POPULAR MUSIC AND SOCIETY最新文献

{"title":"Pop Music Diegesis and the 360º Video","authors":"Zack Bresler","doi":"10.1080/03007766.2023.2272680","DOIUrl":"https://doi.org/10.1080/03007766.2023.2272680","url":null,"abstract":"One approach to studying music videos is through the framework of diegesis, which considers the relation of sounds to narrative structure in film. Unlike most visual media, music videos flip the diegetic picture as image functions to support music, allowing for new narrative interpretations. Narratological possibilities of several 360° pop music videos are examined to demonstrate pop music diegesis, which operates through navigational agency and diegetic immersion. The viewer of an immersive music video is a staged element of compositional design, implied by agency afforded through interaction and envelopment. Moreover, the essay expounds discourses on popular music in immersive media.","PeriodicalId":46155,"journal":{"name":"POPULAR MUSIC AND SOCIETY","volume":"127 3","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-11-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135342030","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}

{"title":"White Stripes, White Rock: The Uncontested Blues Appropriations of the White Stripes","authors":"Charlotte Markowitsch, Sebastian Diaz-Gasca","doi":"10.1080/03007766.2023.2259054","DOIUrl":"https://doi.org/10.1080/03007766.2023.2259054","url":null,"abstract":"ABSTRACTDespite the prevalence of the cultural appropriation debate in popular music discourse, white, popular rock band, the White Stripes, appropriated African-American Delta blues culture, particularly from Son House and his song “Death Letter Blues,” without causing contestation. Appropriation of Black culture has occurred ubiquitously throughout recent music history, causing widespread contestation due to power disparity and misrepresentation. Through reviewing literature regarding cultural appropriation, and semiotically analyzing the band’s 2003 performance of “Death Letter” at Sydney’s Livid Festival, we find that the White Stripes’ intentional methods of respectful representation and stylistic disguise mitigated the perception of cultural appropriation in their performance. We posit that the band emulated a pre-established process of transculturation whereby Delta blues traits were absorbed into the 20th century evolution of rock music.KEYWORDS: Bluescontestationcultural appropriationSon Housethe White Stripestransculturation Disclosure StatementNo potential conflict of interest was reported by the author(s).Notes1. For further reading on the racialization of blues, and its entry into white audiences and markets, see also Hamilton’s In Search of the Blues and Adelt’s Blues Music in the Sixties.2. The video recording of the “The White Stripes—Live in Sydney” was accessed via YouTube, which is featured in a compilation video of the band’s whole set at Livid publicly uploaded by user J C. We can assume that the recorded set was originally broadcasted on Channel V due to the watermark embedded in the video. “Death Letter” appears at 19:26–26:46.3. Paramusical meaning exists alongside music, it is “semiotically related to a particular musical discourse” (Tagg 597).4. Meaning is constructed via connotation (to signify by implication or association) and denotation (to signify lexically). While musical meaning remains more denotative, paramusical meaning can be generated via signifiers which connote discourse that exists alongside the music (Tagg 585–96).Additional informationNotes on contributorsCharlotte MarkowitschCharlotte Markowitsch is currently undertaking a PhD with the School of Media and Communication at RMIT University. While her broader interests center around rock and popular music studies, Charlotte’s research has touched on cultural engagement, appropriation, race, and blues and rock history. Currently, Charlotte’s research project investigates aesthetic representations of identity, particularly masculinity, in Australian rock music culture.Sebastian Diaz-GascaSebastian Diaz-Gasca is an audio engineer, music producer, and lecturer in Music Industry at the School of Media and Communication at RMIT University. His research ranges from ludomusicology, musical narratology, videogame studies, music production, ethnomusicology, and Latin American social studies. Sebastian’s ludomusicological (game music) research focuses on the paraludi","PeriodicalId":46155,"journal":{"name":"POPULAR MUSIC AND SOCIETY","volume":"7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135825221","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}

