Pub Date : 2024-03-18DOI: 10.5429/2079-3871(2024)v14i1.14en
Victor Pires
In “A Urgência” (“The Urgency”)
在 "A Urgência"（"紧迫性"）中
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Pub Date : 2024-03-18DOI: 10.5429/2079-3871(2024)v14i1.16en
Susan O'Shea, Tore Størvold
An interview with Susan O'Shea and Tore Størvold to discuss the recently published book, Dissonant Landscapes: Music, Nature and The Performance of Iceland.
苏珊-奥谢和托尔-斯特沃尔德接受采访，讨论最近出版的新书《不和谐的风景》：音乐、自然和冰岛的表现。
{"title":"On Dissonant Landscapes: Tore Størvold and Susan O’Shea, in conversation","authors":"Susan O'Shea, Tore Størvold","doi":"10.5429/2079-3871(2024)v14i1.16en","DOIUrl":"https://doi.org/10.5429/2079-3871(2024)v14i1.16en","url":null,"abstract":"An interview with Susan O'Shea and Tore Størvold to discuss the recently published book, Dissonant Landscapes: Music, Nature and The Performance of Iceland.","PeriodicalId":36498,"journal":{"name":"IASPM Journal","volume":"86 2","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-03-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140232467","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-03-18DOI: 10.5429/2079-3871(2024)v14i1.3en
Simone Driessen, Veerle Van Mil
This study explores how aging One Direction and Taylor Swift fans continue their fandom in(to) adulthood. Drawing on interviews with 23 female fans, this article examines what happens if one actively pursues fandom after youth. Despite having multiple solo-careers to keep track of, or adjusting to new (Swift-)‘eras’, ‘aging pop fandom’ seems to go beyond the music: Results demonstrate that these young aging fans consider themselves ‘life-long fans’, having been fans for such a long time. Additionally, their current fandom is about friendships and belonging to a community (particularly prevalent during the pandemic) and illustrative of how they as young fans developed (media) skills vital to one’s current career. What this study reveals is that whether it’s through (re-)listening to music, attending concerts or themed club-nights, pop music fandom forms a soundtrack to their process of aging.
{"title":"Best Song ever - forever?","authors":"Simone Driessen, Veerle Van Mil","doi":"10.5429/2079-3871(2024)v14i1.3en","DOIUrl":"https://doi.org/10.5429/2079-3871(2024)v14i1.3en","url":null,"abstract":"This study explores how aging One Direction and Taylor Swift fans continue their fandom in(to) adulthood. Drawing on interviews with 23 female fans, this article examines what happens if one actively pursues fandom after youth. Despite having multiple solo-careers to keep track of, or adjusting to new (Swift-)‘eras’, ‘aging pop fandom’ seems to go beyond the music: Results demonstrate that these young aging fans consider themselves ‘life-long fans’, having been fans for such a long time. Additionally, their current fandom is about friendships and belonging to a community (particularly prevalent during the pandemic) and illustrative of how they as young fans developed (media) skills vital to one’s current career. What this study reveals is that whether it’s through (re-)listening to music, attending concerts or themed club-nights, pop music fandom forms a soundtrack to their process of aging.","PeriodicalId":36498,"journal":{"name":"IASPM Journal","volume":"289 3","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-03-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140233324","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-03-18DOI: 10.5429/2079-3871(2024)v14i1.10en
Marco Biasioli
The article investigates the transnational reception, circulation and remediation of music on TikTok, taking as a case study the Belarusian band Molchat Doma (The Houses Are Silent), whose song ‘Sudno’ became viral in 2020 in conjunction with the first wave of the coronavirus pandemic. The article argues that: a) TikTok users generally disregard the author’s encoded meaning for their own self-expression; b) depoliticize and memeify Molchat doma’s gloomy post-punk; c) prompt self-memeification in the author, who becomes an active participant in the textual rewriting. The article aims to contribute to ongoing debates around the digital consumption of popular music.
