Pub Date : 2023-07-28DOI: 10.5429/2079-3871(2023)v13i1.10en
Benjamin Oyler
In the jazz imaginary, taking one’s “axe” to the fictive “woodshed” has long described a solitary and disciplined process of cultivating virtuosic skill in preparation for the competitive arenas of public performance. Despite an abundance of jazz research, the woodshed and its complex social, aesthetic, and political entailments have gone almost entirely unaddressed in the literature. This paper traces the emergence of this peculiar object through a diverse archive of journalistic, critical, and historical sources—in and beyond jazz—to delineate the contours of virtuosity’s everyday reproduction. I argue that the woodshed and woodshedding mark a constitutive ideological moment in the dynamic between private practice and public performance, a moment that uniquely expresses the gendered logic of social reproduction under capitalism. Attention to the woodshed illuminates largely unexplored relations between musical practice, reproductive labor, and aesthetic exemplarity that together constitute a dominant ideology of music-making in the United States.
{"title":"Woodshedding","authors":"Benjamin Oyler","doi":"10.5429/2079-3871(2023)v13i1.10en","DOIUrl":"https://doi.org/10.5429/2079-3871(2023)v13i1.10en","url":null,"abstract":"In the jazz imaginary, taking one’s “axe” to the fictive “woodshed” has long described a solitary and disciplined process of cultivating virtuosic skill in preparation for the competitive arenas of public performance. Despite an abundance of jazz research, the woodshed and its complex social, aesthetic, and political entailments have gone almost entirely unaddressed in the literature. This paper traces the emergence of this peculiar object through a diverse archive of journalistic, critical, and historical sources—in and beyond jazz—to delineate the contours of virtuosity’s everyday reproduction. I argue that the woodshed and woodshedding mark a constitutive ideological moment in the dynamic between private practice and public performance, a moment that uniquely expresses the gendered logic of social reproduction under capitalism. Attention to the woodshed illuminates largely unexplored relations between musical practice, reproductive labor, and aesthetic exemplarity that together constitute a dominant ideology of music-making in the United States.","PeriodicalId":36498,"journal":{"name":"IASPM Journal","volume":"39 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-07-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139354107","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 : 2023-07-28DOI: 10.5429/2079-3871(2023)v13i1.3en
Paula Wolfe
Instinctively I have always kept my own music making and producing separate from my research. However, in three recent presentations I have tentatively drawn on my own self-production practice to consider firstly, how it has intersected with what has been a more conventional ethnographic research approach and secondly, to shine a spotlight on the creative process itself examining, in particular, on those ‘triggers’ in the production process that serve to evoke a fresh emotional response necessary for an acceptable recorded performance, particularly when the material is very familiar. Drawing on current practice, this article builds on this work to examine this notion of ‘surprising oneself’ and to argue, that not only is it a key facet of the art form but is wholly necessary for the artist-producer to maintain a fresh approach in the compositional, performative and subsequent editing and mixing process.
{"title":"Self Production","authors":"Paula Wolfe","doi":"10.5429/2079-3871(2023)v13i1.3en","DOIUrl":"https://doi.org/10.5429/2079-3871(2023)v13i1.3en","url":null,"abstract":"Instinctively I have always kept my own music making and producing separate from my research. However, in three recent presentations I have tentatively drawn on my own self-production practice to consider firstly, how it has intersected with what has been a more conventional ethnographic research approach and secondly, to shine a spotlight on the creative process itself examining, in particular, on those ‘triggers’ in the production process that serve to evoke a fresh emotional response necessary for an acceptable recorded performance, particularly when the material is very familiar. Drawing on current practice, this article builds on this work to examine this notion of ‘surprising oneself’ and to argue, that not only is it a key facet of the art form but is wholly necessary for the artist-producer to maintain a fresh approach in the compositional, performative and subsequent editing and mixing process.","PeriodicalId":36498,"journal":{"name":"IASPM Journal","volume":"50 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-07-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139354076","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 : 2023-07-28DOI: 10.5429/2079-3871(2023)v13i1.5en
Dr Brendan Anthony, Henry Cook, Brett Voss
Popular music pedagogy has for decades educated students in the foundational skills of music production. Yet the agency of professional practitioners illuminates that music producers also utilise tacit skills in communication and psychology to garnish musical works that target aesthetic intentions. These soft skills take time to develop in young people and so pedagogy in this field must target this at the beginning of a student’s higher education journey. Pedagogy in this field is complex and previous research efforts have highlighted the usefulness of integrated formal and practice-led collaborative educational approaches. This study develops this discourse further by investigating the utility of pedagogical video resources used in a flipped educational framework. The subsequent case study of the course MPP 1 found that students valued this approach and highlighted video length, accessibility and the educator’s embodiment of practitioner traits as integral to their learning more holistic approaches to popular music production.