{"title":"Sensing Vinyl: Ritual, Memory, Materiality","authors":"Josh Greenberg","doi":"10.1080/03007766.2023.2263331","DOIUrl":"https://doi.org/10.1080/03007766.2023.2263331","url":null,"abstract":"ABSTRACTOnce relegated to the dustbins of media history, the vinyl LP has had a revival since the late aughts, becoming popular among all segments of music consumers, from those for whom it was the dominant medium of their youth to people who grew up only ever accessing music digitally. How is it that a format as clunky, costly, and fragile as vinyl would be so popular in an age of ubiquitous digital content? To address this question, this paper discusses vinyl’s aesthetics, sensorial qualities, and sociocultural affordances, and explores questions about ritual, memory, and materiality.KEYWORDS: Audiophilememorynostalgiasensesvinyl AcknowledgmentsThank you to the reviewers appointed by the journal for their valuable comments and suggestions. Several colleagues offered helpful feedback on earlier drafts of this paper. Thanks to Sheryl Hamilton, Ira Wagman, Michael Mopas, Vincent Andrisani, David Jackson, Chris Russill, and Brett Popplewell. Finally, I wish to acknowledge the Faculty of Public Affairs at Carleton University, which provided a Research Initiation Grant that helped support the broader project from which this paper stems.Disclosure StatementNo potential conflict of interest was reported by the author(s).Notes1. The broader project entails interviews with more than 40 owners and/or managers of independent record stores in all regions of Canada. Most of these interviews were conducted in person and on site, with others completed via Zoom. I draw from some of the findings here; however, the main analytical arguments from this research will be the subject of a companion paper.2. Waldron named The White Room after the popular B.B.C. music television program of the same name. Although the space is used to host the record club, its primary purpose is for hosting private parties, which it has done since long before the record club began.Additional informationFundingThe work was supported by the Faculty of Public Affairs, Carleton University [Research Initiation Grant].Notes on contributorsJosh GreenbergJosh Greenberg is Professor of Communication and Media Studies in the School of Journalism and Communication at Carleton University. My primary area of scholarship and professional activity is health, risk, and crisis communication, about which I have published extensively for more than two decades. As an avid and active vinyl collector and live music enthusiast, I have always had an interest in exploring the intersections of popular music, music technology, and fandom, and continued to read broadly in these areas. My BA honours thesis in sociology was on Deadhead collector culture and the emerging impact of the Internet on the storage, curation, and trade of bootleg Grateful Dead concert tapes. I‘m exciting to move this longstanding interest in vinyl music more centrally into my research and teaching.","PeriodicalId":46155,"journal":{"name":"POPULAR MUSIC AND SOCIETY","volume":"37 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136210243","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}

{"title":"Subverting the Restorative Nostalgia of Black Metal: Reading Swiss Band Zeal & Ardor Through an Afropessimistic Lens","authors":"Mathijs Peters","doi":"10.1080/03007766.2023.2261124","DOIUrl":"https://doi.org/10.1080/03007766.2023.2261124","url":null,"abstract":"This article analyzes the ways in which Swiss experimental metal band Zeal & Ardor imagine an allohistory, according to which slaves in the American South embraced Satanism to resist white supremacism. Firstly, Svetlana Boym’s reflections on nostalgia are used to argue that Zeal & Ardor reject the restorative nostalgia that infuses black metal, instead generating an off-modern anti-linear temporality permeated with the trauma of slavery. Secondly, Frank Wilderson’s Afropessimism is employed to emphasize the homelessness that characterizes the band’s oeuvre. Thirdly, it is claimed that this off-modern turn distinguishes Zeal & Ardor from the futurism of transcendental black metal.","PeriodicalId":46155,"journal":{"name":"POPULAR MUSIC AND SOCIETY","volume":"58 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136097650","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}

{"title":"Musicians as Workers and the Gig Economy","authors":"Martin Cloonan, John Williamson","doi":"10.1080/03007766.2023.2231266","DOIUrl":"https://doi.org/10.1080/03007766.2023.2231266","url":null,"abstract":"Recent years have seen notions of the “gig economy” become widespread. Hitherto most analyses of this phenomenon have centered on first defining the phenomenon, then tracing its extent and effects before considering the policy implications. However, few previous accounts have concerned themselves with the origins of the word “gig,” and none have focused on those workers whose lives revolve around gigs―musicians. This article seeks to address this lacuna and argues that a study of musicians’ working lives has much to teach those interested in the development and implications of the gig economy, but also that the peculiarities of musical work so mean that such lessons have to be learned selectively.","PeriodicalId":46155,"journal":{"name":"POPULAR MUSIC AND SOCIETY","volume":"88 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135828268","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}

