Music City Research Articles

Guardians of Detroit: Architectural Sculpture in the Motor City by Jeff Morrison

Book Reviews 163 Jeff Morrison. Guardians of Detroit: Architectural Sculpture in the Motor City. Detroit: Painted Turtle/Wayne State University Press, 2019. Pp. 336. Appendices. Bibliography. Illustrations. Notes. Cloth: $39.99. Architecture, among many other things, is a means of communication. French architect Eugène Emmanuel Viollet-le-Duc, during his twenty-five-year restoration of the Notre Dame in the mid1800s , propounded that the restoration of the gargoyles and other grotesques on the building were “means to re-establish [the church] to a finished state, which may in fact never have actually existed at any given time.” Jeff Morrison, an avid photographer and a self-proclaimed lover of “buildings with sculpted ornamentation” (p. xi), believes in the value of such architectural sculptures for its symbolism, meanings, and potential interactions with people. In his book Guardians of Detroit, Morrison presents a comprehensive and vivid documentation of architectural sculptures in buildings across Detroit and the metro area. These artistic pieces have been less studied and often neglected in spite of quantity, quality, diversity, and richness of “Detroit’s wealth of architectural wonders” (p. xi). Using page after page, building after building, photograph after photograph, and frame after frame, Morrison highlights such sculptures’ role and relevance in completing the architectural experience in the city and shaping Detroit’s built environment. Driven by a passion for art, sculpture, and architecture in the city, Morrison produces a “labor of love,” most importantly driven by “documentation” as “the most important aspect” of the book toward growing awareness of such architectural gems and their preservation (p. xiii). The illustrated work is a powerful and beautiful documentation of architectural sculptures in Detroit. At the same time, the monograph rarely goes beyond being a glorious documentation as a coffee-table book. Morrison illustrates twenty-nine cases of architectural sculptures integrated with buildings in different ways. The timeline ranges from 1855 until the 1920s, and the buildings vary in typology including churches, corporate offices, theaters, banks, residences, and stores. Each of the case studies epitomize rich symbolism and meanings as well as possible stories inherent in these sculptures. Morrison has diligently researched and presented details of the architects and sculptors wherever possible. These names, along with some historic background, provide hints of artistic dynamics, business decisions, and working relationships among these artists and designers. The book would have assumed a greater clarity and a higher level of documentation if Morrison had elaborated on some of these dynamic relationships. Here, Morrison misses an opportunity to 164 The Michigan Historical Review present a larger narrative of art, architecture, and design underlying the story of building and rebuilding of Detroit. Using photographs of the sculptures and through careful research of underlying history, Morrison produces a catalog encompassing the immense history and high design value. Across various sculptors and their styles, Morrison underlines these sculptures as a “metaphor for the city” (p. 3), “a symbol of nationalism” (p. 73), “a representation of history and ideals” (p. 149), and “a marvel” (p. 241). In the process, however, Morrison fails to introduce or conclude regarding the possible storyline of integration of art, architecture, culture, and city building. He finds the perfect tool in his photographic skill—a passion and love—but does not allow it to provide a bigger picture. The book will be helpful for art and architecture students, researchers, and practitioners, especially those interested in the history of art and architecture in the region as well as to general citizens and city leaders interested in rich artistic traditions in Detroit. Through illustrative documentation of architectural sculptures from eight decades in Detroit’s history, the book offers a critical insight into the architectural scene in Detroit. It also argues for a much-needed case for documentation, preservation, and historic conservation in the city and the region to identify, protect, and celebrate its rich heritage in art and architecture. Anirban Adhya Lawrence Technological University Mark Slobin. Motor City Music: A Detroiter Looks Back. New York: Oxford University Press, 2019. Pp. 233. Bibliography. Illustrations. Index. Notes. Cloth: $29.95. In Motor City Music, ethnomusicologist Mark Slobin aims to combine concentrated studies of the cultural impact of different immigrant and migrant groups in early- to mid-twentieth...