{"title":"“Be the Signal”","authors":"Dr Brendan Anthony, Henry Cook, Brett Voss","doi":"10.5429/2079-3871(2023)v13i1.5en","DOIUrl":"https://doi.org/10.5429/2079-3871(2023)v13i1.5en","url":null,"abstract":"Popular music pedagogy has for decades educated students in the foundational skills of music production. Yet the agency of professional practitioners illuminates that music producers also utilise tacit skills in communication and psychology to garnish musical works that target aesthetic intentions. These soft skills take time to develop in young people and so pedagogy in this field must target this at the beginning of a student’s higher education journey. Pedagogy in this field is complex and previous research efforts have highlighted the usefulness of integrated formal and practice-led collaborative educational approaches. This study develops this discourse further by investigating the utility of pedagogical video resources used in a flipped educational framework. The subsequent case study of the course MPP 1 found that students valued this approach and highlighted video length, accessibility and the educator’s embodiment of practitioner traits as integral to their learning more holistic approaches to popular music production.","PeriodicalId":36498,"journal":{"name":"IASPM Journal","volume":"31 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-07-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139354109","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 : 2023-07-28DOI: 10.5429/2079-3871(2023)v13i1.8en
Chris Whiting
Valuing is a sub task of the creative process where the agent of creativity evaluates the possibles afforded to them by the domain and field. To make such evaluations the agent must apply their domain knowledge and an internalised system of the field . This paper explores how the songwriter, as agent, constructs a criterion of appropriateness based on such knowledge through which to assess their creative possibilities. These criteria conceived by the songwriter operates as a competent yet fallible audience. The valuing process is progressive, moving from the imagined audience of the songwriting agent to be refined by developmental interactions with songwriting, production and record label teams. We may also transfer such a criterion to the audience, as a criterion of effectiveness, in which the chosen ideas are evaluated.
{"title":"Valuing in Songwriting","authors":"Chris Whiting","doi":"10.5429/2079-3871(2023)v13i1.8en","DOIUrl":"https://doi.org/10.5429/2079-3871(2023)v13i1.8en","url":null,"abstract":"Valuing is a sub task of the creative process where the agent of creativity evaluates the possibles afforded to them by the domain and field. To make such evaluations the agent must apply their domain knowledge and an internalised system of the field . This paper explores how the songwriter, as agent, constructs a criterion of appropriateness based on such knowledge through which to assess their creative possibilities. These criteria conceived by the songwriter operates as a competent yet fallible audience. The valuing process is progressive, moving from the imagined audience of the songwriting agent to be refined by developmental interactions with songwriting, production and record label teams. We may also transfer such a criterion to the audience, as a criterion of effectiveness, in which the chosen ideas are evaluated.","PeriodicalId":36498,"journal":{"name":"IASPM Journal","volume":"41 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-07-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139354009","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 : 2023-07-28DOI: 10.5429/2079-3871(2023)v13i1.1en
Simon Zagorski-Thomas, Anthony Kwame Harrison, Laura Jordán González
{"title":"Practice Research Special Issue Editorial","authors":"Simon Zagorski-Thomas, Anthony Kwame Harrison, Laura Jordán González","doi":"10.5429/2079-3871(2023)v13i1.1en","DOIUrl":"https://doi.org/10.5429/2079-3871(2023)v13i1.1en","url":null,"abstract":"","PeriodicalId":36498,"journal":{"name":"IASPM Journal","volume":"41 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-07-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139354110","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 : 2023-07-28DOI: 10.5429/2079-3871(2023)v13i1.9en
Paul Thompson, Phil Harding
Formal popular music education (PME) faces a number of challenges; not least how to sufficiently engage learners in creative tasks that help to develop their skills and knowledge, whilst at the same time preparing them for employment in the: ‘ever-changing dynamic of the industries they hope to work in’ (McIntyre et al, 2016, p. 2). The following study draws upon data gathered during a Practice Based Enquiry (PBE) and the specific context of teaching pop music songwriting and production is explored through the application of the ‘Service Model’ for Pop Music, Creativity and Commerce by an experienced pop music producer undertaking the role of researcher and ‘ETL’ (ETL). Importantly, it it illustrates how to engage learners within an industry-style creative task and shows how the team leader’s role can help to give students important access to the social interactions of the field throughout the process.
