Listing 1 - 10 of 18 | << page >> |
Sort by
|
Choose an application
Popular music --- History and criticism --- Popular music. --- Music, Popular --- Music, Popular (Songs, etc.) --- Pop music --- Popular songs --- Popular vocal music --- Songs, Popular --- Vocal music, Popular --- Music --- Cover versions
Choose an application
Popular music --- Social aspects. --- Music, Popular --- Music, Popular (Songs, etc.) --- Pop music --- Popular songs --- Popular vocal music --- Songs, Popular --- Vocal music, Popular --- Music --- Cover versions
Choose an application
From the 1920s on, popular music in Southeast Asia was a mass-audience phenomenon that drew new connections between indigenous musical styles and contemporary genres from elsewhere to create new, hybrid forms. This book presents a cultural history of modern Southeast Asia from the vantage point of popular music, considering not just singers and musicians but their fans as well, showing how the music was intrinsically bound up with modern life and the societal changes that came with it. Reaching new audiences across national borders, popular music of the period helped push social change, and at times served as a medium for expressions of social or political discontent.
Popular music --- History and criticism. --- Music, Popular --- Music, Popular (Songs, etc.) --- Pop music --- Popular songs --- Popular vocal music --- Songs, Popular --- Vocal music, Popular --- Music --- Cover versions --- Southeast Asia, Popular Music, History.
Choose an application
"From Attali's 'cold social silence' to Baudrillard's hallucinatory reality, reproduced music has long been the target of critical attack. In Bytes and Backbeats, however, Steve Savage deploys an innovative combination of designed recording projects, ethnographic studies of contemporary music practice, and critical analysis to challenge many of these traditional attitudes about the creation and reception of music. Savage adopts the notion of 'repurposing' as central to understanding how every aspect of musical activity, from creation to reception, has been transformed, arguing that the tension within production between a naturalizing 'art' and a self-conscious 'artifice' reflects and feeds into our evolving notions of creativity, authenticity, and community. At the core of the book are three original audio projects, drawing from rock & roll, jazz, and traditional African music. Through these projects--and with the aid of newly imagined techniques of computer-based recording--Savage is able to target areas of contemporary practice that are particularly significant in the cultural evolution of the musical experience, from the perspective of composers, musicians, and listeners. Each audio project includes a studio study providing context for the social and cultural analysis that follows. This work stems from Savage's experience as a professional recording engineer and record producer."--Jacket.
Popular music --- Sound recordings --- Production and direction. --- Sound recordings direction --- Sound recordings production --- Music, Popular --- Music, Popular (Songs, etc.) --- Pop music --- Popular songs --- Popular vocal music --- Songs, Popular --- Vocal music, Popular --- Music --- Cover versions --- Direction --- Geschichte 2000-2011.
Choose an application
Bulgarian popular music, the meanings it articulates, and the infrastructures of its creation, operates within a web of inter-dependencies with changing social and political contexts. Positioned on the edge of Europe, between the cultural constructs of the 'East' and 'West', Bulgarian popular music negotiates the complexities of perceived 'global' values and specificities of the 'local'. This book takes an ethnographic approach to qualitative methodologies to create a mosaic of perspectives through the participation of music artists, critics, business figures, copyright specialists, and young audiences. It employs the metaphor of the 'crossroads' to describe the realities of the contemporary Bulgarian popular music field, developed amidst the prolonged transitions that followed the communist era. In the context of struggles for social change, popular music has participated in the creation of rituals and symbols of protest and resistance. At the same time, the new market environment created opportunities for popular music to formulate a business approach to producing standardised content.The Balkans, are a melting pot of music traditions, but are also framed as pathologically different from the rest of Europe. This book suggests that an internalised negative stereotype adds tacit complexities to Bulgarian popular music, while at the same time, expressive markers of identity, such as folklore and language, are celebrated.
Popular music --- History and criticism. --- Music, Popular --- Music, Popular (Songs, etc.) --- Pop music --- Popular songs --- Popular vocal music --- Songs, Popular --- Vocal music, Popular --- Music --- Cover versions --- Music, Genres & Styles --- Sociology: customs & traditions. --- General.
Choose an application
This book traces a rebellious spirit in post-civil rights Black music by focusing on a range of offbeat, eccentric, queer, or slippery performances by leading musicians influenced by the cultural changes brought about by the civil rights, Black nationalist, feminist, and LGBTQ movements, who through reinvention created a repertoire of performances that have left a lasting mark on popular music. The book's readings of performers including Michael Jackson, Grace Jones, Stevie Wonder, Eartha Kitt, and Meshell Ndegeocello demonstrate how embodied sound and performance became a means for creativity, transgression, and social critique, a way to reclaim imaginative and corporeal freedom from the social death of slavery and its legacy of racism, to engender new sexualities and desires, to escape the sometimes constrictive codes of respectability and uplift from within the Black community, and to make space for new futures for their listeners. The book's perspective on music as a form of Black corporeality and identity, creativity, and political engagement will appeal to those in African American studies, popular music studies, queer theory, and Black performance studies; general readers will welcome its engaging, accessible, and sometimes playful writing style, including elements of memoir.