Motor City Music: A Detroiter Looks Back by Mark Slobin

164 The Michigan Historical Review present a larger narrative of art, architecture, and design underlying the story of building and rebuilding of Detroit. Using photographs of the sculptures and through careful research of underlying history, Morrison produces a catalog encompassing the immense history and high design value. Across various sculptors and their styles, Morrison underlines these sculptures as a “metaphor for the city” (p. 3), “a symbol of nationalism” (p. 73), “a representation of history and ideals” (p. 149), and “a marvel” (p. 241). In the process, however, Morrison fails to introduce or conclude regarding the possible storyline of integration of art, architecture, culture, and city building. He finds the perfect tool in his photographic skill—a passion and love—but does not allow it to provide a bigger picture. The book will be helpful for art and architecture students, researchers, and practitioners, especially those interested in the history of art and architecture in the region as well as to general citizens and city leaders interested in rich artistic traditions in Detroit. Through illustrative documentation of architectural sculptures from eight decades in Detroit’s history, the book offers a critical insight into the architectural scene in Detroit. It also argues for a much-needed case for documentation, preservation, and historic conservation in the city and the region to identify, protect, and celebrate its rich heritage in art and architecture. Anirban Adhya Lawrence Technological University Mark Slobin. Motor City Music: A Detroiter Looks Back. New York: Oxford University Press, 2019. Pp. 233. Bibliography. Illustrations. Index. Notes. Cloth: $29.95. In Motor City Music, ethnomusicologist Mark Slobin aims to combine concentrated studies of the cultural impact of different immigrant and migrant groups in early- to mid-twentieth century Detroit with his own memories of growing up in a rapidly decentralizing ethnic neighborhood. By focusing on the intermingling of what he terms musical “traffic” in a nod to the city’s automotive culture, Slobin uses these stories, combined with archival research and interviews with prominent local musicians, to argue that neighborhood boundaries were porous enough to allow classical, popular, and ethnic music to converge in ways distinct to Detroit’s urban structures. The result is an unusual and uneven, Book Reviews 165 sometimes frustrating but often fascinating, glimpse of the city’s musical history beyond the customary focus on Paradise Valley jazz and Motown. Slobin begins with an examination of his early years, growing up in Detroit’s Jewish neighborhood, in a family with close ties to Eastern Europe. There are moments when his personal recollections feel like slapdash footnotes to more traditional research sources—noting that his school concert band shared a program with a noted orchestral teacher, or that his parents were friends with several esteemed local musicians, for instance, do little to bring the narratives to life. But in the introduction, he elegantly shows how listening to old Yiddish folk tunes, Soviet political anthems, American pop ditties, and classical concertos could form a musical soundscape that encouraged outreach and experimentation. He carries this argument through an intriguing, if somewhat disjointed, chapter on how the musical styles of different immigrant and migrant groups shaped the city’s culture during the Depression and World War II, and into a more fully realized section on how Jewish Detroiters re-shaped the mainstream music scene to reflect their own backgrounds and struggles. While Slobin does an admirable job detailing the heretofore unexamined effect that Jewish residents had on the city’s culture, most of the other specific ethnic and regional profiles are too cursory to function as in-depth examinations of the music forms themselves. And yet they still provide an intriguing look at how new residents kept their traditions alive while simultaneously helping to create new, multi-layered “American” identities. Slobin’s efforts to explain the intersections among music and race relations, however, are not quite as effective. In a chapter devoted to the city’s high school music programs in the 1930s and ’40s, for instance, he nicely describes how students of diverse backgrounds were trained in classical music stylings, even as African-American graduates were denied access to the same positions that awaited their peers. The programs ended, he explains, when...

Towards an ideal typical live music city

• Weberian comparative analysis of Anglo live music city policies. • Ideal-typical live music city clarified. • Urban live music development supported through new institutional policies. • Acknowledges that this live music city ideal-type is derived from neo-liberal policy settings. • Invites comparison and development of the ideal-type through dialogue with other cities and other live music scenes.