正规的流行音乐教育（PME）面临着许多挑战；尤其是如何让学习者充分参与到有助于发展其技能和知识的创造性任务中，同时为他们在 "他们希望从事的行业中不断变化的动态"（McIntyre et al, 2016, p.2）中就业做好准备：他们希望从事的行业动态不断变化"（McIntyre et al, 2016, p.2）。 以下研究借鉴了在基于实践的探究（PBE）过程中收集的数据，并通过一位经验丰富的流行音乐制作人以研究者和 "ETL"（电子教学法）的身份应用流行音乐、创意和商业的 "服务模式"，探讨了流行音乐歌曲创作和制作教学的具体情况。 重要的是，它说明了如何让学习者参与到行业式的创意任务中，并展示了团队领导者的角色如何在整个过程中帮助学生获得参与该领域社会互动的重要机会。
{"title":"Creativity and Education","authors":"Paul Thompson, Phil Harding","doi":"10.5429/2079-3871(2023)v13i1.9en","DOIUrl":"https://doi.org/10.5429/2079-3871(2023)v13i1.9en","url":null,"abstract":"Formal popular music education (PME) faces a number of challenges; not least how to sufficiently engage learners in creative tasks that help to develop their skills and knowledge, whilst at the same time preparing them for employment in the: ‘ever-changing dynamic of the industries they hope to work in’ (McIntyre et al, 2016, p. 2). The following study draws upon data gathered during a Practice Based Enquiry (PBE) and the specific context of teaching pop music songwriting and production is explored through the application of the ‘Service Model’ for Pop Music, Creativity and Commerce by an experienced pop music producer undertaking the role of researcher and ‘ETL’ (ETL). Importantly, it it illustrates how to engage learners within an industry-style creative task and shows how the team leader’s role can help to give students important access to the social interactions of the field throughout the process.","PeriodicalId":36498,"journal":{"name":"IASPM Journal","volume":"21 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-07-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139354064","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 : 2023-07-28DOI: 10.5429/2079-3871(2023)v13i1.12en
Wolf-Georg Zaddach
The article discusses artistic research as a new paradigm. For this purpose, a contextualizing analysis on practice research is first conducted. Thereby, the essential points of criticism and potentials of artistic research are elaborated from the point of view of epistemic injustice and decolonizing approaches. Following on from this, artistic research is discussed as a promising approach to research and teaching in popular music. Topics and perspectives are suggested, and ultimately a call is made for collaborative research to develop a ‘mosaic epistemology’ and ‘epistemological pluralism’.
{"title":"Artistic Research in Popular Music: A Critical Evaluation of Potentials and Challenges","authors":"Wolf-Georg Zaddach","doi":"10.5429/2079-3871(2023)v13i1.12en","DOIUrl":"https://doi.org/10.5429/2079-3871(2023)v13i1.12en","url":null,"abstract":"The article discusses artistic research as a new paradigm. For this purpose, a contextualizing analysis on practice research is first conducted. Thereby, the essential points of criticism and potentials of artistic research are elaborated from the point of view of epistemic injustice and decolonizing approaches. Following on from this, artistic research is discussed as a promising approach to research and teaching in popular music. Topics and perspectives are suggested, and ultimately a call is made for collaborative research to develop a ‘mosaic epistemology’ and ‘epistemological pluralism’.","PeriodicalId":36498,"journal":{"name":"IASPM Journal","volume":"54 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-07-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139354081","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 : 2021-12-24DOI: 10.5429/2079-3871(2021)v11i2.4en
Israel Holas Allimant, Sergio Holas
This article proposes a decolonial reading of the rock music produced by Los Jaivas in Chile during the late sixties and early seventies by putting it in dialogue with Rodolfo Kusch’s work on identity and Walter Mignolo’s notion of decolonial aesthesis. By highlighting Indigenous melodies, rhythms, ideas and experiences in the rock genre, Los Jaivas propose an alternative conception of the Chilean subject as Andean and not exclusively displaced-European, as maintained by Chile’s institutions and mainstream culture. The music produced by Los Jaivas articulates a decolonial attitude. It recognises Indigenous values as an integral part of Chilean reality, adding a deeper dimension to the political critique of capitalism that occurred during the Unidad Popular period (1970-1973). Through the enduring music of their first albums and singles, Los Jaivas create an instance of decolonial aesthesis that has profoundly altered Chilean discourses of national identity.