文章以白俄罗斯乐队 Molchat Doma（The Houses Are Silent）为案例，研究了 TikTok 上音乐的跨国接收、传播和补救。文章认为：a) TikTok 用户为了自我表达，通常无视作者的编码意义；b) 将 Molchat Doma 的阴郁后朋克去政治化和 meme 化；c) 促使作者自我 meme 化，成为文本改写的积极参与者。文章旨在为当前围绕流行音乐的数字消费展开的辩论做出贡献。
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Pub Date : 2024-03-18DOI: 10.5429/2079-3871(2024)v14i1.8en
Faye Rigopoulou
Musical theatre has a complex relationship with ageing (and especially female ageing). As youth has always been at the forefront of musicals, essentialist approaches to ageing in articulation and enactment of ageing musical characters often lead to aesthetic peripheries and creative stagnation. Aiming for a deeper understanding of how female ageing vocalities are perceived, dramaturged and performed in musical theatre, the article takes under consideration viewpoints from ‘outsiders’/ageing performers who work ‘at the centre’ of the musical theatre industry (West End and Broadway).Through a close analysis of two ageing female characters (Madame Armfeldt and Grandma) in the musicals A Little Night Music and Billy Elliot, this article discusses and critiques preconceptions of ageing in the dramaturgy and performance of these roles, and it argues that musicals frequently fail to give agency to the voice of their ageing women.
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Pub Date : 2024-03-18DOI: 10.5429/2079-3871(2024)v14i1.2en
David Madden
By way of a close reading of Quebec electronic dance music producer and DJ, Jacques Greene (né Philippe Aubin-Dionne), this article offers ways to think through and with aging studies, popular music studies and the notion of the career—which remains largely missing in studies of music scenes. Particular attention is devoted to Greene’s musical releases (two LPs, many EPs, singles and remixes), as well as his performance practice as a DJ and solo artist. To cut against dominant understandings of a career as a linear trajectory, developed in iterative stages of progress and decline, I consider the varied temporalities Greene experiences simultaneously and how his position in dance music scenes changes in relation to the contingencies of time. I argue that this temporal mode of analysis provides a generative theoretical tool kit for connecting studies of popular music with studies of aging.
通过对魁北克电子舞曲制作人兼 DJ 雅克-格林（Jacques Greene，原名 Philippe Aubin-Dionne）的细读，本文提供了通过老龄化研究、流行音乐研究和职业生涯概念进行思考的方法--在音乐场景研究中，职业生涯概念在很大程度上仍是缺失的。文章特别关注格林的音乐作品（两张 LP、多张 EP、单曲和混音版本），以及他作为 DJ 和个人艺术家的表演实践。格林的职业生涯是一条线性轨迹，在进步和衰退的迭代阶段中发展，为了打破这种主流理解，我考虑了格林同时经历的各种时间性，以及他在舞曲场景中的地位如何随着时间的偶然性而变化。我认为，这种时间分析模式为将流行音乐研究与老龄化研究联系起来提供了一个生成性理论工具包。
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Pub Date : 2024-03-18DOI: 10.5429/2079-3871(2024)v14i1.9en
Holly Riley
This article examines community negotiations of genre and style through the lens of intergenerational collaboration in a contemporary Irish music ensemble at Florida State University. In this ensemble, community members participated alongside university students in the ensemble through a state-funded senior education program. Throughout this process, students and community members navigated differences between local scene-established formats of musical material and new student-directed arrangements. Community members articulated desires to ‘keep the scene going’ and establish community longevity while negotiating this “shifting topography” (Shuker 2001: 6) of popular-traditional genre practice. The practices of this ensemble, explored through an autoethnographic lens with interview contributions from student and community members, build on existing studies on intergenerational ensemble practices (Harrington 2021, Conway and Hodgman 2008, Jang 2020), genre negotiation (Holt 2007), and aging identity (Bennet and Hodkinson 2012). This suggests important implications for intergenerational music-making and building music communities with deep generational and musical diversity.