The Radio City Rockettes and the making of a sisterhood

Since their origins in 1925, the Radio City Rockettes have been a self-proclaimed sisterhood that has long been viewed as wholesome family entertainment. Although dancers for the Rockettes have had to submit to stringent guidelines of physicality, personality and uniformity, most alumnae are quick to wax poetic on their years in the line. This article investigates the meaning and the making of such sisterhood by looking at how a ‘community of practice’ is created through the structure of the company and the shared labour involved in precision dance. Their group dynamic and joint performance goals, along with the stable workplace and practices of Radio City Music Hall, shaped how the Rockettes’ identity was formed and propagated, in a way that differed from other more sexualized dance companies, which existed in the same era.

The Positioning Strategy of Ambon as a Music City: Case Study – Ambon City (Maluku, Indonesia) Towards World Music City

Ambon City has been awarded as a Music and Culinary City of Indonesia by The Bekraf RI (Republic of Indonesia’s Creative Economy Agency). This article discusses how the preparations that have been carried out by the city of Ambon towards the world music city and the various problems associated within it. A number of relevant stakeholders in Ambon were interviewed and opened various evaluations and problem solving. Various programs that have been carried out are in accordance with the standards requested by UNESCO, but the priority scale in the executed steps requires more careful attention. Some things that still need more attention are related to information, regulation, relations between stakeholders, organizing music festivals (live performances) and bureaucratic systems. This article concludes that efforts related to the world music city still need a serious effort in positioning Ambon in the midst of global competition.

Primo Bartolini and the “Eye-talians” of Nashville: Becoming American in the Athens of the South

This essay describes how the Italians who settled in Nashville between the end of the nineteenth century and before the outburst of the First World War favoured first and foremost their occupational mobility thus prioritizing their integration in the economic fabric of a thriving city. Initially, they kept their cultural heritage alive but aimed to gain solid knowledge of the English language and American customs in order to apply for American citizenship as soon as possible, thus avoiding the severe discrimination endured by other Italian communities in southern states. Among the Italians of Nashville, Primo Bartolini stands out as a unique example of successful cultural and social hybridization and of the making of Italian American identity in Nashville and the South. Bartolini moved to Music City in 1908, after a short experience as a teacher in Indiana, and he was the first non-native of Tennessee to be drafted in 1917 to serve for his adoptive country during the First World War. A poet and a scholar, he wrote more than 300 poems on nostalgia, love, and patriotism. In these unpublished works, Bartolini shows how his identity progressively became Americanized: his writing style changed over time while still maintaining certain prosodic elements proper to his Italian culture and education. Bartolini’s experience, along with those of his compatriot who found their new home in Nashville, also confirms the integrating effect that the Great War had on Italians. Indeed, in the United States, a blend of old loyalties and the strong desire for acceptance and recognition drew the entire community into the public life of their adopted cities.

Gateways and corridors: Cultural and spatial challenges and opportunities for live music on Australia's Gold Coast

Abstract Both urban planning and academic research are increasingly interested in the notion of the music city and its value in terms of urban (re)generation and creativity. However, for many cities this aspiration may be problematised politically, culturally and indeed physically. Live music on the Gold Coast, Australia is poised for major growth according to participants in the sector, but this demands attention to a range of socio-cultural and spatial factors. Despite a significant history of live music, the Gold Coast is in many ways starting from scratch in developing the necessary hard and soft infrastructure. Geographically, the strip-like city lacks a single live music hub and is located between larger music centres, posing unique challenges as well as opportunities. Based on research undertaken for the City of Gold Coast council, including community consultations, focus groups and individual in-depth interviews, this article investigates the mixed blessings of the Gold Coast as a space for a developing live music sector.

