Abstract
Listening to music and music-making are so ubiquitous that the spatio-temporal requirements for music-making is often overlooked. However, without the spatio-temporal contexts, especially leisure spaces and times, music cannot exist, because desire and imagination are aesthetically concentrated in leisure forms. Although differently positioned, both Canadian urban Aboriginal hip hop and local heavy metal cultures must struggle against numerous odds to simply make their music let alone find venues and audiences that can support musicians while resisting dominant societal forces to voice themes of diversity and social justice. If music-making is to be sustained and understood in its complexity, then the power of leisures (desires, pleasures, spatio-temporal contexts, and identities) needs to be included in studies of popular music, and popular music/music-making must become a greater focus of popular music and leisure scholarship and practice.- The author retains copyright over the work.
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