Pub Date : 2023-09-01DOI: 10.1525/jpms.2023.35.3.102
Jacob Wolbert
This article explores the practices and strategies of three groups of musicians, each in a different city in Brazil, in order to understand how musicians and the markets in which they operate co-construct present-day musical careers. Depending on their musical and geographic histories, as well as their career goals, these artists navigate a national music industry that takes interest in and rewards representations of national music, regional identity, and genre hybridity, often in combination with one another. While these market pressures occasionally intersect with the artists’ aesthetic demands, this article focuses on the way such pressures are negotiated and reflected in the music of these midstream musicians. The article centers on the interactions between musicians and a competitive bidding process known as an edital, with a particular focus on Natura Musical, the edital administered by the cosmetics company Natura. Within such interactions, Brazilian-ness (or brasilidade) is considered as a pluralistic, market-driven notion and less a strict aesthetic choice or sonic characteristic.
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Pub Date : 2023-09-01DOI: 10.1525/jpms.2023.35.3.1
K. E. Goldschmitt, Elliott Powell
Editorial| September 01 2023 Editors’ Note K. E. Goldschmitt, K. E. Goldschmitt Search for other works by this author on: This Site PubMed Google Scholar Elliott Powell Elliott Powell Email: ehpowell@umn.edu Search for other works by this author on: This Site PubMed Google Scholar Email: ehpowell@umn.edu Journal of Popular Music Studies (2023) 35 (3): 1–4. https://doi.org/10.1525/jpms.2023.35.3.1 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn Email Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation K. E. Goldschmitt, Elliott Powell; Editors’ Note. Journal of Popular Music Studies 1 September 2023; 35 (3): 1–4. doi: https://doi.org/10.1525/jpms.2023.35.3.1 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentJournal of Popular Music Studies Search We’re going to let you in on a little secret: the third issue of each JPMS volume—like this one, 35.3—is always a unique one because it is finalized in May, a time when the academic year is winding down, and released in September, a period when the new academic year is just starting. For scholars affiliated with colleges and universities, the beginning and end of the academic year mark, among other things, a relation to time—news of and experience with an initiation/continuation/conclusion of a teaching and/or service appointment, the start or close of a sabbatical, the temporalities of course prep/lectures/student hours, etc.—as well as a relation to labor, and especially embodied labor—the stress, fatigue, excitement, passion, and, at times, trauma associated with teaching and service. And it is often under these, and other, conditions that scholars navigate the academy and (re)imagine our relationship to it. We bring all of this... You do not currently have access to this content.
编辑| 2023年9月1日编者注K. E. Goldschmitt, K. E. Goldschmitt在本网站PubMed谷歌学者Elliott Powell Elliott Powell Email: ehpowell@umn.edu在本网站PubMed谷歌学者Email: ehpowell@umn.edu流行音乐研究杂志(2023)35(3):1-4搜索本作者的其他作品。https://doi.org/10.1525/jpms.2023.35.3.1查看图标查看文章内容图表和表格视频音频补充数据同行评审分享图标分享Facebook Twitter LinkedIn电子邮件工具图标工具获得许可引用图标引用搜索网站引文K. E. Goldschmitt, Elliott Powell;编者注。《流行音乐研究杂志》2023年9月1日;35(3): 1-4。doi: https://doi.org/10.1525/jpms.2023.35.3.1下载引文文件:Ris (Zotero)参考文献管理器EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex工具栏搜索搜索下拉菜单工具栏搜索搜索输入搜索输入自动建议过滤您的搜索所有内容流行音乐研究杂志搜索我们将让您进入一个小秘密:每个JPMS卷的第三期——像这一期35.3——总是独一无二的，因为它在5月完成，这是学年即将结束的时候，而在9月发布，这是新学年刚刚开始的时候。对于附属于学院和大学的学者来说，学年的开始和结束，除其他事项外，标志着与时间的关系-关于教学和/或服务任命的开始/继续/结束的消息和经验，休假的开始或结束，课程准备/讲座/学生时间等的暂时性-以及与劳动的关系，特别是体现劳动-压力，疲劳，兴奋，激情，有时，与教学和服务有关的创伤。学者们常常是在这样或那样的条件下，在学术界中穿行，并(重新)想象我们与学术界的关系。我们带来了所有这些…您目前没有访问此内容的权限。