Topos of Vienna as a place of deployment of meanings in the musical culture of the Habsburg Galicia

The article deals with separate geographically defined places connected with the spaces of national cultural memory. It is alleged that these are "places of memories" that became centers of cultural and spiritual life of Ukrainians outside Ukraine. It is stated that for the Ukrainians of Galicia, Vienna remained a "memorable place" during the nineteenth century. As the main city of the Austro-Hungarian Empire, Vienna was a model for imitation and contributed to the expansion of social structures in Galicia, which became the means of organizing here artistic life. The concept of the "topos of Vienna" is considered through the prism of the categories of sacred / profane, as a sacred music city, associated primarily with the name of VA Mozart. The author analyzes the cantata "The Testament" of Verbytsky, written on the text of the eponymous verse by T. Shevchenko. The composer sought appropriate musical expressions outside the national sphere, so the orchestral introduction to the "Testament" reminds the beginning of the overture to Mozart's "Don Juan", with a particularly sharp dynamic contrast, which symbolizes two worlds - the dead and the living. The influence of Mozart on the creativity of the composers of the Przemysl School is due to their particular attitude to the tradition. After all, Mozart was for them the embodiment of the high classical canon, and not just classicism as a style. It is noted that the Austrian military coloured entertaining music was directly related to the work of M. Verbytsky. The composer used elements of military musical rhetoric in his orchestral works. It is alleged that for the Galician musicians of the last quarter of the nineteenth century exemplary was the work of F. Schubert. An example of such influence is the song by O. Nyzhankivsky "The Past of the Year of Youth" by the words of T. Shevchenko. A model for the composer could be the song of Schubert "Premonition of a Warrior" from his last cycle "Swan Singing". The basis of the work is the contrasting comparison of two figurative spheres: gloomy foreboding and light memories. The article also examines the period of Viennese fin-de-siecle and its influence on the work of S. Lyudkevych. It is noted that the characteristic signs of fin-de-siecle are present in the Caucasus symphony cantata. After all, it combines the spirit of Wagner's greatness with the indisputable optimism of Bethoven's "Ode to Joy".

Mapping Music Cities: A Case Study of the Musical Landscape of San Antonio

Mapping Music Cities: A Case Study of the Musical Landscape of San Antonio

Richard E. Wainerdi and the Texas Medical Center by William Henry Kellar

Reviewed by: Richard E. Wainerdi and the Texas Medical Center by William Henry Kellar Heather Green Wooten Richard E. Wainerdi and the Texas Medical Center. By William Henry Kellar. ( College Station: Texas A&M University Press, 2017. Pp. 256. Photographs, notes, index.) The Texas Medical Center is home to a plethora of non-profit institutions, including the internationally acclaimed M. D. Anderson Cancer Center, three medical schools, and numerous hospitals and research institutes. With over 106,000 employees, the center is "a sprawling city of health" (2), dedicated to medical education, cutting-edge research, and patient care, all world-class. For more than seven decades, it has benefited from distinguished leaders; perhaps none left a more profound imprint than Richard E. Wainerdi, who, from 1984 to 2012, served the longest tenure as president and CEO. In comparison with other luminaries of Houston's past, however, his name attracts little recognition. William H. Kellar seeks to change that with this extensively researched and compelling biography. A prolific author, Kellar is the leading authority on the history of the Texas Medical Center. His Enduring Legacy: The M. D. Anderson Foundation and the Texas Medical Center (Texas A&M University Press, 2014) and Frederick Elliott's The Birth of the Texas Medical Center (Texas A&M University Press, 2004), which Kellar edited, chronicle the creation and development of the medical complex into a dynamic city of health and healing. Kellar adds another dimension in this latest work. Through a skillful recounting of Dr. Wainerdi's life, the author tells the unique story of how this nuclear engineer and research scientist effectively shepherded the Texas Medical Center through periods of historic growth and devastating crises. Grounded in primary sources, including numerous oral histories and personal papers, Kellar's narrative captures the spirit and intellectual dynamism of both an individual and an era. The book is organized into ten chapters, each rich in content yet concise in scope. Readers will appreciate Wainerdi's experiences as a teenage usher at Radio City Music Hall during the 1940s; his training at the Oak Ridge Institute of Nuclear Studies at Oak Ridge, Tennessee, after a stint in the U.S. Air Force; and his involvement with the Atoms for Peace program spearheaded by the Eisenhower administration. As an academic administrator, Wainerdi led the effort to establish the Nuclear Reactor Center at Texas A&M College [End Page 237] (now University), placing the institution in the vanguard of atomic-age science during the 1960s. The five chapters devoted to Wainerdi's twenty-eight years as Texas Medical Center president are full of characters and events that will resonate with historians and lay readers alike. These include President George H. W. Bush; Houston Chronicle publisher RichardJ. V. Johnson; Dr. Denton Cooley; the purchase and demolition of the legendary Shamrock Hilton Hotel; and the devastating effects wrought by tropical storm Allison, considered the "single worst event in history of the TMC" (148). Most importantly, Kellar demonstrates the essence of Wainerdi's unique brand of leadership at a pivotal juncture in the center's history. When he assumed office in 1984, Wainerdi confronted a tired campus, replete with crumbling infrastructure, and a non-collaborative culture grounded in vicious competition for resources among the many multifaceted institutions. With tireless dedication, a vigorous management style, and an engineer's vision of the possible, Wainerdi fostered a culture of inter-institutional collaboration that ensured the Texas Medical Center would remain "Houston's gift to the world" (184) for generations to come. This book is a valuable addition to Texas medical historiography. While the detailed institutional content can feel heavy in places, it is essential for the overall context and understanding of the story. Kellar has created an outstanding resource for researchers and anyone interested in the history of Houston or Texas medicine. Heather Green Wooten University of Texas Medical Branch Copyright © 2018 The Texas State Historical Association

