Routledge Studies in Popular Music: Goth Music : From Sound to Subculture read online book TXT, MOBI, DOC
9780415720045 0415720044 Is "goth music" a genre, and if so, how does it relate to the goth subculture? The music played at goth club nights and festivals encompasses a broad range of musical substyles, from gloomy Batcave reverberations to neo-medieval bagpipe drones and from the lush vocals of goth metal to the harsh distortion of goth industrial. "Goth Music: From Sound to Subculture" argues that within this variegated musical landscape a number of key consistencies exist. Not only do all these goth substyles share a number of musical and textual characteristics, but more importantly these aspects of the music are constitutive of goth social reality. Drawing on their own experiences in the European and American goth scenes, the authors explore the ways in which the sounds of goth inform the scene s listening practices, its fantasies of other worlds, and its re-enchantment of their own world. Goth music, this book asserts, engenders a musical timespace of its own, a musical chronotope that is driven by nostalgic yearning." Goth Music: From Sound to Subculture" reorients goth subcultural studies onto music: goth music must be recognized not only as simultaneously diverse and consistent, but also as the glue that holds together goth scenes from all over the world. It all starts with the music.", Twenty-first century sociologists have analyzed goth as a Hebdigean 'spectacular subculture' whose practices enact a form of symbolic resistance. Such studies, however, tend to neglect the hybridity of goth music and its centrality to the goth experience. This book argues that goth music must be recognized not only as diverse and persisting, but as fundamentally constitutive of the goth experience. The authors investigate goth music as characterized by specific thematic and musical qualities that produce affective responses in fans and listeners. They argue that these responses give rise to goth musical 'chronotopes,' spectro-acoustic timespaces that are driven by the fantasies and desires of what Christopher Small refers to as the "musicking" subject. These chronotopes, which range from fantasy and science fiction to steampunk and horror, constitute a decentering of subjectivity as well as a disruption of the presentness of the present. Identifying the compositional strategies that characterize goth music and charting the musical and non-musical actors involved in its production, this book is the first academic study that thoroughly analyzes the ways in which such musical qualities structure goth desires, imaginaries, and fantasies.
9780415720045 0415720044 Is "goth music" a genre, and if so, how does it relate to the goth subculture? The music played at goth club nights and festivals encompasses a broad range of musical substyles, from gloomy Batcave reverberations to neo-medieval bagpipe drones and from the lush vocals of goth metal to the harsh distortion of goth industrial. "Goth Music: From Sound to Subculture" argues that within this variegated musical landscape a number of key consistencies exist. Not only do all these goth substyles share a number of musical and textual characteristics, but more importantly these aspects of the music are constitutive of goth social reality. Drawing on their own experiences in the European and American goth scenes, the authors explore the ways in which the sounds of goth inform the scene s listening practices, its fantasies of other worlds, and its re-enchantment of their own world. Goth music, this book asserts, engenders a musical timespace of its own, a musical chronotope that is driven by nostalgic yearning." Goth Music: From Sound to Subculture" reorients goth subcultural studies onto music: goth music must be recognized not only as simultaneously diverse and consistent, but also as the glue that holds together goth scenes from all over the world. It all starts with the music.", Twenty-first century sociologists have analyzed goth as a Hebdigean 'spectacular subculture' whose practices enact a form of symbolic resistance. Such studies, however, tend to neglect the hybridity of goth music and its centrality to the goth experience. This book argues that goth music must be recognized not only as diverse and persisting, but as fundamentally constitutive of the goth experience. The authors investigate goth music as characterized by specific thematic and musical qualities that produce affective responses in fans and listeners. They argue that these responses give rise to goth musical 'chronotopes,' spectro-acoustic timespaces that are driven by the fantasies and desires of what Christopher Small refers to as the "musicking" subject. These chronotopes, which range from fantasy and science fiction to steampunk and horror, constitute a decentering of subjectivity as well as a disruption of the presentness of the present. Identifying the compositional strategies that characterize goth music and charting the musical and non-musical actors involved in its production, this book is the first academic study that thoroughly analyzes the ways in which such musical qualities structure goth desires, imaginaries, and fantasies.