Pub Date : 2017-01-20DOI: 10.1558/prbt.v17i2.29540
M. Breen
{"title":"Melbourne popular music in the museum: Locating the academy in the sonic city","authors":"M. Breen","doi":"10.1558/prbt.v17i2.29540","DOIUrl":"https://doi.org/10.1558/prbt.v17i2.29540","url":null,"abstract":"","PeriodicalId":41217,"journal":{"name":"Perfect Beat","volume":"17 1","pages":"124-143"},"PeriodicalIF":0.2,"publicationDate":"2017-01-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1558/prbt.v17i2.29540","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44513606","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 : 2016-05-31DOI: 10.1558/PRBT.V17I1.30163
S. Bolderman
{"title":"Brocken, Michael. 2015. The Twenty-First-Century Legacy of The Beatles: Liverpool and Popular Music Heritage Tourism. Farnham: Ashgate. ISBN 978-1-4724-3399-2","authors":"S. Bolderman","doi":"10.1558/PRBT.V17I1.30163","DOIUrl":"https://doi.org/10.1558/PRBT.V17I1.30163","url":null,"abstract":"","PeriodicalId":41217,"journal":{"name":"Perfect Beat","volume":"17 1","pages":"83-84"},"PeriodicalIF":0.2,"publicationDate":"2016-05-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1558/PRBT.V17I1.30163","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67650589","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 : 2016-05-24DOI: 10.1558/prbt.v17i1.30398
Jared Mackley-Crump
{"title":"Gardner, Abigail. 2015. PJ Harvey and Music Video Performance. Ashgate Popular and Folk Music series. London: Routledge. ISBN 978-1-4724-2418-1 (hbk); ISBN 978-1-4724-2419-8 (ebk); ISBN 978-1-4724-2420-4 (epub). 192 pp","authors":"Jared Mackley-Crump","doi":"10.1558/prbt.v17i1.30398","DOIUrl":"https://doi.org/10.1558/prbt.v17i1.30398","url":null,"abstract":"","PeriodicalId":41217,"journal":{"name":"Perfect Beat","volume":"28 1","pages":"91-93"},"PeriodicalIF":0.2,"publicationDate":"2016-05-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67650963","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 : 2016-05-24DOI: 10.1558/PRBT.V17I1.30031
Niel Scobie
{"title":"Wang, Oliver. 2015. Legions of Boom: Filipino American Mobile DJ Crews in the San Francisco Bay Area. Durham, NC: Duke University Press. ISBN 978-0-8223-7548-7 (pbk). 218 pp","authors":"Niel Scobie","doi":"10.1558/PRBT.V17I1.30031","DOIUrl":"https://doi.org/10.1558/PRBT.V17I1.30031","url":null,"abstract":"","PeriodicalId":41217,"journal":{"name":"Perfect Beat","volume":"17 1","pages":"94-95"},"PeriodicalIF":0.2,"publicationDate":"2016-05-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1558/PRBT.V17I1.30031","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67650997","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 : 2016-05-24DOI: 10.1558/prbt.v17i1.30247
Ariane Gruet-Pelchat
{"title":"Gardner, Abigail. 2015. PJ Harvey and Music Video Performance. Ashgate Popular and Folk Music series. London: Routledge. ISBN 978-1-4724-2418-1 (hbk); ISBN 978-1-4724-2419-8 (ebk); ISBN 978-1-4724-2420-4 (epub). 192 pp","authors":"Ariane Gruet-Pelchat","doi":"10.1558/prbt.v17i1.30247","DOIUrl":"https://doi.org/10.1558/prbt.v17i1.30247","url":null,"abstract":"","PeriodicalId":41217,"journal":{"name":"Perfect Beat","volume":"17 1","pages":"88-90"},"PeriodicalIF":0.2,"publicationDate":"2016-05-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1558/prbt.v17i1.30247","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67650862","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 : 2016-04-25DOI: 10.1558/PRBT.V17I1.27010
Kirsty Gillespie
The exhibition, ‘Musical Landscapes of Lihir’, curated in collaboration with the Lihir Cultural Heritage Association, presented artefacts of performance culture from the Lihir Islands in New Ireland Province, Papua New Guinea. An example of ecomusicological research, the exhibition ran from March 1 through to August 4, 2013 at The University of Queensland Anthropology Museum, Brisbane, Australia. The exhibition brought together contemporary Lihir items related to performance (many of which were made especially for the exhibition), an international loan of Lihir artefacts from The Field Museum of Natural History in Chicago, USA, and multimedia items including film and sound recordings that set the audio and visual scene. The aims of the exhibition were multiple: to showcase Lihir culture to the outside world, to illustrate the range of performance practices in Lihir, and to interrogate the relationship of these practices to the Lihir landscape. This chapter gives the curatorial perspective on how this nexus between performance and the Lihir environment was addressed, and examines some of the curatorial decisions, relationships built, and challenges surrounding the display of Lihir performance culture in the museum context.
