Kesha’s Comeback and the Stakes of Live Performance: Connecting through Trauma at the 2018 Grammy Awards

IF 0.4 2区 艺术学 0 MUSIC JOURNAL OF MUSICOLOGICAL RESEARCH Pub Date : 2020-10-12 DOI:10.1080/01411896.2020.1823845
K. Hearfield
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Abstract

ABSTRACT The use of live popular music performance as a platform to address gendered and sexual violence and trauma within the popular music industry can be demonstrated through the analysis of Kesha’s performance of “Praying” at the 2018 Grammy Awards. Analyzing the artist’s vocal and artistic delivery, in addition to her public persona following her allegations of sexual abuse against producer Lukasz Gottwald (Dr. Luke), illustrates how live performance—building on and contrasting with social media campaigns, such as #FreeKesha and #MeToo, and studio recordings—is a uniquely effective mode of processing individual and collective trauma.
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在2018年格莱美颁奖典礼上,Kesha的复出和现场表演的风险:通过创伤连接
通过分析凯莎在2018年格莱美颁奖典礼上演唱的《祈祷》,我们可以看到流行音乐现场表演作为解决流行音乐行业性别、性暴力和创伤问题的平台。分析这位艺术家的声音和艺术表现力,以及她在指控制作人卢卡斯·戈特瓦尔德(卢克博士饰)性侵之后的公众形象,可以说明,现场表演是如何与#FreeKesha和#MeToo等社交媒体活动以及录音室录音形成对比的,是一种独特有效的处理个人和集体创伤的方式。
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来源期刊
CiteScore
0.30
自引率
0.00%
发文量
17
期刊介绍: The Journal of Musicological Research publishes original articles on all aspects of the discipline of music: historical musicology, style and repertory studies, music theory, ethnomusicology, music education, organology, and interdisciplinary studies. Because contemporary music scholarship addresses critical and analytical issues from a multiplicity of viewpoints, the Journal of Musicological Research seeks to present studies from all perspectives, using the full spectrum of methodologies. This variety makes the Journal a place where scholarly approaches can coexist, in all their harmony and occasional discord, and one that is not allied with any particular school or viewpoint.
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