Pub Date : 2023-01-05DOI: 10.1080/03007766.2022.2163836
Artur Szarecki
ABSTRACT This paper provides an in-depth cultural analysis of the album Blue, by Mostly Other People Do the Killing – a detailed, note-for-note recreation of Miles Davis’s jazz classic, Kind of Blue. While the group’s undertaking has been widely regarded as a postmodern deconstruction of genre and history, this paper adopts a new materialist framework to demonstrate how the re-enactment makes perceptible the material contingency of sound and music. Focusing on the processes of emergence, it argues that Blue calls attention to the material-energetic flows that underlie both the production and reception of music. As such, the album might encourage us to rethink the notion of musical works via a materialist model of intensive forces and their immanent capture within musicking assemblages.
本文对专辑《Blue》进行了深入的文化分析，这张专辑是对迈尔斯·戴维斯爵士经典作品《Kind of Blue》的详细、逐字逐句的再现。虽然该团体的事业被广泛认为是对流派和历史的后现代解构，但本文采用了一种新的唯物主义框架来展示再现如何使声音和音乐的物质偶然性变得可感知。关注涌现的过程，它认为Blue唤起了人们对物质能量流的关注，这种物质能量流是音乐生产和接受的基础。因此，这张专辑可能会鼓励我们重新思考音乐作品的概念，通过一种密集力量的唯物主义模型，以及它们在音乐组合中的内在捕捉。
{"title":"Musicking Assemblages and the Material Contingency of Sound: Mostly Other People Do the Killing’s Re-enactment of Kind of Blue","authors":"Artur Szarecki","doi":"10.1080/03007766.2022.2163836","DOIUrl":"https://doi.org/10.1080/03007766.2022.2163836","url":null,"abstract":"ABSTRACT This paper provides an in-depth cultural analysis of the album Blue, by Mostly Other People Do the Killing – a detailed, note-for-note recreation of Miles Davis’s jazz classic, Kind of Blue. While the group’s undertaking has been widely regarded as a postmodern deconstruction of genre and history, this paper adopts a new materialist framework to demonstrate how the re-enactment makes perceptible the material contingency of sound and music. Focusing on the processes of emergence, it argues that Blue calls attention to the material-energetic flows that underlie both the production and reception of music. As such, the album might encourage us to rethink the notion of musical works via a materialist model of intensive forces and their immanent capture within musicking assemblages.","PeriodicalId":46155,"journal":{"name":"POPULAR MUSIC AND SOCIETY","volume":"46 1","pages":"99 - 116"},"PeriodicalIF":0.5,"publicationDate":"2023-01-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47634568","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 : 2023-01-03DOI: 10.1080/03007766.2023.2164437
Anna Szemere
{"title":"The Genesis and Structure of the Hungarian Jazz Diaspora","authors":"Anna Szemere","doi":"10.1080/03007766.2023.2164437","DOIUrl":"https://doi.org/10.1080/03007766.2023.2164437","url":null,"abstract":"","PeriodicalId":46155,"journal":{"name":"POPULAR MUSIC AND SOCIETY","volume":"46 1","pages":"215 - 216"},"PeriodicalIF":0.5,"publicationDate":"2023-01-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45085176","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 : 2023-01-01DOI: 10.1080/03007766.2022.2155029
Linus Eusterbrock
ABSTRACT Apps for making music on smartphones and tablets are widely used by professional and amateur musicians alike. Based on a qualitative study, this article describes how making music with apps affects users’ sense of self and emotion regulation in everyday life. It demonstrates that music apps are used in “technologies of the self,” that they shape musicians’ self-constitution and allow a complex interplay between music, place, and the self. It argues that music production with apps can promote practices of self-government, but also serve as a tool of self-empowerment and critique.