{"title":"Musical landscapes of Lihir: exploring performance and place in a museum exhibition","authors":"Kirsty Gillespie","doi":"10.1558/PRBT.V17I1.27010","DOIUrl":"https://doi.org/10.1558/PRBT.V17I1.27010","url":null,"abstract":"The exhibition, ‘Musical Landscapes of Lihir’, curated in collaboration with the Lihir Cultural Heritage Association, presented artefacts of performance culture from the Lihir Islands in New Ireland Province, Papua New Guinea. An example of ecomusicological research, the exhibition ran from March 1 through to August 4, 2013 at The University of Queensland Anthropology Museum, Brisbane, Australia. The exhibition brought together contemporary Lihir items related to performance (many of which were made especially for the exhibition), an international loan of Lihir artefacts from The Field Museum of Natural History in Chicago, USA, and multimedia items including film and sound recordings that set the audio and visual scene. The aims of the exhibition were multiple: to showcase Lihir culture to the outside world, to illustrate the range of performance practices in Lihir, and to interrogate the relationship of these practices to the Lihir landscape. This chapter gives the curatorial perspective on how this nexus between performance and the Lihir environment was addressed, and examines some of the curatorial decisions, relationships built, and challenges surrounding the display of Lihir performance culture in the museum context.","PeriodicalId":41217,"journal":{"name":"Perfect Beat","volume":"17 1","pages":"9-24"},"PeriodicalIF":0.2,"publicationDate":"2016-04-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67650495","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 : 2016-04-19DOI: 10.1558/PRBT.V17I1.27004
Robin Ryan, Mark Bradley Cain
In contributing to the practice and production of Perth’s vibrant music scene since the 1980s, the Western Australian musician, inventor and instrument-maker Mark Cain (b. 1955) has remained true to a non-commercial instinct to construct wind instruments from discarded PVC piping and, more recently, glove pipes, compressed-air panpipes and bottle reedpipes. In dialogue with Robin Ryan, Cain demystifies the cul-de-sacs and tangents associated with the design and manufacture of instruments and sound gardens made from the simplest of natural and recycled materials. Futuristically, his largely whimsical creations prefigure a musical soundscape that will increasingly depend on locally made, sustainable instruments. In providing common ground for discursive mediation between performance-based and research-based constructs of environment, this conversation strengthens Appadurai’s (1986) notion that ‘Instruments are social things with histories and careers … not what they are made to be, but what they become as they circulate and mutate’.
