There are few who would deny the guitar its central role in popular music. Yet, according to Dawe, beyond a handful of academic works, studies of the contemporary guitar are limited in scope, failing to explore both recent developments and the instrument's global dimensions (pp. 29–30). His response – The New Guitarscape – outlines twin objectives: ‘to document aspects of the guitar phenomenon as it now stands … and extend the academic terms of reference by which the instrument might be studied’ (p. xvii).
Dawe uses the first four chapters of his book to lay foundations for these objectives. He documents the ‘phenomenon as it now stands’ by profiling 10 contemporary guitarists. Their performances reflect: (1) new technologies (e.g. loop pedals); (2) world music (including microtones produced through fretless instruments or slide guitar); (3) women and the guitar; (4) extended techniques (e.g. tapping with two hands); and (5) customised instruments (e.g. double-/triple-neck guitars, additional strings).
His starting point in extending ‘academic terms of reference’ is the work of Steve Waksman (Reference Waksman1999). Representing ‘a new epoch in guitar research’ due to its expansion on ‘issues of identity and ethnicity’ (p. 30), Dawe is particularly interested in whether such ideas (which are North American in context) can be applied cross-culturally. Dawe proceeds to identify a body of literature (Kartomi Reference Kartomi1990; Théberge Reference Théberge1997; Gell Reference Gell1998; Howes Reference Howes2005) with ‘significant areas of convergence … patterns and overlaps’ (p. 45) which he feels suggest ‘a broader approach to the study of the guitar’ (p. 46).
Dawe also coins a term – guitarscape – intended to indicate the size and complexity of the guitar phenomenon and to depict the instrument as a cultural occurrence worthy of academic study (p. 41). The term is loaded with meaning by association with ‘scape theory’ (Appadurai Reference Appadurai1990), The New Soundscape (Schafer Reference Schafer1969) and ‘sensescapes’ (Howes Reference Howes2005).
These initial chapters leave the reader with two strong impressions. In choosing his 10 contemporary guitarists, Dawe neatly sidesteps the inevitable criticism of who to include (or leave out), by focusing on music which grabs his attention (p. 33). This facilitates a rewarding introduction to music which is both interesting and widely available (on the Internet). On the other hand, although Dawe makes a Herculean effort to knit together a theoretical framework (bound together under meaningful terminology), space dictates that the reader must explore the literature alone to reach meaningful depths of understanding.
The next three chapters each explore set topics: ‘Materiality and the Virtual Guitar’, ‘The Sensual Nature of the Guitar’ and ‘Gender and Sexuality’. The breadth and anti-snobbery of Dawe's guitarscape is refreshing in its recognition of Guitar Hero as ‘part of the same experience that is the guitar’ (p. 91, emphasis in original). This virtual guitar not only takes on a real form (as a game controller) but functions ‘as a sound-producing and iconic image of music, culture and society’ (p. 96).
Largely avoiding the macho sexuality commonly associated with the guitar, the next chapter focuses on how the instrument engages the senses. Beginning with the smell and subtle string resonance associated with opening a guitar case, it proceeds to develop a case that the senses are cultural as well as perceptual systems (Howes, Reference Howes2005), arguing that musicians think through the guitar the same way we think through culture (Davidson and Torff Reference Davidson and Torff1992; pp. 120–122).
The chapter on ‘Gender and Sexuality’ includes lesbian, gay, bisexual and transvestite musicians (in addition to ‘Women and the Guitar’). This inclusivity is welcome, yet having identified key terms of reference for the chapter – identity, subjectivity and power – Dawe falls into a review of LGBT (lesbian, gay, bisexual and transvestite) literature. This reflects a general tendency across all three chapters to frame interesting questions but not tackle these core issues as directly as the reader might wish.
Dawe adds more meat to the bone in his final two chapters (‘The Power and Agency of the Guitar’ and ‘Guitars, Travel and Translation’). The first discusses the role of the guitar in delivering political messages (thereby contributing to a wider social agenda). Dawes argues that an association with high-profile singer-songwriters gives the guitar ‘an empowering legacy with historical, social, cultural and economic dimensions’ (p. 153).
The final chapter describes ‘the increasing intensity of the guitar's mobility – not just its physical mobility but its mobility across a wide range of media and ideas’ (p. 189). In assessing ways in which the guitar forms the basis of cross-cultural musical encounters, Dawe focuses on power relationships. For example, in searching for new sounds North Americans often reach out to economically and politically weaker countries, whose musicians have little power to challenge the results of recordings and collaborations.
Dawe champions guitarist Bob Brozman (whose photograph is on the front cover) and ‘the greater dialogue now in evidence between guitarists and locals as locals take centre stage’ (p. 197). Interestingly, Brozman describes how the guitar ‘serves as an imperfect translator, accidentally creating interesting forms of music’ (p. 196). These final chapters see Dawe in a more focused mood, as engaging as ever yet now tackling complex questions head on.
Dawe views his work as ‘an ideas book, literature review, survey and research companion in the hope that more ethnographic research might be forthcoming’ (p. 31). His observation, that ‘the guitar is pre-eminent among musical instruments’ as regards its ‘fundamental role in human cultures’ is difficult to refute (p. 200). Having drawn together many essential ingredients, the ultimate success of Dawe's guitarscape relies upon its legacy, particularly his call for contributions of new research to the field.