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Pub Date : 2024-03-18DOI: 10.5429/2079-3871(2024)v14i1.5en
James Millea
This article explores age in the work of Paul McCartney. It investigates how McCartney’s ongoing engagement with his own youth has shaped his musical output and accompanying visuals at key points throughout his career. It focuses specifically on the extended trilogy of self-titled McCartney albums, which culminate in two of his most recent releases, McCartney III (Capitol 2020) and McCartney III Imagined (Capitol 2021). Concentrating specifically on Paul McCartney’s voice in his music and image in music videos, from a popular music studies perspective, this article explores the McCartney albums as a distinct statement on the role of age in popular music.
本文探讨了保罗-麦卡特尼作品中的年龄。文章探讨了麦卡特尼在其职业生涯的关键时刻，是如何通过与自己的青年时代的持续接触来塑造他的音乐作品和相应的视觉效果的。它特别关注麦卡特尼自我命名专辑的延伸三部曲，这三部曲在他最近发行的两张专辑《麦卡特尼 III》（Capitol 2020 年）和《麦卡特尼 III Imagined》（Capitol 2021 年）中达到高潮。本文从流行音乐研究的角度，特别关注保罗-麦卡特尼在音乐中的声音和在音乐录影带中的形象，探讨麦卡特尼的专辑是对流行音乐中年龄角色的独特表述。
{"title":"An Ever Present Past","authors":"James Millea","doi":"10.5429/2079-3871(2024)v14i1.5en","DOIUrl":"https://doi.org/10.5429/2079-3871(2024)v14i1.5en","url":null,"abstract":"This article explores age in the work of Paul McCartney. It investigates how McCartney’s ongoing engagement with his own youth has shaped his musical output and accompanying visuals at key points throughout his career. It focuses specifically on the extended trilogy of self-titled McCartney albums, which culminate in two of his most recent releases, McCartney III (Capitol 2020) and McCartney III Imagined (Capitol 2021). Concentrating specifically on Paul McCartney’s voice in his music and image in music videos, from a popular music studies perspective, this article explores the McCartney albums as a distinct statement on the role of age in popular music.","PeriodicalId":36498,"journal":{"name":"IASPM Journal","volume":"88 12","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-03-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140231990","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-03-18DOI: 10.5429/2079-3871(2024)v14i1.6en
Laura Way
Despite their continued engagement as audience throughout their lives, there is some suggestion that ageing, or older, fans have been at large omitted from fan studies (Middlemost, 2022). This does seem to be shifting, however, and there is a growing body of fandom scholarship concerning ageing fans. Indeed, in the context of punk, there has been a growing recognition of the continued significance of punk to older participants and fans (e.g. Andes, 2002, Bennett, 2006, Davis, 2006), contrasting earlier work which theorized punk as a youth subculture (see, for example, Hebdige, 1998). This reflects the increasing academic interest in the ageing popular music audience more broadly (Bennett and Hodkinson 2012). Despite such positive shifts, ageing women continue to be marginalised in such discussions concerning punk and older fans, meaning that much theoretical and conceptual understandings of ageing punks have failed to fully consider the interaction between ageing, gender and fandom.
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Pub Date : 2024-03-18DOI: 10.5429/2079-3871(2024)v14i1.11en
Maël Péneau, Greg Williams
A field study carried out in the studios of some fifteen Senegalese beatmakers revealed the omnipresence of discourses linked to self-training to explain the ways in which they acquire the digital audio knowledge on which their creative practices are based. However, most of the time, this self-taught learning corresponds to situations where neither the learners nor the trainers recognize the formative nature of learning situations that actually take place. This article examines these processes in detail, in order to identify the types of learning that take place, and the types of knowledge that are transmitted.
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