{"title":"Robin Ryan in conversation with Mark Cain: Kernels of Discovery: Original musical instruments and acoustic sound designs","authors":"Robin Ryan, Mark Bradley Cain","doi":"10.1558/PRBT.V17I1.27004","DOIUrl":"https://doi.org/10.1558/PRBT.V17I1.27004","url":null,"abstract":"In contributing to the practice and production of Perth’s vibrant music scene since the 1980s, the Western Australian musician, inventor and instrument-maker Mark Cain (b. 1955) has remained true to a non-commercial instinct to construct wind instruments from discarded PVC piping and, more recently, glove pipes, compressed-air panpipes and bottle reedpipes. In dialogue with Robin Ryan, Cain demystifies the cul-de-sacs and tangents associated with the design and manufacture of instruments and sound gardens made from the simplest of natural and recycled materials. Futuristically, his largely whimsical creations prefigure a musical soundscape that will increasingly depend on locally made, sustainable instruments. In providing common ground for discursive mediation between performance-based and research-based constructs of environment, this conversation strengthens Appadurai’s (1986) notion that ‘Instruments are social things with histories and careers … not what they are made to be, but what they become as they circulate and mutate’.","PeriodicalId":41217,"journal":{"name":"Perfect Beat","volume":"17 1","pages":"25-51"},"PeriodicalIF":0.2,"publicationDate":"2016-04-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1558/PRBT.V17I1.27004","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67650168","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 : 2016-03-31DOI: 10.1558/PRBT.V17I1.28841
Brian Diettrich
This article examines the 'Stars of Micronesia' Facebook community and popular performance contest that ran continuously from August to November 2013. Examining its music and the participatory culture made available through social media, this study explores the role of online performances in negotiating conventional Pacific boundaries and in forging cultural networks in online musical environments. The case of the SOM demonstrates that participants have drawn largely on global musical practices as a means of creating an inclusive community that crosses cultural and national boundaries. Examining online performances and musical engagement on the site I contend that Islanders from Micronesia may be forging identities through music and social media that challenge conventional representations of this Pacific region and its people.
{"title":"Virtual Micronesia: Performance and Participation in a Pacific Facebook Community","authors":"Brian Diettrich","doi":"10.1558/PRBT.V17I1.28841","DOIUrl":"https://doi.org/10.1558/PRBT.V17I1.28841","url":null,"abstract":"This article examines the 'Stars of Micronesia' Facebook community and popular performance contest that ran continuously from August to November 2013. Examining its music and the participatory culture made available through social media, this study explores the role of online performances in negotiating conventional Pacific boundaries and in forging cultural networks in online musical environments. The case of the SOM demonstrates that participants have drawn largely on global musical practices as a means of creating an inclusive community that crosses cultural and national boundaries. Examining online performances and musical engagement on the site I contend that Islanders from Micronesia may be forging identities through music and social media that challenge conventional representations of this Pacific region and its people.","PeriodicalId":41217,"journal":{"name":"Perfect Beat","volume":"17 1","pages":"52-70"},"PeriodicalIF":0.2,"publicationDate":"2016-03-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1558/PRBT.V17I1.28841","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67650556","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 : 2016-01-01DOI: 10.1558/PRBT.V17I1.29832
Brent Keogh
In this Riff article, Brent Keogh speaks to Sydney based flamenco guitarist and ARIA award nominee, Damian Wright. The interview discusses Wright’s experiences and perspectives on World Music in Australia. Where much of the academic discourse on World Music focuses on broader theorisation and systemic critiques, the following interview presents experiences and insights from a musician contributing to, and working in, the complex discursive space of World Music in Australia. In doing so, Wright’s perspectives contribute to broader discussions concerning the politics of otherness, musical patronage, and cultural diversity in Australian music.
{"title":"An Interview with Damian Wright: Flamenco and the discourse of World Music in Contemporary Australia","authors":"Brent Keogh","doi":"10.1558/PRBT.V17I1.29832","DOIUrl":"https://doi.org/10.1558/PRBT.V17I1.29832","url":null,"abstract":"In this Riff article, Brent Keogh speaks to Sydney based flamenco guitarist and ARIA award nominee, Damian Wright. The interview discusses Wright’s experiences and perspectives on World Music in Australia. Where much of the academic discourse on World Music focuses on broader theorisation and systemic critiques, the following interview presents experiences and insights from a musician contributing to, and working in, the complex discursive space of World Music in Australia. In doing so, Wright’s perspectives contribute to broader discussions concerning the politics of otherness, musical patronage, and cultural diversity in Australian music.","PeriodicalId":41217,"journal":{"name":"Perfect Beat","volume":"17 1","pages":"71-82"},"PeriodicalIF":0.2,"publicationDate":"2016-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67650158","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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