In Melbourne tonight

In recent decades the ‘music city’ has emerged as an important series (and exchanges) of representations, capital, labour, sounds and commodities. City heritage and histories—particular narratives of music development, genres, venues and personnel—continue to inform contemporary city branding, tourism and industrial strategies. This article explores how both the practices and discourses of the ‘music city’ circulate in terms of specific histories, and how, in turn, they might inform contemporary practices and future intent. Melbourne, the self-proclaimed music and cultural capital of Australia, is examined as a case study in how the past and present circulate. The article also explores the challenges in documenting the emergence and development of popular music in Melbourne from the 1950s to the present as a three-year Australian Research Council Discovery project, Interrogating the Music City: Cultural Economy and Popular Music in Melbourne, funded from 2016 to 2018.

Urban Land Regulation and the Global Carbon Cycle: Its Ecological and Economic Effects

Coordinating the relationship between economic development and environmental protection has emerged as a relevant issue in the economic and social development of China under the pressure of global climate change and international carbon emission reduction. Based on this, starting from the model of traffic structure and land use, land use planning for low carbon cities abroad was studied in this paper. Based on the analysis of urban ecological economic carbon cycle and its land regulation mechanism, the evaluation method of urban land use carbon effect was put forward. Taking the carbon circulation as the premise, starting from the layout characteristics of the urban land use factors, land use planning for urban residential, transportation, industrial and green land was optimized. Taking million springs Music City in Hainan as the example, the ecological planning layout was analyzed. And the planning was carried out from the aspects of spatial pattern, low carbon economy industry, green traffic, flood prevention and green landscape, etc. Urban carbon balance was realized. The results show that the carbon circulation and carbon consumption planning and management of the urban eco economic system based on land use structure optimization are conducive to promoting the development of urban low-carbon economy.

Guerrilla warfare, flagship project: The spatial politics of Chinese rock in Shenzhen’s post-political making of a musical city

Chinese rock, premised on an identity of dissenters, has always been underground symbolically and literally, in a pattern of spatial fluidity in the city. The introduction of live house might offer a solid material base for political subjectivation of the community. This spatial action of subjectivation in forms of “guerrilla warfare”, encounters the growing passion for cultural city making by Municipal Governments. Through the study on transformation of rock space in Shenzhen, we aim to reflect on scholarship on post-political forms of urban governance in China. By probing into the antagonistic actions of the police and the political, we call for attention to territorial strategies used by both sides to consolidate the existing order and to assert a new order respectively. The double side of partition revealed by Rancirian conception of politics of aesthetics allows the governing side to pick and co-opt particular producers and live houses while collapse and/or policing others to re-consolidate spatial orders. Guided by expert-formed consensus, citizen entitlement and citizen participation programmes convert cities to be propaganda sites where state-sanctioned aesthetics is delivered to and experienced by subject-citizens.

