{"title":"Christine Bacareza Balance. 2016. Tropical Renditions: Making Music Scenes in Filipino America. Durham, NC and London: Duke University Press. ISBN 978-0-82236-001-8 (pbk). 230 pp.","authors":"Jared Mackley-Crump","doi":"10.1558/PRBT.33584","DOIUrl":"https://doi.org/10.1558/PRBT.33584","url":null,"abstract":"","PeriodicalId":41217,"journal":{"name":"Perfect Beat","volume":"18 1","pages":"175-177"},"PeriodicalIF":0.2,"publicationDate":"2017-08-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1558/PRBT.33584","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46066188","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}
{"title":"Liveness and improficiency in the Clean's influence upon Dunedin Sound bands","authors":"D. Jorgensen","doi":"10.1558/prbt.33401","DOIUrl":"https://doi.org/10.1558/prbt.33401","url":null,"abstract":"","PeriodicalId":41217,"journal":{"name":"Perfect Beat","volume":"18 1","pages":"154-165"},"PeriodicalIF":0.2,"publicationDate":"2017-08-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45513868","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}
{"title":"Playing bluegrass in Australia across country and folk scenes","authors":"Miriam Jones","doi":"10.1558/prbt.33079","DOIUrl":"https://doi.org/10.1558/prbt.33079","url":null,"abstract":"","PeriodicalId":41217,"journal":{"name":"Perfect Beat","volume":"18 1","pages":"131-153"},"PeriodicalIF":0.2,"publicationDate":"2017-08-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1558/prbt.33079","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44223296","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}
{"title":"Cultural value and urban governance: A place for Melbourne’s music community at the policymaking table","authors":"Declan Martin","doi":"10.1558/PRBT.32968","DOIUrl":"https://doi.org/10.1558/PRBT.32968","url":null,"abstract":"","PeriodicalId":41217,"journal":{"name":"Perfect Beat","volume":"18 1","pages":"110-130"},"PeriodicalIF":0.2,"publicationDate":"2017-08-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1558/PRBT.32968","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45932490","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}
In recent decades the 'music city' has emerged as an important series (and exchanges) of representations, capital, labour, sounds and commodities. City heritage and histories-particular narratives of music development, genres, venues and personnel-continue to inform contemporary city branding, tourism and industrial strategies. This article explores how both the practices and discourses of the 'music city' circulate in terms of specific histories, and how, in turn, they might inform contemporary practices and future intent. Melbourne, the self-proclaimed music and cultural capital of Australia, is examined as a case study in how the past and present circulate. The article also explores the challenges in documenting the emergence and development of popular music in Melbourne from the 1950s to the present as a three-year Australian Research Council Discovery project, Interrogating the Music City: Cultural Economy and Popular Music in Melbourne, funded from 2016 to 2018.
{"title":"In Melbourne tonight:: Pop/rock histories and futures","authors":"Shane Homan, S. O’Hanlon, C. Strong, J. Tebbutt","doi":"10.1558/PRBT.32801","DOIUrl":"https://doi.org/10.1558/PRBT.32801","url":null,"abstract":"In recent decades the 'music city' has emerged as an important series (and exchanges) of representations, capital, labour, sounds and commodities. City heritage and histories-particular narratives of music development, genres, venues and personnel-continue to inform contemporary city branding, tourism and industrial strategies. This article explores how both the practices and discourses of the 'music city' circulate in terms of specific histories, and how, in turn, they might inform contemporary practices and future intent. Melbourne, the self-proclaimed music and cultural capital of Australia, is examined as a case study in how the past and present circulate. The article also explores the challenges in documenting the emergence and development of popular music in Melbourne from the 1950s to the present as a three-year Australian Research Council Discovery project, Interrogating the Music City: Cultural Economy and Popular Music in Melbourne, funded from 2016 to 2018.","PeriodicalId":41217,"journal":{"name":"Perfect Beat","volume":"18 1","pages":"95-109"},"PeriodicalIF":0.2,"publicationDate":"2017-06-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1558/PRBT.32801","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67646883","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}
A large proportion of overseas-born artists comprise the pop music industries in Australia. Keith Urban, Rick Springfield, members of Cold Chisel, The Angels and Masters Apprentices, for example, not only represent themselves as ‘Australian;’ they are frequently associated with the nation by critics and audiences. The Bee Gees also exemplify this trend. In this article, I wish to bring into focus The Bee Gees’ curious connection with Australia. In order to do this task, I ask a series of questions; first, what is The Bee Gees connection to Australia? Second, how has this connection been constructed and continually reinforced? Third, what forms of discursive resistance against their ‘Australianness’ exist in regard to these constructions? And finally, how might we critically understand the tensions that have emerged regarding their legitimacy as an ‘Australian band’? I argue that their connection to Australia is continually renegotiated due in large part to their incompatibility with dominant performances of masculinity by Australian white male musicians.