{"title":"Mobile Safe Spaces and Preset Emotions: Making Music with Apps as a Digital Technology of the Self","authors":"Linus Eusterbrock","doi":"10.1080/03007766.2022.2155029","DOIUrl":"https://doi.org/10.1080/03007766.2022.2155029","url":null,"abstract":"ABSTRACT Apps for making music on smartphones and tablets are widely used by professional and amateur musicians alike. Based on a qualitative study, this article describes how making music with apps affects users’ sense of self and emotion regulation in everyday life. It demonstrates that music apps are used in “technologies of the self,” that they shape musicians’ self-constitution and allow a complex interplay between music, place, and the self. It argues that music production with apps can promote practices of self-government, but also serve as a tool of self-empowerment and critique.","PeriodicalId":46155,"journal":{"name":"POPULAR MUSIC AND SOCIETY","volume":"46 1","pages":"50 - 69"},"PeriodicalIF":0.5,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46688313","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 : 2022-12-17DOI: 10.1080/03007766.2022.2156761
John McGrath
ABSTRACT What I term “the return to craft” is a distillation of a pervasive phenomenon – the nostalgic, folk esthetic of contemporary Western society that has arisen partly in response to the Covid-19 pandemic but also to neoliberalism and climate change. It arises as a reaction to turmoil, offering the comfort of an imagined past, a tangible tactility, and a reconnection with the “old ways,” with nature, and the wild. In this paper, I explore the return to craft as a societal search for foundations via a case-study of its most commercially successful lockdown output, Taylor Swift’s folklore (2020).
{"title":"The Return to Craft: Taylor Swift, Nostalgia, and Covid-19","authors":"John McGrath","doi":"10.1080/03007766.2022.2156761","DOIUrl":"https://doi.org/10.1080/03007766.2022.2156761","url":null,"abstract":"ABSTRACT What I term “the return to craft” is a distillation of a pervasive phenomenon – the nostalgic, folk esthetic of contemporary Western society that has arisen partly in response to the Covid-19 pandemic but also to neoliberalism and climate change. It arises as a reaction to turmoil, offering the comfort of an imagined past, a tangible tactility, and a reconnection with the “old ways,” with nature, and the wild. In this paper, I explore the return to craft as a societal search for foundations via a case-study of its most commercially successful lockdown output, Taylor Swift’s folklore (2020).","PeriodicalId":46155,"journal":{"name":"POPULAR MUSIC AND SOCIETY","volume":"46 1","pages":"70 - 84"},"PeriodicalIF":0.5,"publicationDate":"2022-12-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42346802","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 : 2022-11-15DOI: 10.1080/03007766.2022.2148350
John Littlejohn
{"title":"Peter Gabriel: Global Citizen","authors":"John Littlejohn","doi":"10.1080/03007766.2022.2148350","DOIUrl":"https://doi.org/10.1080/03007766.2022.2148350","url":null,"abstract":"","PeriodicalId":46155,"journal":{"name":"POPULAR MUSIC AND SOCIETY","volume":"46 1","pages":"213 - 214"},"PeriodicalIF":0.5,"publicationDate":"2022-11-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43091083","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 : 2022-10-06DOI: 10.1080/03007766.2022.2132064
Kellie D. Hay, Rebekah Farrugia
ABSTRACT This article theorizes affect, aesthetics, and black inner life through an analysis of two hip hop music videos: Rapsody’s “The Man” and Mama Sol and The N.U.T.S.’s “Manhood.” The authors deploy Quashie’s notion of “the quiet interior” and Rose’s concept of “(inter)personal justice” to examine the aesthetics through which hip hop fatherhood is forged. Scrutinizing the dynamics of inner life, the article showcases the social construction of fatherhood in complex, urban formations. The authors conclude that these two hip hop videos exemplify the ways in which intimate spaces on public display can create sites of political rupture and cultural recovery.
