Sounding Dublin
Mapping Popular Music Experience in the City
DOI:
https://doi.org/10.1558/jwpm.34372Keywords:
Dublin, popular music “sound(s)”, scene, place, tourism, music mappingAbstract
This article interrogates ideas of popular music "sound(s)" linked to place by interpreting data gathered during the applied research project Mapping Popular Music in Dublin (MPMiD) 2015-16. An outline background, rationale and framework for MPMiD is presented, followed by a review of methods developed and overall themes that emerged. Focusing on the project's "Sounding Dublin" strand, the article analyses the responses of 366 participants from a section of MPMiD's e-survey relating to music, musicians, sounds and soundtracks that might be considered "typical" (or otherwise) of Dublin. Although a substantial minority of participants eschew notions of sonic uniqueness linked to place in the abstract sense, the data reveal a rich tapestry of experiences and standpoints linked to ideas of a Dublin sound or sounds. Some appear to concur with conventional hagiographies of rock and folk, with others challenging received narratives and proposing alternative viewpoints, scenes and pathways. "Dublin-specific" associations emerging across various genres are based on appraisals of performer engagement, accent and timbre, and narrative/lyrical style.
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Bradby, Barbara. 1993. “Lesbians and Popular Music: Does it Matter Who is Singing?” In Outwrite: Lesbianism and Popular Culture, edited by Gabriele Griffin, 148–71. London: Pluto Press.
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Clancy, Paula, Eoin O’Malley, Larry O’Connell and Chris Van Egeraat. 2001. “Industry Clusters in Ireland: An Application of Porter’s Model of National Competitive Advantage to Three Sectors”. European Planning Studies 9/1: 7–28. https://doi.org/10.1080/09654310124159
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—2013. “Musical Memory, Heritage and Local Identity: Remembering the Popular Music Past in a European Capital of Culture”. International Journal of Cultural Policy 19/5: 576–94. https://doi.org/10.1080/10286632.2012.676641
Cohen, Sara, Robert Knifton, Marion Leonard and Les Roberts, eds. 2014. Sites of Popular Music Heritage: Memories, Histories, Places. London and New York: Routledge. https://doi.org/10.1558/jwpm.29624
Connell, John, and Chris Gibson. 2003. Sound Tracks: Popular Music Identity and Place. London and New York: Routledge. https://doi.org/10.4324/9780203448397
Crossley, Nick. 2009. “The Man whose Web Expanded: Network Dynamics in Manchester’s Post/Punk Music Scene 1976–1980”. Poetics 37/1: 24–49. https://doi.org/10.1016/j.poetic.2008.10.002
Cullen, Matteo. 2012. “Vagabonds of the Western World(s): Continuities, Tensions and the Development of Irish Rock Music”. PhD thesis, University of Limerick.
Fairchild, Charles. 1995. “‘Alternative’ Music and the Politics of Cultural Autonomy: The Case of Fugazi and the DC Scene”. Popular Music & Society 19/1: 17–35. https://doi.org/10.1080/03007769508591579
Fitzgerald, Mark, and John O’Flynn, eds. 2014. Music and Identity in Ireland and Beyond. Farnham: Ashgate. https://doi.org/10.1017/s0261143015000550
Florida, Richard, and Scott Jackson. 2010. “Sonic City: The Evolving Economic Geography of the Music Industry”. Journal of Planning Education and Research 29/3: 310–21. https://doi.org/10.1177/0739456x09354453
Frith, Simon. 1996. “Popular Music Policy and the Articulation of Regional Identities: The Case of Scotland and Ireland”. In Music in Europe, edited by Dave Laing, 98–103. Brussels: European Music Office.
Gibson, Chris, and Deborah Davidson. 2004. “Tamworth, Australia’s ‘Country Music Capital’: Place Marketing, Rurality, and Resident Reactions”. Journal of Rural Studies 20/4: 387–404. https://doi.org/10.1016/j.jrurstud.2004.03.001
Halfacree, Keith H., and Robert M. Kitchin. 1996. “‘Madchester Rave on’: Placing the Fragments of Popular Music”. Area 28/1: 47–55.
