Level Up Live Performance and Creative Process in Grime Music
Level Up Live Performance and Creative Process in Grime Music by Alex De Lacey, published by Routledge on November 28, 2024, is a detailed exploration of grime music, a genre that has been integral to British youth culture since the early 21st century. This book presents the first long-form ethnographic study of grime practice, examining how artists engage in their creative processes and what these practices reveal about improvisation in music. Drawing on extensive research within London’s grime scene, the author leverages his experience as a DJ and broadcaster to provide insights into the genre’s development and its performance protocols.
Readers will find an in-depth analysis of grime’s emergence and its contemporary landscape, focusing on the practices of key artists and their crews. The book delves into the dynamics of collective social learning within London’s informal settings, offering a model of creative interaction that enhances understanding of improvisatory practices in musical ensembles. With 208 pages of content, this edition serves as a significant resource for those interested in music history, criticism, and the social aspects of popular culture.
Official synopsis Publisher
Grime music has been central to British youth culture since the beginning of the 21st century. Performed by MCs and DJs, it is an Afrodiasporic form that developed on street corners, on pirate radio and at raves. Level Up: Live Performance and Creative Process in Grime Music offers the first long-form ethnographic study of grime practice; it questions how and why artists do what they do; and it asks what this can tell us about creative process and improvisation more widely. Based on research conducted in London’s grime scene–facilitated by the author’s long-standing role as a DJ and broadcaster–this book explores the form’s emergence before taking a magnifying glass to the contemporary scene and its performance protocol, exploring the practice of key artists and their crews living and working in the city. The resultant model of creative interaction provides a comprehensive mapping of collective social learning in London’s informal cityscape, offering new ways to conceptualise improvisatory practice within ensembles.
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