‘Lockout’ laws or ‘rock out’ laws? Governing Sydney’s night-time economy and implications for the ‘music city’

‘Lockout laws’ are not new in Australia – variants exist and have been trialled or continue to operate in Newcastle (since 2008), Melbourne (abandoned in 2008), and Adelaide (since 2013) and Darwin (since 2007). In February 2014, the New South Wales O’Farrell Coalition government introduced 1.30 am lockout and 3 am last drink laws for the Sydney CBD (Central Business District), among a series of other measures. The subsequent controversies about the ‘lockout laws’ in Sydney have provoked a curious and vivid set of debates encompassing crime, medical, moral, social, libertarian, cultural and industrial discourses. In this paper I wish to assess the new regulatory landscape within historical and contemporary perspectives of nightlife economies increasingly privileging cultural and entertainment city uses. Beyond unpacking the ‘lockout’ debate in terms of ‘liveability’ and ‘cultural city’ meanings as practised by Australian cities, this article will focus on the implications for Sydney’s ability to maintain its national and global status as a music city.

Cape Town, its Musical Spatiality and Apartheid: The Case of Zayn Adam, Richard Jon Smith and Jonathan Butler

SummaryCape Town, apart from its famed New Year festive season jamboree once known by the moniker “Coon Carnival”, is arguably the most musical city in South Africa due in no small measure to its exposure to international cultural currents flowing from across the seas to its renowned harbour. Drawing on musical influences from Africa and the USA, the Mother City has given birth to some of South Africa's most gifted musicians who emerged out of the grim shadow of apartheid to shine in the galaxy of music superstars. Reflecting on the careers of three sons of this city, Zayn Adam (also Adams in some sources), Richard Jon Smith and Jonathan Butler, this article endorses what Martin Stokes has said about music, namely as “the means by which this [social] space can be transformed” (Stokes 1994: 4). In focussing on these three artistes, this article spotlights a historic moment in South Africa's cultural production - its popular music of the 1970s and 1980s and how these cultural ambassadors transcended the ontology of their race and the apartheid structuration of the city to make their presence in the world of popular entertainment both in South Africa and globally.

Development versus Preservation Interests in the Making of a Music City: A Case Study of Select Iconic Toronto Music Venues and the Treatment of Their Intangible Cultural Heritage Value

Abstract:Urban redevelopment projects increasingly draw on culture as a tool for rejuvenating city spaces but, in doing so, can overemphasize the economic or exchange-value potential of a cultural space to the detriment of what was initially meaningful about a space—that which carries great cultural community wealth, use-value, or embodies a group’s intangible cultural heritage. Development and preservation interests illustrate this tension in terms of how cultural heritage—both tangible and intangible—is managed in the city. This article will turn to Toronto’s “Music City” strategy that is being deployed as part of a culture-focused urban redevelopment trend and Creative City planning initiative in order to examine how the modern urban intangible merits of city spaces are valuated and dealt with in light of the comparatively weak regard accorded to intangibility within the available heritage protection legal frameworks of Canada, Ontario, and, specifically, Toronto. The currently underdeveloped recognition for intangibility in the heritage protection equation not only fails to equally valuate non-dominant, unconventional, or alternative iterations of culture but also falls behind the key guiding documents in international law for the safeguarding and recognition of intangible cultural heritage as well as in accounting for intangibility in determining heritage value. Without diligent inclusive strategies to account for, and consult, the diverse spectrum of groups, cultures, and cultural spaces affected by urban heritage and cultural city planning processes, a city’s development initiatives risk counterproductively destroying the precise characteristics they are otherwise seeking to nourish, create, and, even, commodify.