{"title":"Los Jaivas: Toward a Decolonial Attitude in Chilean Psychedelic Rock","authors":"Israel Holas Allimant, Sergio Holas","doi":"10.5429/2079-3871(2021)v11i2.4en","DOIUrl":"https://doi.org/10.5429/2079-3871(2021)v11i2.4en","url":null,"abstract":"This article proposes a decolonial reading of the rock music produced by Los Jaivas in Chile during the late sixties and early seventies by putting it in dialogue with Rodolfo Kusch’s work on identity and Walter Mignolo’s notion of decolonial aesthesis. By highlighting Indigenous melodies, rhythms, ideas and experiences in the rock genre, Los Jaivas propose an alternative conception of the Chilean subject as Andean and not exclusively displaced-European, as maintained by Chile’s institutions and mainstream culture. The music produced by Los Jaivas articulates a decolonial attitude. It recognises Indigenous values as an integral part of Chilean reality, adding a deeper dimension to the political critique of capitalism that occurred during the Unidad Popular period (1970-1973). Through the enduring music of their first albums and singles, Los Jaivas create an instance of decolonial aesthesis that has profoundly altered Chilean discourses of national identity.","PeriodicalId":36498,"journal":{"name":"IASPM Journal","volume":"86 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74859191","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 : 2021-12-24DOI: 10.5429/2079-3871(2021)v11i2.2en
Liz Przybylski
{"title":"Indigenizing the Mainstream: Music Festivals and Indigenous Popular Music","authors":"Liz Przybylski","doi":"10.5429/2079-3871(2021)v11i2.2en","DOIUrl":"https://doi.org/10.5429/2079-3871(2021)v11i2.2en","url":null,"abstract":"","PeriodicalId":36498,"journal":{"name":"IASPM Journal","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90387353","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 : 2021-12-24DOI: 10.5429/2079-3871(2021)v11i2.3en
Jon Bullock
Divided between empires and nation-states for centuries the Kurds have, by and large, been excluded from discourses of indigeneity. In a similar manner, musical practice among the Kurds cannot be easily cajoled into Western categories such as folk/popular. How then might scholars begin to approach the decolonization of research describing Kurdish musical practice? In this article, I propose that one important step in this process is learning to pay closer attention to the ways Kurdish musicians themselves have challenged the colonial legacy, adeptly navigating, challenging, and sometimes simply ignoring the political, linguistic, and cultural boundaries established by their colonizers. As an example of this practice, I describe key moments of resistance in the early history of Kurdish Radio Baghdad. I argue that accepting these acts of resistance as a form of indigenous musical discourse is an important first step toward the decolonization of Western knowledge in this regard.
{"title":"Decolonizing the Boundaries: Indigenous Musical Discourse in the History of Kurdish Radio Baghdad","authors":"Jon Bullock","doi":"10.5429/2079-3871(2021)v11i2.3en","DOIUrl":"https://doi.org/10.5429/2079-3871(2021)v11i2.3en","url":null,"abstract":"Divided between empires and nation-states for centuries the Kurds have, by and large, been excluded from discourses of indigeneity. In a similar manner, musical practice among the Kurds cannot be easily cajoled into Western categories such as folk/popular. How then might scholars begin to approach the decolonization of research describing Kurdish musical practice? In this article, I propose that one important step in this process is learning to pay closer attention to the ways Kurdish musicians themselves have challenged the colonial legacy, adeptly navigating, challenging, and sometimes simply ignoring the political, linguistic, and cultural boundaries established by their colonizers. As an example of this practice, I describe key moments of resistance in the early history of Kurdish Radio Baghdad. I argue that accepting these acts of resistance as a form of indigenous musical discourse is an important first step toward the decolonization of Western knowledge in this regard.","PeriodicalId":36498,"journal":{"name":"IASPM Journal","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82157763","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}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：