Pub Date : 2019-10-12DOI: 10.5429/2079-3871(2019)v9i1.4en
Heikki Uimonen
In the seventies live music associations were established across Finland. They challenged the prevailing practices of event production and became major players in the live music business. In City of Seinajoki the associations were stabilised as part of the local music culture and still play a crucial role in transforming promotional practices related to popular music by running one of the biggest rock festivals in Finland since 1979. The article’s theoretical starting point is to take into account how music culture consists of ideas, activities, institutions and material objects in general and how to understand the relationships between the promoters of live music events and their surrounding societies. It clarifies the symbiotic relationship between associations, the political and cultural institutions and what developments helped associations to become transregionally and transnationally influential cultural actors.
{"title":"Practical Idealism: Live Music Associations and the Revitalization of the Music Festival Scene","authors":"Heikki Uimonen","doi":"10.5429/2079-3871(2019)v9i1.4en","DOIUrl":"https://doi.org/10.5429/2079-3871(2019)v9i1.4en","url":null,"abstract":"In the seventies live music associations were established across Finland. They challenged the prevailing practices of event production and became major players in the live music business. In City of Seinajoki the associations were stabilised as part of the local music culture and still play a crucial role in transforming promotional practices related to popular music by running one of the biggest rock festivals in Finland since 1979. The article’s theoretical starting point is to take into account how music culture consists of ideas, activities, institutions and material objects in general and how to understand the relationships between the promoters of live music events and their surrounding societies. It clarifies the symbiotic relationship between associations, the political and cultural institutions and what developments helped associations to become transregionally and transnationally influential cultural actors.","PeriodicalId":36498,"journal":{"name":"IASPM Journal","volume":"9 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-10-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87625419","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 : 2019-10-12DOI: 10.5429/2079-3871(2019)v9i1.3en
Daniel Fredriksson
This article discusses the Swedish festival Falun Folk Music Festival (FFF) and makes use of interviews with key organisers, readings of festival brochures, and other material. I begin with a look at the intentions, motivations and negotiations of the organisers leading up to the first festival in 1986, and from there I discuss the way FFF contributed to a change in Swedish folk music discourse towards logics of professionalisation and cosmopolitanism. FFF negotiated between professionals and amateurs, traditionalists and experimentalists. This paved the way for a vast palette of musical traditions, soon to be called “world music”, to reach a Swedish audience. I argue that the cosmopolitanism of FFF, rather than being the main ideological goal of the organisers, worked as a means to an end, namely the professionalisation and artistic recognition of Swedish folk traditions. It also seems to have made the festival relevant in the cultural policy climate of the time.
{"title":"“From Dalarna to The Orient”: Falun Folk Music Festival","authors":"Daniel Fredriksson","doi":"10.5429/2079-3871(2019)v9i1.3en","DOIUrl":"https://doi.org/10.5429/2079-3871(2019)v9i1.3en","url":null,"abstract":"This article discusses the Swedish festival Falun Folk Music Festival (FFF) and makes use of interviews with key organisers, readings of festival brochures, and other material. I begin with a look at the intentions, motivations and negotiations of the organisers leading up to the first festival in 1986, and from there I discuss the way FFF contributed to a change in Swedish folk music discourse towards logics of professionalisation and cosmopolitanism. FFF negotiated between professionals and amateurs, traditionalists and experimentalists. This paved the way for a vast palette of musical traditions, soon to be called “world music”, to reach a Swedish audience. I argue that the cosmopolitanism of FFF, rather than being the main ideological goal of the organisers, worked as a means to an end, namely the professionalisation and artistic recognition of Swedish folk traditions. It also seems to have made the festival relevant in the cultural policy climate of the time.","PeriodicalId":36498,"journal":{"name":"IASPM Journal","volume":"37 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-10-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81695345","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 : 2019-10-12DOI: 10.5429/2079-3871(2019)v9i1.6en
P. Lell
World music festivals connect musicians with new audiences, offering possibilities for manifold forms of musical interaction. Festivals also offer sites where the discourse of “world music” itself is reproduced for an attending audience. My ethnographic research uncovered such processes of interaction between festival visitors, musicians and the festival environment. This paper examines those processes and raises a particular polemic: what is gained from interpreting world music festivals as sites of musical education? Drawing on academic literature about learning popular music (Green 2002, Schippers 2010) and data from ethnographic fieldwork conducted at WOMAD, UK and the Africa Festival, Germany, I suggest that musical appreciation at festivals is a form of music education. The notion of “music education” is extended and a model outlined providing various formative and descriptive parameters for the research topic. Several typologies for listening to and encountering the perceived music are described, constituting valuable forms of music learning. Further, the concept of “world music” and the visitors’ self-reflexivity about their own listening practices at music festivals is analysed to demonstrate how participants become critically aware of underlying discrepancies between perception and discourse. The findings outline that world music festivals can be seen as sites of musical education, and further suggestions are provided for this fruitful framing of the educational possibilities within music festival studies.