{"title":"‘Another Day to Swing on Clothes Lines’","authors":"P. O'Grady","doi":"10.1558/PRBT.31733","DOIUrl":"https://doi.org/10.1558/PRBT.31733","url":null,"abstract":"A large proportion of overseas-born artists comprise the pop music industries in Australia. Keith Urban, Rick Springfield, members of Cold Chisel, The Angels and Masters Apprentices, for example, not only represent themselves as ‘Australian;’ they are frequently associated with the nation by critics and audiences. The Bee Gees also exemplify this trend. In this article, I wish to bring into focus The Bee Gees’ curious connection with Australia. In order to do this task, I ask a series of questions; first, what is The Bee Gees connection to Australia? Second, how has this connection been constructed and continually reinforced? Third, what forms of discursive resistance against their ‘Australianness’ exist in regard to these constructions? And finally, how might we critically understand the tensions that have emerged regarding their legitimacy as an ‘Australian band’? I argue that their connection to Australia is continually renegotiated due in large part to their incompatibility with dominant performances of masculinity by Australian white male musicians.","PeriodicalId":41217,"journal":{"name":"Perfect Beat","volume":"64 2","pages":""},"PeriodicalIF":0.2,"publicationDate":"2017-05-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41288132","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}
{"title":"Clifford-Napoleone, A. 2015. Queerness in Heavy Metal Music: Metal Bent. New York and Oxon: Routledge. ISBN 978-0-41572-831-7 (hbk). 166 pp","authors":"Catherine Hoad","doi":"10.1558/PRBT.31427","DOIUrl":"https://doi.org/10.1558/PRBT.31427","url":null,"abstract":"<jats:p />","PeriodicalId":41217,"journal":{"name":"Perfect Beat","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2017-05-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47452984","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}
Japanese film director Nakae Y?ji’s 2009 feature film A Midsummer’s Okinawan Dream: Majir? of the Triangular Mountain (Manatsu no yo no Yume: Sankaku Yama no Majir?) is rooted in the culture, folklore and soundscapes of the Okinawan islands and uses imagery, sound, music and narrative to explore many traits that epitomize Okinawa’s distinct cultural identity in modern-day Japan. This article discusses the film from two main perspectives: (1) how different musical styles operate as distinct elements of the soundtrack (drawing on and embellishing their source contexts and traditions); and (2) how music functions in particular scenes and across the narrative in general. The article identifies the manner in which the film embraces local, national and global musical sources to provide a cultural soundscape that helps show some of the complexities of local identity construction in an era where regional identities are often contrasted against broader national and global influences.
日本电影导演Nakae Y？季2009年的长片《仲夏的冲绳梦：马吉尔？三角山（Manatsu no yo no Yume：Sankaku Yama no Majir？）植根于冲绳群岛的文化、民间传说和音景，并利用图像、声音、音乐和叙事来探索冲绳在现代日本独特文化特征的许多特征。本文从两个主要角度讨论了这部电影：（1）不同的音乐风格如何作为配乐的不同元素（借鉴和修饰其来源背景和传统）运作；以及（2）音乐在特定场景和整个叙事中的作用。这篇文章确定了这部电影拥抱当地、国家和全球音乐来源的方式，以提供一个文化声景，帮助展示在一个地区身份往往与更广泛的国家和全球影响形成对比的时代，当地身份建构的一些复杂性。
{"title":"Triangulations","authors":"H. Johnson","doi":"10.1558/PRBT.30972","DOIUrl":"https://doi.org/10.1558/PRBT.30972","url":null,"abstract":"Japanese film director Nakae Y?ji’s 2009 feature film A Midsummer’s Okinawan Dream: Majir? of the Triangular Mountain (Manatsu no yo no Yume: Sankaku Yama no Majir?) is rooted in the culture, folklore and soundscapes of the Okinawan islands and uses imagery, sound, music and narrative to explore many traits that epitomize Okinawa’s distinct cultural identity in modern-day Japan. This article discusses the film from two main perspectives: (1) how different musical styles operate as distinct elements of the soundtrack (drawing on and embellishing their source contexts and traditions); and (2) how music functions in particular scenes and across the narrative in general. The article identifies the manner in which the film embraces local, national and global musical sources to provide a cultural soundscape that helps show some of the complexities of local identity construction in an era where regional identities are often contrasted against broader national and global influences.","PeriodicalId":41217,"journal":{"name":"Perfect Beat","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2017-03-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46518743","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}
{"title":"Whiteley, S., and M. J. Sklower, eds. 2014. Countercultures and Popular Music. Abingdon: Ashgate. ISBN 978-1-47242-1-067 (hbk). 316 pp.","authors":"C. Ballico","doi":"10.1558/PRBT.31828","DOIUrl":"https://doi.org/10.1558/PRBT.31828","url":null,"abstract":"<jats:p />","PeriodicalId":41217,"journal":{"name":"Perfect Beat","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2017-03-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43927793","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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