{"title":"Local Digital: Staging Geographies and Sonic Identities Through Auto-Tune Effects and Streaming Sites in North Indian Popular Music","authors":"Andrew Alter, Adrian Renzo","doi":"10.1080/03007766.2023.2253520","DOIUrl":"https://doi.org/10.1080/03007766.2023.2253520","url":null,"abstract":"ABSTRACTThis paper interprets the use of the Auto-Tune effect (ATE) in popular music from northern India. The paper sets out to demonstrate the value of using YouTube channels to identify regionally calibrated listenerships and to demonstrate how three channels in the state of Uttarakhand use the Auto-Tune effect to contribute to regional identity through music. While processes of globalization spread the use of the ATE around the world, a closer examination of its local expression in the music markets of India and Uttarakhand demonstrates that local contexts and local/regional industries influence the way the ATE is applied.KEYWORDS: Auto-Tuneregional identitystudioUttarakhandYouTube Disclosure StatementNo potential conflict of interest was reported by the author(s).Notes1. The channel’s name would appear to be an imitation of India’s largest and most influential music company T-Series.2. The three major languages of Uttarakhand are Garhwali, Kumaoni, and Jaunsari. Videos in these languages comprise the videos available on the sites.3. Not surprisingly, all videos described here give credits for various “dancers,” “actors,” and “artists” in different ways. Even though the videos frequently show actors on screen rather than the singers themselves, we have chosen to refer to the characters using the singers’ names. In many examples, however, the singers themselves are shown in the recording studio itself at different moments during the video.4. Meena Rana is a singer who is well respected throughout the industry. She has sung with many leading male singers over the past thirty years. This, too, could have influenced the limited obvious levels of ATE used on her voice.5. For more detail of the history of the bagpipe in Uttarakhand, see Alter (1–16).6. For more detail of the projection of the flute into mediated Uttarakhandi songs, see Alter (65–79).Additional informationNotes on contributorsAndrew AlterAndrew Alter is Associate Professor in Music Studies at Macquarie University in Sydney. He teaches and undertakes research in a diverse range of sub-disciplines including popular music studies, ethnomusicology, composition, and music theory. His research is focused on traditional and popular music in India and Indonesia as well as World Music practice in Australia. He is an expert in music of the Himalayas. He has published two books on the topic: Dancing with Devtās: Drums, Power and Possession in the Music of Garhwal, North India (2008) and Musical Sound Spaces: Listening to History in the Uttarakhand Himalayas (2014).Adrian RenzoAdrian Renzo writes about popular music production, electronic dance music, and remix culture from a critical musicological perspective. His research includes work on the aesthetics of medley records, the construction of Spanish “megamixes,” audio mastering, and the working methods of amateur mash-up producers. His current research explores the intersection between Top 40 pop songs and rave tracks during the early 1990s. D","PeriodicalId":46155,"journal":{"name":"POPULAR MUSIC AND SOCIETY","volume":"50 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135792810","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}

{"title":"Being a Musician in Socialist Mozambique: From Invisibility to Unfeasibility (1974-1994)","authors":"Marco Roque de Freitas","doi":"10.1080/03007766.2023.2257046","DOIUrl":"https://doi.org/10.1080/03007766.2023.2257046","url":null,"abstract":"ABSTRACTThis article analyzes the musician’s social status in Mozambique during the so-called socialist period (1974–1994), focusing on música ligeira (popular music) artists and groups. Using “ethnography of the past” and “subject-centered ethnography” as primary methodological strategies, this article explores relevant topics such as the relationship between musicians and entrepreneurs, the creation of the musician’s union, the consequences of the lack of copyright laws, and the effect of the civil war on musical activity. It also details the experience of three musicians—António Marcos, Mingas, and José Mucavele—who, in turn, represent three different solutions regarding musicians’ adaptation to the social and political changes that characterized the first years after Mozambique’s independence.KEYWORDS: EthnomusicologyMozambiquemusicmusiciannation building Disclosure StatementNo potential conflict of interest was reported by the author(s).Notes1. This and all subsequent cited documentation were translated into English by the author. This article revisits and extends the material initially introduced in the seventh chapter of my Ethnomusicology PhD thesis A Construção Sonora de Moçambique: Política Cultural, Radiodifusão e Indústrias da Música no Processo de Formação da Nação (1974-1994) (NOVA FCSH, Lisbon).2. The Mozambique Liberation Front (FRELIMO) was founded on June 25, 1962, in Dar es Salaam, Tanzania. Eduardo Mondlane (1920–1969) assumed the presidency of FRELIMO until his assassination on February 3, 1969. Initially, Mondlane pursued diplomatic negotiations for Mozambique’s independence. However, faced with resistance from Portuguese authorities, he organized an armed guerrilla struggle. The first attacks took place on September 25, 1964, in the provinces of Cabo Delgado and Niassa, marking the beginning of a liberation war that endured for nearly a decade until the signing of the Lusaka Accords on September 7, 1974. Following a transitional government, Mozambique’s independence was formally declared on June 25, 1975, with Samora Moisés Machel (1933–1986) assuming the first presidency. For more information, please refer to Machel; and Basto.3. RENAMO, or Mozambican National Resistance (Resistência Nacional Moçambicana), was initially established as an armed opposition movement during the country’s civil war, which lasted from 1977 to 1992. It was formed in 1976 by the Rhodesian intelligence service and received support from South Africa’s apartheid government, especially from 1980 onwards. In its formative years, RENAMO was led by André Matsangaissa (1950–1979), who was succeeded by Afonso Dhlakama (1953–2018) in 1979. In 1992, a peace agreement was signed between RENAMO and FRELIMO, effectively ending the civil war. RENAMO was then transformed into a political party and participated in all subsequent elections. For more information, see Morgan; and Emerson.4. Música ligeira is the Mozambican equivalent of the anglophone designation “po","PeriodicalId":46155,"journal":{"name":"POPULAR MUSIC AND SOCIETY","volume":"518 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135579854","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}

