3/20/07 Entry Four: Soundtracks Part two continued

We can take the notion of linking music to location by understanding scenes. The construction thereof is best summarized by thinking of music as “made in specific geographical, socio-economic and political contexts, and lyrics and styles are always likely to reflect the positions of writers and composers within these contexts.” Furthermore, “To understand how musical activities may be shaped by places it is necessary to explore local musical practices, institutions, and behavior.” (p. 90)

Connell and Gibson chart out examples of constructed music scenes. They list many, including the “Nashville” sound, the “Seattle” sound, Goa trance, and the “Liverpool” or “Mersey” sound. These scenes are described as both real and mythical. The scene that founded itself in Detroit, Motown, was typified by the assembly-line atmosphere of the city, hence Motown = Motor town (p 98). How much of the music is determined by the atmosphere of location? Geoff Barrow of the group Portishead responded to the idea of a “Bristol” sound: “The Bristol scene exists mostly in people’s minds.” (p. 101) Do all of the perceived unifying factors of a sound or a scene determine the strength of myth of the scene? Where is the dividing line between social, shared construct (here, the Bristol scene) and the actual culture at location?

The notion of origin

I will briefly note the notion of origin brought up by the authors, though I do not wish at this point to reflect thereupon. Connell and Gibson question the authentic roots of certain music genres, an inherently problematic gesture. We attempt a balance between the tangible historical flow of fact and romantic fascination. When and how did punk rock form? Where does electronic music originate? In the case of punk rock, our romanticist urge takes us to London in the seventies. Yeah, it was the Sex Pistols…maybe the Clash as well. From there we can trace the evolution of the genre. The problem however, is not including or attempting a search for roots around the globe.

“Fetishisation of locality” (p. 143)