Christopher Ballantine. 2012. <i>Marabi Nights: Jazz, ‘Race’ and Society in Early Apartheid South Africa</i>

Christopher Ballantine. 2012. Marabi Nights: Jazz, ‘Race’ and Society in Early Apartheid South Africa, 2nd edn. Scottsville: University of Kwazulu-Natal Press. 280pp. ISBN 978-1869142377 (pbk)

Algorithms to Assess Music Cities

The global Mastering of a Music City report in 2015 notes that the concept of music cities has penetrated the global political vernacular because it delivers “significant economic, employment, cultural and social benefits.” This article highlights that no empirical study has combined all these values and offers a relevant and comprehensive definition of a music city. Drawing on industry research,1the article assesses how mathematical flowcharts, such as Algorithm A (Economics), Algorithm B (Four T’s creative index), and Algorithm C (Heritage), have contributed to the definition of a music city. Taking Melbourne as a case study, it illustrates how Algorithms A and B are used as disputed evidence about whether the city is touted as Australia’s music capital. The article connects the three algorithms to an academic framework from musicology, urban studies, cultural economics, and sociology, and proposes a benchmark Algorithm D (Music Cities definition), which offers a more holistic assessment of music activity in any urban context. The article concludes by arguing that Algorithm D offers a much-needed definition of what comprises a music city because it builds on the popular political economy focus and includes the social importance of space and cultural practices.

Music in Vienna, 1700, 1800, 1900 by David Wyn Jones

in 1700, 1800, 1900. By David Wyn Jones. Woodbridge, Suffolk, Eng.: Boydell Press, 2016. [x, 277 p. ISBN 9781783271078. $45.] Illustrations, tables, bibliography, index.In musicological climate in which contextual and cultural studies are the rule, rather than the exception, David Wyn Jones's new book in 1700, 1800, 1900 stands out. in Vienna is exceptional not in departing from this rule, but in demonstrating how thoroughly contextual and broadly cultural exploration of music and place can illuminate both. The book is divided into three sections, each comprising three chapters, preceded by an introductory chapter, Telling Tales of in Vienna. This introductory chapter sets up the three frames of reference within which Jones has confined what might otherwise have been the subject of at least three volumes. His frames of reference-which comprise historiographical narratives and paradigms described below-provide the book with an excellently balanced discussion of social, political and musical matters. Chapters within section 1 cover Music at the Imperial and Royal Catholicism, Ritual and Ceremony, and Italian Opera and the Preservation of the Habsburg Dynasty. The section on 1800 includes Court, Aristocrats and Connoisseurs, Demand, Aspiration and the Ennobling of the Spirit, and War and Peace. And the final section, on 1900, encompasses Vienna, City of Music, 'Seid umschlungen, Millionen' (focusing on Beethoven reception), and From Johann Strauss to Richard Strauss.Regarding the overall framing of the book, Jones has chosen not to rely on the traditional parsing of music into historical periods (baroque, classical, romantic, etc.), or on the traditional emphasis on composers' biographies. These, he finds, lead to narrowness of vision and tend to overemphasize change. Instead, he focuses on manifold human agents, operating in capacious epochs around 1700, 1800, and 1900. In this way he sets out to create a portrait of each period that allows contrasts to emerge and continuities to be articulated (p. 2). Extending his painterly metaphor, one might consider the three sections as three panoramas, painted from an impressively wide palette of evidence about Vienna and its His palette includes, but is by no means restricted to: eyewitness accounts, portraits, title pages, stage designs, planning information, patrons' biographical information, memoirs, programs, publishing catalogs, and of course music-works in diverse genres by manifold composers. In sum, Jones offers what anthropologist Clifford Geertz might have called thick history of Vienna at the turns of each of three centuries, history that fully takes account of human agency and recognizes that it not the prerogative of composers only, but routinely involved emperors, princes, publishers, institutions, administrators, scholars, and others (p. 2). The result is path-breaking in its contextual depth.Indeed, such is the wealth of detail on social and especially political matters in each chapter that one might think that the discussion of music would suffer. is, in fact, nowhere in sight in this book, in that there are no music examples. This is unfortunate for the musically literate reader, who might well like to refer to scores during Jones's numerous detailed references to works by lesser-known composers (for example, Johann Baptist Wanhal and Franz Xaver Sussmayr). Much of the music to which he refers is not readily available in modern editions. Overall, though, there is no question that music remains at the forefront with detailed description and interpretation of music figures throughout, beautifully woven into the narrative. On the largest scale (that of the entire book), his narrative focuses on music in relation to place: he traces the increasingly strong identification of Vienna as city of music. By 1900, he argues, the conception of Musikstadt Wien was so strong that music had tended to gain the upper hand, rather than becoming subservient to any overarching civic identity (p. …

