Pub Date : 2023-07-31DOI: 10.5429/2079-3871(2023)v13i2.5en
Ondrej Daniel
In this study, I aim to discuss the nature of protest dances taking place in urban spaces of postsocialist Czech Republic. My point of departure consist in the hardbass masked dances that were produced and propagated by activists with links to far-right social movements mainly in Eastern Europe in the early 2010s. Hardbass thus mimicked the earlier anti-globalization social movement Reclaim the Streets (RTS). The anti-globalization movement of the late 1990s and early 2000s can be considered a truly global social movement, active not only in the core capitalist countries but also in locations that are more peripheral.
{"title":"From Street Parties to Hardbass: Dance and Protest in Czech Postsocialist Urban Space","authors":"Ondrej Daniel","doi":"10.5429/2079-3871(2023)v13i2.5en","DOIUrl":"https://doi.org/10.5429/2079-3871(2023)v13i2.5en","url":null,"abstract":"In this study, I aim to discuss the nature of protest dances taking place in urban spaces of postsocialist Czech Republic. My point of departure consist in the hardbass masked dances that were produced and propagated by activists with links to far-right social movements mainly in Eastern Europe in the early 2010s. Hardbass thus mimicked the earlier anti-globalization social movement Reclaim the Streets (RTS). The anti-globalization movement of the late 1990s and early 2000s can be considered a truly global social movement, active not only in the core capitalist countries but also in locations that are more peripheral.","PeriodicalId":36498,"journal":{"name":"IASPM Journal","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-07-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139353176","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 : 2023-07-31DOI: 10.5429/2079-3871(2023)v13i2.3en
Grace shinhae Jun, Anthony Blacksher
In this paper, members of COLLECTIVE reflect on the show Illegible and the specific performance for Mr. Olango’s family. Using an auto-ethnographic approach, this paper explores the role of artists in transforming critical scholarship and social protests into social justice advocacy, particularly around issues of representation, inequality, systemic racism, and police violence as experienced by Black men. In exploring the creative processes and impact of this performance, Illegible offers lyrics, movement, and music as representative of distinct and collaborative protests against anti-Black racism.
{"title":"Illegible Representations, Collaborative Protests","authors":"Grace shinhae Jun, Anthony Blacksher","doi":"10.5429/2079-3871(2023)v13i2.3en","DOIUrl":"https://doi.org/10.5429/2079-3871(2023)v13i2.3en","url":null,"abstract":"In this paper, members of COLLECTIVE reflect on the show Illegible and the specific performance for Mr. Olango’s family. Using an auto-ethnographic approach, this paper explores the role of artists in transforming critical scholarship and social protests into social justice advocacy, particularly around issues of representation, inequality, systemic racism, and police violence as experienced by Black men. In exploring the creative processes and impact of this performance, Illegible offers lyrics, movement, and music as representative of distinct and collaborative protests against anti-Black racism.","PeriodicalId":36498,"journal":{"name":"IASPM Journal","volume":"49 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-07-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139353150","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 : 2023-07-31DOI: 10.5429/2079-3871(2023)v13i2.4en
Maggie Leung
Through the 2003 and 2014 protests in Hong Kong, this paper proposes using choreographic analysis for the study of social movements in terms of corporal movements. By looking at the organization of actions and creation of postures and gestures and all the movements driven by the mental force lyricism, choreographic analysis seeks to identify and articulate the infinite potential, realized and not, revealed in a revolution, that marks the latter as a singular moment of eternity that produces new thoughts. As the case of Hong Kong shows in the light of this method, the site of radical politics locates in the persisting colonial alienation that separates the people from the authority.