{"title":"Black Fatherhood, Hip Hop, and Inner Life: Reading Rapsody’s “The Man” and Mama Sol and the N.U.T.S.’s “Manhood”","authors":"Kellie D. Hay, Rebekah Farrugia","doi":"10.1080/03007766.2022.2132064","DOIUrl":"https://doi.org/10.1080/03007766.2022.2132064","url":null,"abstract":"ABSTRACT This article theorizes affect, aesthetics, and black inner life through an analysis of two hip hop music videos: Rapsody’s “The Man” and Mama Sol and The N.U.T.S.’s “Manhood.” The authors deploy Quashie’s notion of “the quiet interior” and Rose’s concept of “(inter)personal justice” to examine the aesthetics through which hip hop fatherhood is forged. Scrutinizing the dynamics of inner life, the article showcases the social construction of fatherhood in complex, urban formations. The authors conclude that these two hip hop videos exemplify the ways in which intimate spaces on public display can create sites of political rupture and cultural recovery.","PeriodicalId":46155,"journal":{"name":"POPULAR MUSIC AND SOCIETY","volume":"46 1","pages":"35 - 49"},"PeriodicalIF":0.5,"publicationDate":"2022-10-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44375575","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 : 2022-09-28DOI: 10.1080/03007766.2022.2129257
Pat O’Grady
ABSTRACT Studies have suggested that consumers of recorded music favor portability over high fidelity. In recent years, wireless technologies – such as Bluetooth headphones and speakers – have become a popular way to listen to music. The technology can be contextualized within “ubiquitous listening,” which describes how music is, for many listeners, not a standalone activity. This article examines wireless headphones and speakers to consider how “ubiquitous listening” practices shape our desires for portability and fidelity. The article proposes the term “everyday fidelity” to describe how listeners might seek out distinct levels of fidelity based on their activities at one point in time.
{"title":"“Everyday Fidelity”: Analyzing Sound Quality in Ubiquitous Listening Practices","authors":"Pat O’Grady","doi":"10.1080/03007766.2022.2129257","DOIUrl":"https://doi.org/10.1080/03007766.2022.2129257","url":null,"abstract":"ABSTRACT Studies have suggested that consumers of recorded music favor portability over high fidelity. In recent years, wireless technologies – such as Bluetooth headphones and speakers – have become a popular way to listen to music. The technology can be contextualized within “ubiquitous listening,” which describes how music is, for many listeners, not a standalone activity. This article examines wireless headphones and speakers to consider how “ubiquitous listening” practices shape our desires for portability and fidelity. The article proposes the term “everyday fidelity” to describe how listeners might seek out distinct levels of fidelity based on their activities at one point in time.","PeriodicalId":46155,"journal":{"name":"POPULAR MUSIC AND SOCIETY","volume":"46 1","pages":"21 - 34"},"PeriodicalIF":0.5,"publicationDate":"2022-09-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43386784","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 : 2022-09-18DOI: 10.1080/03007766.2022.2121350
John Kimsey
ABSTRACT Sung by convicts and recorded in 1959 at Mississippi’s Parchman Farm penitentiary, the work song “Po Lazarus” keynoted 2000ʹs award-winning soundtrack O Brother, Where Art Thou? and, thus recontextualized, helped spark a folk revival. Like its protagonist, “Po Lazarus” has been “messed with” – captured, preserved, aestheticized, commercialized. It’s also been allegorized: explicitly by African-American ministers and implicitly by the soundtrack, which limns the circular journey of high Romanticism, a trope originating with Plotinus and Augustine. Moreover, the soundtrack evokes the Manichean allegory of European colonialism, working to simultaneously critique and reproduce the racialized imaginary of Southern vernacular culture.