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Pub Date : 2023-09-01DOI: 10.1525/jpms.2023.35.3.32
Carol Vernallis, Justin L. Gardner, C. Parise, Aubrey Woodiwiss
This article draws on recent findings in neuroscience to provide a close reading of Grimes’s music video “Shinigami Eyes.” It includes interviews with a neuroscientist who specializes in multisensory integration, a vision scientist, a color grader, and a media scholar. While multisensory integration is a burgeoning field, accessible texts and reviews are lacking. There haven’t been analyses that apply the findings from the field of multisensory integration to real media objects. Drawing on neuroscience studies, this article explores the concept of Bayesian predictions (a viewer’s experience of a present event weighted against previous experiences); the ways neuroscience explains color, size and placement, and emotion work; and processes such as the inverse effectiveness (when neurons boost both lower-res and higher-res signals, with the most perceptible often for sound), super-additive multisensory effects, the attentional blink, the ventriloquist effect, congruence and incongruity, memory, distractors, sound before image and vice versa, and other features. A conversation with the color grader for “Shinigami Eyes” helps fill things in. This article emerges from a belief that modules on neuroscience and industry studies can be incorporated as components of media study courses, and that neuroscience-informed analyses can facilitate interest and engagement with close readings.
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Pub Date : 2023-09-01DOI: 10.1525/jpms.2023.35.3.5
Leonard Martin
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Pub Date : 2023-09-01DOI: 10.1525/jpms.2023.35.3.131
Wendy Fonarow
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Pub Date : 2023-09-01DOI: 10.1525/jpms.2023.35.3.144
Other| September 01 2023 Contributors’ Notes Journal of Popular Music Studies (2023) 35 (3): 144–145. https://doi.org/10.1525/jpms.2023.35.3.144 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn Email Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Contributors’ Notes. Journal of Popular Music Studies 1 September 2023; 35 (3): 144–145. doi: https://doi.org/10.1525/jpms.2023.35.3.144 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentJournal of Popular Music Studies Search Anjeline De Dios is a cultural geographer and vocal performer who creates and studies emergent spaces of sound, healing, and change. She previously worked in academia as a university professor of cultural studies, and in systems-led innovation as a strategic researcher. Currently, she is an independent researcher, performing artist, meditation and systems-change facilitator, and consulting divination practitioner. Wendy Fonarow, Ph.D., is a Los Angeles based anthropologist specializing in live music, performance, and ritual. She is a Chair of the Anthropology Department at Glendale College. She is author of Empire of Dirt: The Aesthetics and Rituals of British Indie Music (Wesleyan). She has been a contributor to The Guardian and other media publications. Justin Gardner is an Associate Professor in Psychology at Stanford, where he heads the Gardner lab. He and his team use a combination of functional magnetic resonance imaging, computational modeling... You do not currently have access to this content.