{"title":"The lyricism of revolution: A choreographic analysis of the 2003 and 2014 protests in Hong Kong","authors":"Maggie Leung","doi":"10.5429/2079-3871(2023)v13i2.4en","DOIUrl":"https://doi.org/10.5429/2079-3871(2023)v13i2.4en","url":null,"abstract":"Through the 2003 and 2014 protests in Hong Kong, this paper proposes using choreographic analysis for the study of social movements in terms of corporal movements. By looking at the organization of actions and creation of postures and gestures and all the movements driven by the mental force lyricism, choreographic analysis seeks to identify and articulate the infinite potential, realized and not, revealed in a revolution, that marks the latter as a singular moment of eternity that produces new thoughts. As the case of Hong Kong shows in the light of this method, the site of radical politics locates in the persisting colonial alienation that separates the people from the authority.","PeriodicalId":36498,"journal":{"name":"IASPM Journal","volume":"17 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-07-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139353250","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)v13i1.4en
N. J. Shea
Researchers and performers have long intuited that popular music’s organizational features are linked to the physical-tonal properties of the electric guitar. Yet current evidence is either too broad or too specific to support reliable generalizations. Ongoing corpus studies offer remarkable explanatory power in clarifying stylistic trends from a listener’s perspective but are not currently equipped to address the kinesthetic aspects of instrument performance. In this study I employ statistical methods of corpus analysis to explore how popular-music guitarists navigate the fretboard. I do so via a digital collection of guitar tablature: 257 rhythm-guitar parts sampled from seven decades of songs (1954–2019). An analysis of fretboard transitions reveals a highly idiomatic fretboard profile that aligns best with the minor pentatonic scale. This empirically supports standing intuitions about the relationship between pentatonicism and guitar performance, while underscoring the methodological and potential ethical shortcomings of a strictly harmonic perspective on popular music’s organization.
{"title":"\"Guitar Thinking\" and \"Genre Thinking\" among an Online Community of Guitarists","authors":"N. J. Shea","doi":"10.5429/2079-3871(2023)v13i1.4en","DOIUrl":"https://doi.org/10.5429/2079-3871(2023)v13i1.4en","url":null,"abstract":"Researchers and performers have long intuited that popular music’s organizational features are linked to the physical-tonal properties of the electric guitar. Yet current evidence is either too broad or too specific to support reliable generalizations. Ongoing corpus studies offer remarkable explanatory power in clarifying stylistic trends from a listener’s perspective but are not currently equipped to address the kinesthetic aspects of instrument performance. In this study I employ statistical methods of corpus analysis to explore how popular-music guitarists navigate the fretboard. I do so via a digital collection of guitar tablature: 257 rhythm-guitar parts sampled from seven decades of songs (1954–2019). An analysis of fretboard transitions reveals a highly idiomatic fretboard profile that aligns best with the minor pentatonic scale. This empirically supports standing intuitions about the relationship between pentatonicism and guitar performance, while underscoring the methodological and potential ethical shortcomings of a strictly harmonic perspective on popular music’s organization.","PeriodicalId":36498,"journal":{"name":"IASPM Journal","volume":"52 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-07-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139354013","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)v13i1.2en
Ingrid M. Tolstad
The established industry practices of collaborative songwriting sessions and camps are vital sites for the acquisition and transferal of songwriting skills and knowledge. While there is a limited body of research into collaborative songwriting and writing camps as such, there is even less academic work done on their role as (informal) settings for training and education of songwriters. Based on fieldwork in an international songwriting camp, the article maps out and explores how aspiring songwriters are socialized into the creative practices of songwriting. Understanding collaborative songwriting as a form of social interaction, and thus inherently characterized by unequal distributions of and negotiations over (creative) power, it analyzes its frameworks of knowledge as an assemblage that is continuously (re-)produced through its ongoing interactional practices.