Country Comes to Town: The Music Industry and the Transformation of Nashville by Jeremy Hill, and: Music/City: American Festivals and Placemaking in Austin, Nashville, and Newport by Jonathan R. Wynn, and: Beyond the Beat: Musicians Building Community in Nashville by Daniel B. Cornfield

COUNTRY AND PLACEMAKING Country Comes to Town: The Industry and Transformation of Nashville. By Jeremy Hill. (American Popular Music.) Amherst: University of Massachusetts Press, 2016. [ix, 173 p. ISBN 9781625341716 (hardcover), $90; ISBN 9781625341723 (paperback), $26.95.] Notes, index.Music/City: American Festivals and Placemaking in Austin, Nashville, and Newport. By Jonathan R. Wynn. Chicago: University of Chicago Press, 2015. [vii, 312 p. ISBN 9780226305493 (hardcover), $90; ISBN 9780226305523 (paperback), $30; ISBN 9780226305660 (e-book), various.] Appendices, notes, bibliography, index.Beyond Beat: Musicians Building Community in Nashville. By Daniel B. Cornfield. Princeton, NJ: Princeton University Press, 2015. [xiii, 218 p. ISBN 9780691160733 (hardcover), $35; ISBN 9781400873890 (e-book), various.] Appendix, notes, bibliography, index.In his 2002 book The Rise of Creative Class, sociologist Richard Florida proffered a provocative thesis: that places that attract creative people-people in science and engineering, architecture and design, education, arts, music, and entertainment whose economic function is to create new ideas, new technology, and new creative content-would be economic leaders in new century (Richard Florida, The Rise of Creative Class [New York: Basic Books, 2002], 8). In decade and a half since its publication, Florida's thesis has been scrutinized widely by sociologists, economists, and other scholars, with several scholars and press challenging Florida's sometimes Pollyannaish outlook and drawing attention to challenges that emerge when economic leaders recruit the creative class to join their communities. But, until recently, musical communities have not been focus of significant analysis in light of Florida's thesis, despite their prominence in Florida's enumeration. The three books under consideration in this review essay, however, provide valuable new insights into ways that musical communities transform local economies and, conversely, how city residents respond to these communities in their midst.Nashville, Tennessee-known to many music tourists as Music City, U.S.A.- serves as an excellent site for scholars to study ways that musicians and various industries that support them intersect with other spheres of social, economic, and political activity in city. Long a seat of government power, city is probably best known for its role as one of premier centers of global commercial country music production, a role that it began to cultivate deliberately in 1960s as recording studios, music publishing houses, booking agents, and trade organizations began to call Nashville home. As a number of country music scholars have demonstrated, though, country music-and, in fact, popular music more generally-was not always linked closely with city, and such cities as Atlanta, Charlotte, and even Chicago could easily be considered to be leading centers of country music production prior to 1950s (see, for instance, Wayne W. Daniel, Pickin' on Peachtree: A History of Country in Atlanta [Urbana: University of Illinois Press, 1990]; and Patrick Huber, Linthead Stomp: The Creation of Country in Piedmont South [Chapel Hill: University of North Carolina Press, 2008]). But, as Diane Pecknold has shown in her frequently-cited book The Selling Sound: The Rise of Country Industry (Durham, NC: Duke University Press, 2007), Nashville eclipsed others during 1960s as newly formed Country Association launched a coordinated effort to promote city's music industry infrastructure and talents, as well as products that emerged from recording studios along Row.American studies scholar Jeremy Hill's Country Comes to Town: The Industry and Transformation of Nashville extends Pecknold's work by focusing not on industry itself (although plenty of familiar Nashville music industry leaders appear as significant figures in study), but by exploring dynamics of developing relationship between music industry, Nashville residents, and government and business leaders. …