{"title":"“Go Out and Bring Me Lazarus”: O Brother, Allegory, and a Work Song’s Circuitous Journey","authors":"John Kimsey","doi":"10.1080/03007766.2022.2121350","DOIUrl":"https://doi.org/10.1080/03007766.2022.2121350","url":null,"abstract":"ABSTRACT Sung by convicts and recorded in 1959 at Mississippi’s Parchman Farm penitentiary, the work song “Po Lazarus” keynoted 2000ʹs award-winning soundtrack O Brother, Where Art Thou? and, thus recontextualized, helped spark a folk revival. Like its protagonist, “Po Lazarus” has been “messed with” – captured, preserved, aestheticized, commercialized. It’s also been allegorized: explicitly by African-American ministers and implicitly by the soundtrack, which limns the circular journey of high Romanticism, a trope originating with Plotinus and Augustine. Moreover, the soundtrack evokes the Manichean allegory of European colonialism, working to simultaneously critique and reproduce the racialized imaginary of Southern vernacular culture.","PeriodicalId":46155,"journal":{"name":"POPULAR MUSIC AND SOCIETY","volume":"45 1","pages":"531 - 552"},"PeriodicalIF":0.5,"publicationDate":"2022-09-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43409124","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 : 2022-09-02DOI: 10.1080/03007766.2022.2117977
Mina Khanlarzadeh
ABSTRACT This paper examines how female Lālehzari performers of the 1950s–70s rejected conventional femininity through their performances of female masculinity in their music and in some of the song-and-dance scenes of the commercial cinema. It argues that by performing eshgh ast, a kind of camp, these artists lampooned the dominant culture’s binary gender system and their fans’ claims over masculinity, ultimately making gender more capacious and women’s performative possibilities more diverse in the Lālehzari music scene. Ultimately, the paper demonstrates that these gender outlaws and their audiences developed their own homegrown, urban modernity beyond state discourses of Westernization.
{"title":"“More Champion than the Champions”: Female Masculinity in Lālehzari Music and Filmfarsi","authors":"Mina Khanlarzadeh","doi":"10.1080/03007766.2022.2117977","DOIUrl":"https://doi.org/10.1080/03007766.2022.2117977","url":null,"abstract":"ABSTRACT This paper examines how female Lālehzari performers of the 1950s–70s rejected conventional femininity through their performances of female masculinity in their music and in some of the song-and-dance scenes of the commercial cinema. It argues that by performing eshgh ast, a kind of camp, these artists lampooned the dominant culture’s binary gender system and their fans’ claims over masculinity, ultimately making gender more capacious and women’s performative possibilities more diverse in the Lālehzari music scene. Ultimately, the paper demonstrates that these gender outlaws and their audiences developed their own homegrown, urban modernity beyond state discourses of Westernization.","PeriodicalId":46155,"journal":{"name":"POPULAR MUSIC AND SOCIETY","volume":"46 1","pages":"1 - 20"},"PeriodicalIF":0.5,"publicationDate":"2022-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47894828","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 : 2022-08-30DOI: 10.1080/03007766.2022.2117010
Young-hui Kim
ABSTRACT T’ongkit’a music grew out of the 1960s Korean youth culture, which was centered on elite university students. Previous studies on t'ongkit’a music often highlight its political and social consciousness, but even in its heyday, t’ongkit’a music’s relationship with political activism was limited and accidental. Though it should not be overlooked that the youth’s music was a new mode of social and aesthetic interaction and communication, its political values and effects are rather a later invention of the progressive popular music researchers
{"title":"Revisiting the South Korean Youth Culture and T’ongkit’a Music","authors":"Young-hui Kim","doi":"10.1080/03007766.2022.2117010","DOIUrl":"https://doi.org/10.1080/03007766.2022.2117010","url":null,"abstract":"ABSTRACT T’ongkit’a music grew out of the 1960s Korean youth culture, which was centered on elite university students. Previous studies on t'ongkit’a music often highlight its political and social consciousness, but even in its heyday, t’ongkit’a music’s relationship with political activism was limited and accidental. Though it should not be overlooked that the youth’s music was a new mode of social and aesthetic interaction and communication, its political values and effects are rather a later invention of the progressive popular music researchers","PeriodicalId":46155,"journal":{"name":"POPULAR MUSIC AND SOCIETY","volume":"45 1","pages":"617 - 632"},"PeriodicalIF":0.5,"publicationDate":"2022-08-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43092331","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}
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