{"title":"“Bring Your A-game and Leave your Ego at the Door!”","authors":"Ingrid M. Tolstad","doi":"10.5429/2079-3871(2023)v13i1.2en","DOIUrl":"https://doi.org/10.5429/2079-3871(2023)v13i1.2en","url":null,"abstract":"The established industry practices of collaborative songwriting sessions and camps are vital sites for the acquisition and transferal of songwriting skills and knowledge. While there is a limited body of research into collaborative songwriting and writing camps as such, there is even less academic work done on their role as (informal) settings for training and education of songwriters. Based on fieldwork in an international songwriting camp, the article maps out and explores how aspiring songwriters are socialized into the creative practices of songwriting. Understanding collaborative songwriting as a form of social interaction, and thus inherently characterized by unequal distributions of and negotiations over (creative) power, it analyzes its frameworks of knowledge as an assemblage that is continuously (re-)produced through its ongoing interactional practices.","PeriodicalId":36498,"journal":{"name":"IASPM Journal","volume":"92 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-07-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139354079","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)v13i1.10en
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)v13i1.11en
Nick Braae, David Sidwell, Jeremy Mayall, K. Chuen
This paper functions as an exegesis of a recent New Zealand musical, Mum’s Kitchen. The show was a creative practice research project and involved a collaborative writing/composition process with a team of four creatives. The article explores explore the confluence of musical voices within the work with a focus on the distinct musical choices made in relation to particular narrative themes. Taking a cue from Murphy (2014), we analyse the songs in Mum’s Kitchen that directly express loss and nostalgia. We suggest that the two composers have their own strategies for “scoring” this theme: use of “anachronistic” styles (such as a country ballad) to evoke a past era, and a collection of contemporary harmonic devices (open chord voicings, harmonic ambiguity) that evoke emptiness and uncertainty. We then argue that [author] as orchestrator both unified these voices through a consistent sound palette, while also emphasising these themes through his sonic choices.
{"title":"Scoring Loss in a Contemporary New Zealand Musical","authors":"Nick Braae, David Sidwell, Jeremy Mayall, K. Chuen","doi":"10.5429/2079-3871(2023)v13i1.11en","DOIUrl":"https://doi.org/10.5429/2079-3871(2023)v13i1.11en","url":null,"abstract":"This paper functions as an exegesis of a recent New Zealand musical, Mum’s Kitchen. The show was a creative practice research project and involved a collaborative writing/composition process with a team of four creatives. The article explores explore the confluence of musical voices within the work with a focus on the distinct musical choices made in relation to particular narrative themes. Taking a cue from Murphy (2014), we analyse the songs in Mum’s Kitchen that directly express loss and nostalgia. We suggest that the two composers have their own strategies for “scoring” this theme: use of “anachronistic” styles (such as a country ballad) to evoke a past era, and a collection of contemporary harmonic devices (open chord voicings, harmonic ambiguity) that evoke emptiness and uncertainty. We then argue that [author] as orchestrator both unified these voices through a consistent sound palette, while also emphasising these themes through his sonic choices.","PeriodicalId":36498,"journal":{"name":"IASPM Journal","volume":"125 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-07-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139353994","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)v13i1.6en
Tom Sykes
This article is a critical reflection of a small, practice-based project involving a university big band. Music was written specially for the project by the author, who is the band director, and this big band is an extra-curricular ensemble made up of both students and musicians from the local community. The project uses an Artistic Research approach, in which insights are gained through the practice and for which the artistic artefacts (in this case two pieces of music) form a significant part of the research. After the performances some of the band members were interviewed about their experience of the project and other aspects of playing in the band. Artistic Research is an increasingly used practice-based method in jazz research and there is scope for it to be utilized more widely in popular music.
