sombreada com recurso a caminhadas e à videografia entre 2016 e 2021, bem como um conjunto de 15 entrevistas realizadas a artistas de rua em 2018. Conceptualmente, o estudo recorre ao crescente corpo de bibliografia no âmbito da geografia sensorial e da etnomusicologia, nomeadamente em relação aos artistas de rua e às suas performances, e a sua intersecção com questões económicas, os aspetos da urbanidade, a influência do turismo e as experiências sensoriais. Os nossos resultados desvendam o processo de territorialização dos locais de performance na Baixa lisboeta, o impacto das performances artísticas no espaço público, e a relação dos artistas de rua com os agentes formais da economia urbana. Concluímos o artigo com uma breve reflexão sobre a importância do turismo para a expansão do busking.AbstractURBAN ECONOMY AND STREET ARTISTS: PERFORMANCE, MOBILITY, AND CONFLICT IN A TOURISTIFIED PUBLIC SPACEThis article reflects on the complex relationship between street artists, their performances and urban space. For this reflection, we draw upon a study conducted in the Baixa, located in the historic centre of the city of Lisbon, Portugal. Methodologically, the study involved shadowed observation, including walks and videography, which took place between 2016 and 2021, as well as a set of 15 interviews with street artists which were conducted in 2018. Conceptually, the study draws upon the growing body of works within the scope of sensory geography and ethnomusicology, namely regarding street artists and their performances, and their intersection with economic issues, aspects of urbanity, the influence of tourism and sensory experiences. Our results reveal the process of territorialization of performance sites in Lisbon’s Baixa, the impact of artistic performances in the public space, and the relationship of street artists with the formal agents of the urban economy. We conclude the article with a brief reflection on the significance of tourism for the expansion of busking.

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“…In other words, music has been understood principally as text in popular geopolitics. Building on recent calls in human geography to better attend to the subtleties of acoustic phenomena (Paiva 2018a(Paiva , 2018b, this article offers a detailed geopolitical case study of instrumental music.…”

Section: Introductionmentioning

confidence: 99%

Musical Geopolitics: Masculinity, Nationhood, and the Scoring of Superman (1978–2006)

Kirby

2021

Geopolitics

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This article explores the potential for the field of popular geopolitics of close attention to the form and structure of instrumental film music. Specifically, it analyses the film scores for Superman (1978) and Superman Returns (2006), showing how these, in conjunction with the films' visual components, communicate a series of geopolitical logics and ideas about gender and nationhood. In so doing, this article extends existing concerns in popular geopolitics with music, principally lyrical popular music, contributing to a new research agenda that offers detailed readings of musical scores and notation, informed by semiotic perspectives. It advocates an interdisciplinary approach to the analysis of film music, drawing on research in the rich and expanding field of film music studies. It supplements the close reading of the scores here with an analysis of audience reviews.

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Sonic geographies: Themes, concepts, and deaf spots

Cited by 35 publications

References 114 publications

Introduction: Rhythm, Rhythmanalysis and Urban Life

Introduction: Rhythm, Rhythmanalysis and Urban Life

A economia urbana e os artistas de rua: performance, mobilidades e conflitos em um espaço público turistificado

Musical Geopolitics: Masculinity, Nationhood, and the Scoring of Superman (1978–2006)

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