POPULAR MUSIC AND SOCIETY最新文献

{"title":"Scott Walker and the Song of the One-All-Alone","authors":"John Littlejohn","doi":"10.1080/03007766.2024.2310769","DOIUrl":"https://doi.org/10.1080/03007766.2024.2310769","url":null,"abstract":"Published in Popular Music and Society (Ahead of Print, 2024)","PeriodicalId":46155,"journal":{"name":"POPULAR MUSIC AND SOCIETY","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2024-01-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139756013","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":"The Force of Environmental Lyrics in Pop Songs: The Case of Gorillaz’s Plastic Beach","authors":"Håvard Haugland Bamle","doi":"10.1080/03007766.2023.2297351","DOIUrl":"https://doi.org/10.1080/03007766.2023.2297351","url":null,"abstract":"This article examines how compositional and performative strategies impact the potency of environmental song lyrics on Gorillaz’s album Plastic Beach. The quality of songfulness is implicated as a ...","PeriodicalId":46155,"journal":{"name":"POPULAR MUSIC AND SOCIETY","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2023-12-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139062568","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":"The Lo-Fi Lens: Interpretations of Memphis Rap Tape Rips in the Online Mediascape","authors":"Joseph Coughlan-Allen","doi":"10.1080/03007766.2023.2282883","DOIUrl":"https://doi.org/10.1080/03007766.2023.2282883","url":null,"abstract":"This article interrogates the association between 1990s Memphis rap and the concept of lo-fi in journalistic discourse between 2012 and 2022. It employs Appadurai’s concept of mediascape in demonst...","PeriodicalId":46155,"journal":{"name":"POPULAR MUSIC AND SOCIETY","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2023-12-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138561210","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":"Stories and Data: Australian Musicians Navigating the Spotify for Artists Platform","authors":"Sophie Freeman, Martin Gibbs, Bjørn Nansen","doi":"10.1080/03007766.2023.2286569","DOIUrl":"https://doi.org/10.1080/03007766.2023.2286569","url":null,"abstract":"Spotify offers users powerful algorithmic recommendations and hybrid “algo-torial” curation at scale. In this paper we argue that juxtaposed within this data-driven platform, is the power of human ...","PeriodicalId":46155,"journal":{"name":"POPULAR MUSIC AND SOCIETY","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2023-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138518479","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":"K-Pop and the Creative Participatory Engagement of Thai Fans: When Cultural Hybridity Becomes Cultural Authenticity","authors":"Matthew Robert Ferguson, Thanyavee Thanyodom","doi":"10.1080/03007766.2023.2286816","DOIUrl":"https://doi.org/10.1080/03007766.2023.2286816","url":null,"abstract":"K-pop products generally avoid cultural particularity, but they speak to specific neoliberal aspirations of middle-class urban audiences in Asia, even if such dreams are a distant reality in workin...","PeriodicalId":46155,"journal":{"name":"POPULAR MUSIC AND SOCIETY","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2023-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138518480","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":"Crooner: Singing from the Heart from Sinatra to Nas","authors":"James Dyer","doi":"10.1080/03007766.2023.2282259","DOIUrl":"https://doi.org/10.1080/03007766.2023.2282259","url":null,"abstract":"Published in Popular Music and Society (Ahead of Print, 2023)","PeriodicalId":46155,"journal":{"name":"POPULAR MUSIC AND SOCIETY","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2023-11-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138518477","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":"Stage, Street, Garden, or Parlour: The Ubiquitous Popular Songs of Late Georgian England","authors":"Georgina Bartlett","doi":"10.1080/03007766.2023.2275836","DOIUrl":"https://doi.org/10.1080/03007766.2023.2275836","url":null,"abstract":"","PeriodicalId":46155,"journal":{"name":"POPULAR MUSIC AND SOCIETY","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-11-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134992857","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":"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":null,"pages":null},"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":null,"pages":null},"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":null,"pages":null},"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}