{"title":"Understanding World Music Festivals as Sites of Musical Education – An Ethnographic Approach","authors":"P. Lell","doi":"10.5429/2079-3871(2019)v9i1.6en","DOIUrl":"https://doi.org/10.5429/2079-3871(2019)v9i1.6en","url":null,"abstract":"World music festivals connect musicians with new audiences, offering possibilities for manifold forms of musical interaction. Festivals also offer sites where the discourse of “world music” itself is reproduced for an attending audience. My ethnographic research uncovered such processes of interaction between festival visitors, musicians and the festival environment. This paper examines those processes and raises a particular polemic: what is gained from interpreting world music festivals as sites of musical education? Drawing on academic literature about learning popular music (Green 2002, Schippers 2010) and data from ethnographic fieldwork conducted at WOMAD, UK and the Africa Festival, Germany, I suggest that musical appreciation at festivals is a form of music education. The notion of “music education” is extended and a model outlined providing various formative and descriptive parameters for the research topic. Several typologies for listening to and encountering the perceived music are described, constituting valuable forms of music learning. Further, the concept of “world music” and the visitors’ self-reflexivity about their own listening practices at music festivals is analysed to demonstrate how participants become critically aware of underlying discrepancies between perception and discourse. The findings outline that world music festivals can be seen as sites of musical education, and further suggestions are provided for this fruitful framing of the educational possibilities within music festival studies.","PeriodicalId":36498,"journal":{"name":"IASPM Journal","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-10-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90244204","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 : 2019-10-12DOI: 10.5429/2079-3871(2019)v9i1.7en
Bianca Ludewig
Over the past couple of decades, urban transmedia festivals have gained a distinct presence in the European cultural landscape, constituting an alternative to other, more dominant, conceptions of music festivals. This article introduces transmedia festivals as a new type of contemporary festival and situates them in wider urban processes. Transmedia festivals originated on the fringes of new urban scenes, in which media art was overlapping with electronic music and club culture. Based on multi-year field research, this article argues that these festivals have become part of urban renewal processes. The core focus of this article is therefore how transmedia festivals are part of processes such as eventization, culturalization, precarization, and gentrification. Local and EU-funding-policies, moreover, impose opportunities and dilemmas on urban festivals. The article is a contribution to the still small area of cultural and urban studies on such festivals in Europe, and situates transmedia festivals within urban cultural change.