{"title":"“Both Sides Now”: Folk-Rock Authorship, Interpretation, and the Cover Version","authors":"Matthew Bannister","doi":"10.1080/03007766.2023.2252267","DOIUrl":"https://doi.org/10.1080/03007766.2023.2252267","url":null,"abstract":"ABSTRACTMany 1960s folk-rock hits were not original, but neither were they referred to as cover versions. Cover versions were “inauthentic,” but folk-rock repertoire was defined by songs by Bob Dylan and Joni Mitchell, interpreted by performers like the Byrds and Judy Collins. “The House of the Rising Sun” exemplifies adaptation via “trad. arr.”; “Mr. Tambourine Man” demonstrates “folk process” blending with Tin Pan Alley; and “Both Sides Now” highlights early rock critics’ questioning of folk values via discussion of interpretive women folksingers. The way each song was framed within contemporary cultural discourse highlights how “folk” or rock as “folk culture” acted as an ideological smokescreen for competing versions of rock music.KEYWORDS: 1960s folk rockauthenticityauthorshipcover versionsethnicitygender Disclosure StatementNo potential conflict of interest was reported by the author(s).Notes1. Or, as Hans Weisethaunet and Ulf Lindberg put it, the tension between folkloric authenticity and authenticity as self-expression (469–72).2. Some of the better-known examples (not mentioned elsewhere in this essay) include Jimi Hendrix’s “All Along the Watchtower;” the Byrds’ “Chimes of Freedom,” “Spanish Harlem Incident,” “Lay Down Your Weary Tune,” “The Times They are a-Changin’,” “My Back Pages,” and “You Ain’t Going Nowhere;” Sam Cooke’s “Blowin” in the Wind” and Stevie Wonder’s version of the same song; Manfred Mann’s “If You Gotta Go, Go Now” and “Mighty Quinn;” Van Morrison and Them’s “It’s All Over Now, Baby Blue”; The Band’s “I Shall Be Released;” and Nina Simone’s “I Shall Be Released” and “Just Like Tom Thumb’s Blues”3. Oral transmission via media is referred to as “secondary orality” by Ong (1971).4. Plasketes refers to the Byrds “covering” Dylan (145).5. The version with Elliott was not released until 2005, on No Direction Home: The Soundtrack, as “Mr. Tambourine Man (Alternate Take).”6. The Coen Brothers’ film Inside Llewyn Davis (2013) derives much of its black comedy from the contrast between the New York folk scene’s idealism and the reality of dealing with music publishers, who are the main source of income.7. According to Joni Mitchell’s website, https://jonimitchell.com/, “Both Sides Now” has been covered 1,499 times, Dylan’s song around 300, although the latter is a cultural benchmark (Bellware).8. “Eastern Rain” was released on What We Did on Our Holidays (1969); “I Don’t Know Where I Stand” and “Chelsea Morning” on the group’s eponymous debut (1968). “Both Sides Now” was the first song they recorded in a studio, though it was not released (Thompson 30). The other tracks were recorded at B.B.C. sessions.9. A notorious early promotion for Joni Mitchell referred to her as “90% virgin” (Unterberger, Eight Miles High 253).10. I’ll Keep It with Mine (Bonus Track) video.11. Dylan recorded a demo in 1964, released by Columbia in 2010 on The Bootleg Series Vol. 9: The Witmark Demos: 1962–1964.12. Aretha Franklin’s transformative covers ","PeriodicalId":46155,"journal":{"name":"POPULAR MUSIC AND SOCIETY","volume":"220 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135149739","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}

{"title":"Designed for Hi-Fi Living: The Vinyl LP in Midcentury America","authors":"John Littlejohn","doi":"10.1080/03007766.2023.2251770","DOIUrl":"https://doi.org/10.1080/03007766.2023.2251770","url":null,"abstract":"","PeriodicalId":46155,"journal":{"name":"POPULAR MUSIC AND SOCIETY","volume":"17 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135981914","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}

{"title":"Ornette Coleman: The Territory and the Adventure","authors":"Allan A. Michie","doi":"10.1080/03007766.2023.2245318","DOIUrl":"https://doi.org/10.1080/03007766.2023.2245318","url":null,"abstract":"","PeriodicalId":46155,"journal":{"name":"POPULAR MUSIC AND SOCIETY","volume":" ","pages":""},"PeriodicalIF":0.5,"publicationDate":"2023-08-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45121214","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}