Popular music --- Soul music. --- Soul music --- African Americans --- Rhythm and blues music --- Music, Popular --- Music, Popular (Songs, etc.) --- Pop music --- Popular songs --- Popular vocal music --- Songs, Popular --- Vocal music, Popular --- Music --- Cover versions --- Social aspects.
Choose an application
For several centuries Cape Town has accommodated a great variety of musical genres which have usually been associated with specific population groups living in and around the city. Musical styles and genres produced in Cape Town have therefore been assigned an ìidentityî which is first and foremost social. This volume tries to question the relationship established between musical styles and genres, and social ñ in this case pseudo-racial ñ identities. In Sounding the Cape, Denis-Constant Martin recomposes and examines through the theoretical prism of creolisation the history of music in Cape T
Music --- Art music --- Art music, Western --- Classical music --- Musical compositions --- Musical works --- Serious music --- Western art music --- Western music (Western countries) --- History. --- Popular music --- Music and state --- History and criticism. --- Political aspects --- State and music --- Cultural policy --- Music, Popular --- Music, Popular (Songs, etc.) --- Pop music --- Popular songs --- Popular vocal music --- Songs, Popular --- Vocal music, Popular --- Cover versions --- Social aspects --- Muziek --- Zuid-Afrika
Choose an application
Trouble Songs is a hybrid serial work that tracks the appearance of the word “trouble” in 20th- and 21st-century American music. It reads (and sings) songs and poems, with reference to cultural events ranging from the death of a pop singer to the growth of popular resistance movements. The trouble singer invokes the word “trouble” in place of actual trouble—the song is a spell that conjures trouble (from bad luck and disaffection to infidelity, impotence, destitution, and the specter of death) in a temporary form that can be dis-spelled, if only for the length of the song. Singer and song also open a critical space for making trouble, for stirring the heart and mind. This space is a disjunction in time (and a superimposition of events) where singer and listener collaborate on meaning (un/)making as they temporarily transform trouble.
Theory of music & musicology --- Popular music --- Poetry. --- Songs. --- Philosophy and aesthetics. --- Poems --- Poetry --- Verses (Poetry) --- Literature --- Music, Popular --- Music, Popular (Songs, etc.) --- Pop music --- Popular songs --- Popular vocal music --- Songs, Popular --- Vocal music, Popular --- Music --- Cover versions --- Aesthetics --- Philosophy --- US musical history --- musicology --- poetics --- bad luck --- trouble
Choose an application
In order to analyze how transformative musical works are culturally understood, this book examines how mainstream press discourse talks about them. According to professional journalistic norms, press discussion is supposed to be neutral and balanced. This is, of course, a fiction, because press is to study social power relations, this is a benefit, not a drawback. In particular, norms of explaining "both sides" of an issue mean that a cross section of mainstream thought is available in the press, at the same time that more marginal perspectives are systematically excluded. Moreover, in addition to conveying what the journalist perceives to be a neutral account of a situation, the press helps frame public understanding of issues, thus contributing to making this the default understanding through presenting a hegemonic view as the truth. For these reasons, Stanfill uses press coverage to examine social beliefs circulating widely about transformative musical works. In doing so, she specifically abstracts away from particular journalists and their identities (racial, gender, or others) because, by those same professional norms, individual perspectives are supposed to be suppressed in the name of a (white and masculine) construct of universality. Moreover, an individual journalist presenting an opinion (whether they are aware of doing so or not) is not in itself meaningful, but when there are patterns in opinions across multiple articles, by different people, in different locations and at different moments, they become suggestive of a broader hegemonic formation.
Copyright --- Popular music --- Remixes --- Music --- Economic aspects --- History and criticism. --- Music, Popular --- Music, Popular (Songs, etc.) --- Pop music --- Popular songs --- Popular vocal music --- Songs, Popular --- Vocal music, Popular --- Cover versions --- Club mixes --- Dance mixes --- Mixes (Music) --- Electronic music --- Electronic dance music --- Sound recordings --- Remixing
Choose an application
Amy Absher's The Black Musician and the White City tells the story of African American musicians in Chicago during the mid-twentieth century. While depicting the segregated city before World War II, Absher traces the migration of black musicians, both men and women and both classical and vernacular performers, from the American South to Chicago during the 1930s to 1950s. Absher takes the history beyond the study of jazz and blues by examining the significant role that classically trained black musicians played in building the Chicago South Side community. By acknowledging the presence and importance of classical musicians, Absher argues that black migrants in Chicago had diverse education and economic backgrounds but found common cause in the city's music community.
African Americans --- Popular music --- Music and race --- African American musicians --- Music trade --- Musicians --- Music --- History and criticism. --- Social aspects --- History --- Labor unions --- Afro-American musicians --- Musicians, African American --- Negro musicians --- Music business --- Music industry --- Race and music --- Music, Popular --- Music, Popular (Songs, etc.) --- Pop music --- Popular songs --- Popular vocal music --- Songs, Popular --- Vocal music, Popular --- Afro-Americans --- Black Americans --- Colored people (United States) --- Negroes --- Artists --- Cultural industries --- Race --- Cover versions --- Africans --- Ethnology --- Blacks --- Black people
Listing 1 - 10 of 18 | << page >> |
Sort by
|