{"title":"Learning Music for Fun, Not Credit","authors":"Tom Sykes","doi":"10.5429/2079-3871(2023)v13i1.6en","DOIUrl":"https://doi.org/10.5429/2079-3871(2023)v13i1.6en","url":null,"abstract":"This article is a critical reflection of a small, practice-based project involving a university big band. Music was written specially for the project by the author, who is the band director, and this big band is an extra-curricular ensemble made up of both students and musicians from the local community. The project uses an Artistic Research approach, in which insights are gained through the practice and for which the artistic artefacts (in this case two pieces of music) form a significant part of the research. After the performances some of the band members were interviewed about their experience of the project and other aspects of playing in the band. Artistic Research is an increasingly used practice-based method in jazz research and there is scope for it to be utilized more widely in popular music.","PeriodicalId":36498,"journal":{"name":"IASPM Journal","volume":"22 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-07-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139354085","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)v13i1.13sp
Carolina Santamaría-Delgado
Through the analysis of the institutional culture of a local record company, the article explores the role of medium-size record companies in the consolidation of market categories around musical genres and styles in mid-20th century Colombia. Starting from the questioning of the pertinence of using the concept of independent label in the Latin American context, specific aspects of Ondina Fonográfica's business are explored, such as technological independence, commercial strategies, the search for local artists, the opening of markets and the establishment of niches, and the organization of the catalog and the target audiences. The exercise highlights important differences with the majors/indies model extensively used to study the record industries in the Anglo-American context, such as unimportant role of talent scouts and a conservative tendency towards the creation of new market niches in small record labels. At the end, new routes are proposed to explore more complex systems than the classic binary model, using less deterministic concepts to study the richness of sound exchanges fostered by the recording industries in Latin America throughout the 20th century.
{"title":"Disqueras intermedias, categorías de mercado y cultura institucional de las disqueras en Colombia: el caso de Discos Ondina","authors":"Carolina Santamaría-Delgado","doi":"10.5429/2079-3871(2023)v13i1.13sp","DOIUrl":"https://doi.org/10.5429/2079-3871(2023)v13i1.13sp","url":null,"abstract":"Through the analysis of the institutional culture of a local record company, the article explores the role of medium-size record companies in the consolidation of market categories around musical genres and styles in mid-20th century Colombia. Starting from the questioning of the pertinence of using the concept of independent label in the Latin American context, specific aspects of Ondina Fonográfica's business are explored, such as technological independence, commercial strategies, the search for local artists, the opening of markets and the establishment of niches, and the organization of the catalog and the target audiences. The exercise highlights important differences with the majors/indies model extensively used to study the record industries in the Anglo-American context, such as unimportant role of talent scouts and a conservative tendency towards the creation of new market niches in small record labels. At the end, new routes are proposed to explore more complex systems than the classic binary model, using less deterministic concepts to study the richness of sound exchanges fostered by the recording industries in Latin America throughout the 20th century.","PeriodicalId":36498,"journal":{"name":"IASPM Journal","volume":"33 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-07-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139354133","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)v13i1.7en
Sergio Pisfil
Important changes in British live sound occurred in the early 1970s: Companies such as Feldon Audio began importing US components like JBL and transformed the industry, venues started to install costume-built systems that were capable of successfully amplifying rock acts, sound companies made millionaire investments to improve sound technology, England became a leader in mixing consoles manufacturing, US speaker cabinet designs influenced a new era in sound. Despite these key economic and material changes, in this article I argue that an equally important shift in live sound occurred in the late 1960s. Instead of drastic technological improvement, concert sound developed thanks to a new actor in the music industry: roadies. Drawing from archival research and semi structured interviews to British roadies active in the late 1960s, this article focuses on their practices and puts them at the center of live sound development.
{"title":"British Rock Roadies","authors":"Sergio Pisfil","doi":"10.5429/2079-3871(2023)v13i1.7en","DOIUrl":"https://doi.org/10.5429/2079-3871(2023)v13i1.7en","url":null,"abstract":"Important changes in British live sound occurred in the early 1970s: Companies such as Feldon Audio began importing US components like JBL and transformed the industry, venues started to install costume-built systems that were capable of successfully amplifying rock acts, sound companies made millionaire investments to improve sound technology, England became a leader in mixing consoles manufacturing, US speaker cabinet designs influenced a new era in sound. Despite these key economic and material changes, in this article I argue that an equally important shift in live sound occurred in the late 1960s. Instead of drastic technological improvement, concert sound developed thanks to a new actor in the music industry: roadies. Drawing from archival research and semi structured interviews to British roadies active in the late 1960s, this article focuses on their practices and puts them at the center of live sound development.","PeriodicalId":36498,"journal":{"name":"IASPM Journal","volume":"43 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-07-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139354102","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}
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