Prague soundscapes / Zuzana Jurková [and ten others] ; reviewed by Miloš Havelka, Speranţa Rădulescu ; translated by Valerie Levy ; proofread by Tamah Sherman and Daniel Morgan.

Includes bibliographical references at the end of each chapters.

Online resource; title from PDF title page (ebrary, viewed October 21, 2014).

Chapter 1 Listening to the music of a city; Listening to the music of a city; Writing about the music of a city, specifically Prague; Chapter 2 Music and identity; Music and identity; The myth of Romani music in contemporary Prague; Feng-yün Song Voice Painting; Nowruz, twice in a different way; "Ethnic" music for entertainment; Malanka, the Ukrainian ball ; Refufest ; What does it mean?; Chapter 3 Music and social stratification; Antonín Dvořák: Rusalka; Alan Lomax on music as an indicator of social complexity; The Makropulos Case as a semiotic experience.

Lucid dreams of Mr. William Heerlein LindleyChapter 4 Music and rebellion; Benefest Vol. 1; Face tigers and Stillknox; Rock'n'roll Rebel; Michel Maffesoli on Urban Nomads; Tom Stoppard: Rock 'n' Roll ; Chapter 5 Music as goods; Film Mňága -- Happy End; Music as Goods/Business; Creative Commons; Public Seminar of the Czech Radio Council on music program direction of Czech Radio 1; Děti ráje (Children of Paradise) -- collective memory as business; Theodor Adorno on popular music and its fetishist character; How to Have a Number One the Easy Way; A Walk along the Royal Road.

Prague Castle Concert Pearls of Czech and World Classical MusicChapter 6 Electronic Dance Music; Electronic Dance Music; Loss Tekenos in the Cross Club; History of Electronic Dance Music; Andělka Free Party ; Syllabus -- Psychedelic Trance and Broken Beatz; Judith Becker on music and trance; Unlocking the groove of habit; Chapter 7 Music and spirituality; Hare Krishna Mantra in Prague streets: the sacred, music and trance; The Saint Wenceslas Festival; Thomas Turino on Music as Social Life; Gospel Workshop; Summary; References.

Prague Soundscapes is the first book focusing on music in Prague from other than musical-historical perspectives. It approaches musical events in present-day Prague from an ethno-musicological position, sometimes called musical anthropology. We take in, for instance, the Refufest festival, a punk concert at the Modrá vopice club, a performance of Dvorák's Rusalka at the National Theatre or accompany followers of the Hare Krishna and their procession through Prague - not just to see and ""hear"" their music, but also to learn who makes and listens to it and why. An abundance of photographs accom.

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