Harris, Keith. 2000. “‘Roots’?: The Relationship between the Global and the Local within the Extreme Metal Scene”. Popular Music 19/1: 13–30. https://doi.org/10.1017/s0261143000000052
Hemphill, Paul. 2015. The Nashville Sound: Bright Lights and Country Music. Athens, GA, University of Georgia Press.
Henning, Michelle, and Rehan Hyder. 2014. “Locating the ‘Bristol Sound’: Archiving Music as Everyday Life”. In Sites of Popular Music Heritage: Memories, Histories, Places, edited by Sara Cohen, Robert Knifton, Marion Leonard and Les Roberts, 97–111. London and New York: Routledge. https://doi.org/10.1558/jwpm.29624
Hesmondhalgh, David. 2005. “Subcultures, Scenes or Tribes? None of the Above”. Journal of Youth Studies 8/1: 21–40. https://doi.org/10.1080/13676260500063652
Hogan, Eileen. 2015. “Music-making and Well-being: Identity, Place and Cultural Policy”. PhD thesis, University of Liverpool.
Hogarty, Jean. 2016. Popular Music and Retro Culture in the Digital Era. London and New York: Routledge. https://doi.org/10.1017/s0261143017000721
Hot Press. 1998. The Hot Press Yearbook. Dublin: Hot Press.
Kloosterman, Robert C. 2005. “Come Together: An Introduction to Music and the City”. Built Environment 31/3: 181–91. https://doi.org/10.2148/benv.2005.31.3.181
Kong, Lily. 1995. “Popular Music in Geographical Analyses”. Progress in Human Geography 19/2: 183–98. https://doi.org/10.1177/030913259501900202
Kruse, Holly. 1993. “Subcultural Identity in Alternative Music Culture”. Popular Music 12/1: 33–41. https://doi.org/10.1017/s026114300000533x
Laing, Dave. 1992. “‘Sadeness’, Scorpions and Single Markets: National and Transnational Trends in European Popular Music”. Popular Music 11/2: 127–40. https://doi.org/10.1017/s0261143000004967
Lashua, Brett, Sara Cohen and John Schofield. 2009. “Popular Music, Mapping, and the Characterization of Liverpool”. Popular Music History 4/2: 126–44. https://doi.org/10.1558/pomh.v4i2.126
Leonard, Marion, and Robert Strachan. 2010. The Beat Goes On: Liverpool, Popular Music and the Changing City. Liverpool: Liverpool University Press. https://doi.org/10.1017/s0261143012000670
Leyshon, Andrew, David Matless and George Revill, eds. 1998. The Place of Music. New York and London: Guilford Press.
Luckman, Susan, Chris Gibson, Julie Willoughby-Smith and Chris Brennan-Horley. 2008. “Life in a Northern (Australian) Town: Darwin’s Mercurial Music Scene”. Journal of Media & Cultural Studies 22/5: 623–37. https://doi.org/10.1080/10304310802311667
McLaughlin, Noel. 1999. “Pop and the Periphery: Nationality, Culture and Irish Popular Music”. DPhil dissertation, University of Ulster.
—2011. “Rattling out of Control: A Comparison of U2 and Joy Division on Film”. Film, Fashion & Consumption 1/1: 101–120. https://doi.org/10.1386/ffc.1.1.101_1
—2014. “Postpunk Industrial Cyber Opera: The Ambivalent and Disruptive Hybridity of Early 1990s U2”. In Music and Identity in Ireland and Beyond, edited by Mark Fitzgerald and John O’Flynn, 179–202. Farnham: Ashgate. https://doi.org/10.1017/s0261143015000550
McLaughlin, Noel, and Martin McLoone. 2000. “Hybridity and National Musics: The Case of Irish Rock Music”. Popular Music 19/2: 181–99. https://doi.org/10.1017/s0261143000000106
—2012. Rock and Popular Music in Ireland: Before and After U2. Dublin: Irish Academic Press.