{"title":"Contributors’ Notes","authors":"","doi":"10.1525/jpms.2023.35.3.144","DOIUrl":"https://doi.org/10.1525/jpms.2023.35.3.144","url":null,"abstract":"Other| September 01 2023 Contributors’ Notes Journal of Popular Music Studies (2023) 35 (3): 144–145. https://doi.org/10.1525/jpms.2023.35.3.144 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn Email Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Contributors’ Notes. Journal of Popular Music Studies 1 September 2023; 35 (3): 144–145. doi: https://doi.org/10.1525/jpms.2023.35.3.144 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentJournal of Popular Music Studies Search Anjeline De Dios is a cultural geographer and vocal performer who creates and studies emergent spaces of sound, healing, and change. She previously worked in academia as a university professor of cultural studies, and in systems-led innovation as a strategic researcher. Currently, she is an independent researcher, performing artist, meditation and systems-change facilitator, and consulting divination practitioner. Wendy Fonarow, Ph.D., is a Los Angeles based anthropologist specializing in live music, performance, and ritual. She is a Chair of the Anthropology Department at Glendale College. She is author of Empire of Dirt: The Aesthetics and Rituals of British Indie Music (Wesleyan). She has been a contributor to The Guardian and other media publications. Justin Gardner is an Associate Professor in Psychology at Stanford, where he heads the Gardner lab. He and his team use a combination of functional magnetic resonance imaging, computational modeling... You do not currently have access to this content.","PeriodicalId":43525,"journal":{"name":"Journal of Popular Music Studies","volume":"363 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136236614","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-09-01DOI: 10.1525/jpms.2023.35.3.135
T. López
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Pub Date : 2023-06-01DOI: 10.1525/jpms.2023.35.2.5
M. Gillespie
{"title":"“All I Do Is Think of You”","authors":"M. Gillespie","doi":"10.1525/jpms.2023.35.2.5","DOIUrl":"https://doi.org/10.1525/jpms.2023.35.2.5","url":null,"abstract":"","PeriodicalId":43525,"journal":{"name":"Journal of Popular Music Studies","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49461208","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-01DOI: 10.1525/jpms.2023.35.2.23
Walton M. Muyumba
{"title":"The Rumba Archive","authors":"Walton M. Muyumba","doi":"10.1525/jpms.2023.35.2.23","DOIUrl":"https://doi.org/10.1525/jpms.2023.35.2.23","url":null,"abstract":"","PeriodicalId":43525,"journal":{"name":"Journal of Popular Music Studies","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43741105","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-01DOI: 10.1525/jpms.2023.35.2.39
Dan DiPiero
This article elaborates recent work on a strain of contemporary indie rock by focusing on a case study of one of its chief practitioners, Soccer Mommy. This particular approach—which I refer to with the term “Big Feelings”—produces various feminist affects that are irreducible to any one parameter, but which emerge through a cohesive synthesis of several characteristics. That is, listeners feel this music’s feminist orientations even in the absence of overt references. Primarily performed by Gen-Z musicians, the Big Feelings that these artists articulate must also be read in the context of the successive socio-political crises that are not literally referenced in the music, but which nevertheless inform it. Lyrical analysis of the 2018 single “Cool” shows how Soccer Mommy resonates with but also departs from riot grrrl models, where queer-feminist politics are implied by never stated outright. Harmonic analysis of the same song exemplifies the ways in which Big Feelings expands the sonic palette beyond the two and three note chords typical of masculinized rock music, instead incorporating extensions that track with Susan McClary’s arguments regarding the feminized semiotics of chromaticism. Finally, I read 2020’s “Circle the Drain” alongside excerpted interviews I have conducted with fans of the music, using their words to help corroborate and elaborate my reading of Big Feelings as an orientation that is made meaningful in part because of the traumatic context in which young musicians and fans, permanently in crisis, create spaces of community, catharsis, and care.
本文通过对其主要实践者之一Soccer Mommy的案例研究，详细阐述了最近对当代独立摇滚流派的研究。这种特殊的方法——我称之为“大情感”——产生了各种各样的女权主义影响，这些影响不能简化为任何一个参数，而是通过几个特征的紧密结合而出现的。也就是说，即使没有明显的参考，听众也能感受到这首音乐的女权主义取向。主要由z世代音乐家表演，这些艺术家所表达的“大情感”也必须在连续的社会政治危机的背景下阅读，这些危机在音乐中没有被字面引用，但却为它提供了信息。对2018年单曲《Cool》的抒情分析表明，《足球妈妈》与暴动女孩模式产生了共鸣，但也偏离了后者，在后者中，酷儿女权主义政治被暗示为从未直接表达。对同一首歌的和声分析体现了Big Feelings将声音调色板扩展到男性化摇滚音乐的典型二音和三音和弦之外的方式，而不是与Susan McClary关于半音制的女性化符号学的论点相结合。最后，我阅读了2020年的《循环流失》(Circle the Drain)，并摘录了我对乐迷的采访，用他们的话来帮助证实和阐述我对《Big Feelings》的解读，把它作为一种有意义的取向，部分原因是在创伤的背景下，年轻的音乐家和乐迷永远处于危机之中，创造了社区、宣泄和关怀的空间。
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