Pub Date : 2021-06-08DOI: 10.1525/9780520971646-006
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Pub Date : 2018-10-18DOI: 10.1093/OSO/9780199985227.003.0009
John W. Howland
This chapter examines the concept of the “luxe pop” production practices and their evolution over the last several decades. It traces the connection between modern luxe pop, 1970s symphonic soul, and 1920s symphonic jazz. Each case features the timbre of a lush string orchestra as a stand-in for highbrow or elevated culture, while the overlaid genres of jazz, soul, and hip-hop function as a symbol of lowbrow culture. This juxtaposition of black/white, lowbrow/highbrow, street/luxury functions as musical irony and subversive sarcasm. This chapter traces specifically the connection between Jay-Z’s symphonic hip-hop production “Can I Live,” which samples Isaac Hayes’s cover of Burt Bacharach’s “The Look of Love,” a recording that was featured in the movie Casino Royale (1967). Pop music’s tendency to borrow samples from its own history (“retromania”) leads to an interconnected web of artists spanning decades of popular music.
本章探讨了“奢华流行音乐”的概念及其在过去几十年里的演变。它追溯了现代豪华流行音乐、20世纪70年代交响乐灵魂乐和20世纪20年代交响乐爵士乐之间的联系。每一个案例都以丰富的弦乐团的音色为特色，作为高雅文化的代表，而爵士乐、灵魂乐和嘻哈音乐的覆盖类型则作为低俗文化的象征。这种黑/白、低俗/高雅、街头/奢华的并置，作为音乐的讽刺和颠覆性的讽刺。这一章特别追溯了Jay-Z的嘻哈交响乐作品《Can I Live》之间的联系，这首歌模仿了艾萨克·海斯翻唱的伯特·巴卡拉奇的《爱的表情》，这首歌曾在电影《皇家赌场》(1967)中出现。流行音乐倾向于从自己的历史中借用样本(“复古狂热”)，这导致了一个跨越几十年流行音乐的艺术家相互联系的网络。
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