{"title":"Transmedia Festivals and the Accelerated Cultural Sector","authors":"Bianca Ludewig","doi":"10.5429/2079-3871(2019)v9i1.7en","DOIUrl":"https://doi.org/10.5429/2079-3871(2019)v9i1.7en","url":null,"abstract":"Over the past couple of decades, urban transmedia festivals have gained a distinct presence in the European cultural landscape, constituting an alternative to other, more dominant, conceptions of music festivals. This article introduces transmedia festivals as a new type of contemporary festival and situates them in wider urban processes. Transmedia festivals originated on the fringes of new urban scenes, in which media art was overlapping with electronic music and club culture. Based on multi-year field research, this article argues that these festivals have become part of urban renewal processes. The core focus of this article is therefore how transmedia festivals are part of processes such as eventization, culturalization, precarization, and gentrification. Local and EU-funding-policies, moreover, impose opportunities and dilemmas on urban festivals. The article is a contribution to the still small area of cultural and urban studies on such festivals in Europe, and situates transmedia festivals within urban cultural change.","PeriodicalId":36498,"journal":{"name":"IASPM Journal","volume":"48 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-10-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76766918","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 : 2018-12-01DOI: 10.5429/2079-3871(2018)V8I2.3EN
Jan Herbst, Tim Albrecht
Among the professional roles in the recording industry, studio musicians have received relatively little academic attention. The present study explores the work realities of professional studio musicians in Germany, one of the largest music industries in the world, and is based on interviews with six pop musicians; guitarists, bassists, keyboardists and drummers who are between 27 and 66 years old. The findings show how changes in the recording industry - most notably dwindling budgets, the rise of project studios and virtual collaboration - have affected working practices, skill requirements and business models. The findings indicate that in Germany it is hardly possible to make a living from studio work as a professional musician. This is true even for leading session players. Sinking fees and the lack of access to royalties pose a problem that is not tackled due to fierce competition and the risk of damaging one’s reputation.
{"title":"The Work Realities of Professional Studio Musicians in the German Popular Music Recording Industry: Careers, Practices and Economic Situations","authors":"Jan Herbst, Tim Albrecht","doi":"10.5429/2079-3871(2018)V8I2.3EN","DOIUrl":"https://doi.org/10.5429/2079-3871(2018)V8I2.3EN","url":null,"abstract":"Among the professional roles in the recording industry, studio musicians have received relatively little academic attention. The present study explores the work realities of professional studio musicians in Germany, one of the largest music industries in the world, and is based on interviews with six pop musicians; guitarists, bassists, keyboardists and drummers who are between 27 and 66 years old. The findings show how changes in the recording industry - most notably dwindling budgets, the rise of project studios and virtual collaboration - have affected working practices, skill requirements and business models. The findings indicate that in Germany it is hardly possible to make a living from studio work as a professional musician. This is true even for leading session players. Sinking fees and the lack of access to royalties pose a problem that is not tackled due to fierce competition and the risk of damaging one’s reputation.","PeriodicalId":36498,"journal":{"name":"IASPM Journal","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45305156","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 : 2018-12-01DOI: 10.5429/2079-3871(2018)V8I2.7EN
Karlyn King
{"title":"REVIEW | This is Not a Remix: Piracy, Authenticity and Popular Music","authors":"Karlyn King","doi":"10.5429/2079-3871(2018)V8I2.7EN","DOIUrl":"https://doi.org/10.5429/2079-3871(2018)V8I2.7EN","url":null,"abstract":"","PeriodicalId":36498,"journal":{"name":"IASPM Journal","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41843574","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 : 2018-12-01DOI: 10.5429/2079-3871(2018)v8i2.2en
Emília Barna, Ádám Ignácz
{"title":"Musical and Social Structures: Marxist Interpretations of Popular Music in the 1960s and 1970s: A Comparison of the UK and Hungary","authors":"Emília Barna, Ádám Ignácz","doi":"10.5429/2079-3871(2018)v8i2.2en","DOIUrl":"https://doi.org/10.5429/2079-3871(2018)v8i2.2en","url":null,"abstract":"","PeriodicalId":36498,"journal":{"name":"IASPM Journal","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45318191","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 : 2018-12-01DOI: 10.5429/2079-3871(2018)v8i2.4en
Paul Long
{"title":"Review | Power to the People: British Music Videos 1966-2016","authors":"Paul Long","doi":"10.5429/2079-3871(2018)v8i2.4en","DOIUrl":"https://doi.org/10.5429/2079-3871(2018)v8i2.4en","url":null,"abstract":"","PeriodicalId":36498,"journal":{"name":"IASPM Journal","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46733311","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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