Mangaoang, Áine, and John O’Flynn. 2016. Mapping Popular Music in Dublin: Executive Report. Dublin: St Patrick’s College, Dublin City University.
Mean, Melissa, and Charlie Tims. 2005. In Concert: Growing Newcastle Gateshead as a Music City. Newcastle: Demos.
Mitchell, Tony. 2009. “Sonic Psychogeography: A Poetics of Place in Popular Music in Aotearoa/New Zealand”. Perfect Beat 10/2: 145–75. https://doi.org/10.1558/prbt.v10i2.145
Murphy, Michael. 2015. “The Social History of the Irish Recorded Music Industry”. PhD thesis, Trinity College Dublin.
O’Flynn, John. 2009. The Irishness of Irish Music. Farnham: Ashgate.
O’Sullivan, Caroline. 2016. “From Scene to Flow: Music, Network, Evolution”. PhD thesis, Trinity College Dublin.
Prato, Paulo. 1984. “Music in the Streets: The Example of Washington Square Park in New York City”. Popular Music 4: 151–63. https://doi.org/10.1017/s0261143000006206
Riley, Roger W. 1996. “Revealing Socially Constructed Knowledge through Quasi-Structured Interviews and Grounded Theory Analysis”. Journal of Travel & Tourism Marketing 5/1–2: 21–40. https://doi.org/10.1300/j073v05n01_03
Rogers, Jim. 2013. The Death and Life of the Music Industry in the Digital Age. London and New York: Bloomsbury.
Ryan, Ciarán. 2015. “‘Against the Rest’: Fanzines and Alternative Music Cultures in Ireland”. PhD thesis, University of Limerick.
Saldanha, Arun. 2002. “Music, Space, Identity: Geographies of Youth Culture in Bangalore”. Cultural Studies 16/3: 337–50. https://doi.org/10.1080/09502380210128289
Shank, Barry. 1994. Dissonant Identities: The Rock ’n’ Roll Scene in Austin, Texas. Hanover, NH and London: Wesleyan University Press. https://doi.org/10.1017/s0261143000007832
Sinclair, Gary. 2014. “Retreating Behind the Scenes: The ‘Less’-Civilizing Impact of Virtual Spaces on the Irish Heavy Metal Scene”. In The Ashgate Research Companion to Fan Cultures, edited by Linda Duits, Koos Zwaan and Stijn Reijnders, 209–220. Farnham: Ashgate. https://doi.org/10.4324/9781315612959-16
Slobin, Mark. 1993. Subcultural Sounds: Micromusics of the West. Hanover, NH and London: Wesleyan University Press.
Smyth, Gerry. 2004. “Ireland Unplugged: The Roots of Irish Folk/Trad. (Con)Fusion”. Irish Studies Review 12/1: 87–97. https://doi.org/10.1080/0967088042000192149
—2005. Noisy Island: A Short History of Irish Popular Music. Cork: Cork University Press.
Solomon, Thomas. 2009. “Berlin–Frankfurt–Istanbul Turkish Hip-hop in Motion”. European Journal of Cultural Studies 12/3: 305–327. https://doi.org/10.1177/1367549409105366
Strachan, Robert, and Marion Leonard. 2002. “Collective Responsibilities: The Arts Council, Community Arts and the Music Industry in Ireland”. In The Business of Music, edited by Michael Talbot, 244–62. Liverpool: Liverpool University Press. https://doi.org/10.5949/liverpool/9780853235286.003.0010
Straw, Will. 1991. “Systems of Articulation, Logics of Change: Communities and Scenes in Popular Music”. Cultural Studies 5/3: 368–88. https://doi.org/10.1080/09502389100490311
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—2014. p/c, Dublin, 15 October 2014.
Published
2019-06-18
Issue
Section
Articles
How to Cite
O'Flynn, J., & Mangaoang, Áine. (2019). Sounding Dublin: Mapping Popular Music Experience in the City. Journal of World Popular Music, 6(1), 32-61. https://doi.org/10.1558/jwpm.34372
