Popular Music最新文献

This article examines emerging practices of popular music revivals that rely on affective commitments other than nostalgia. It uses two Serbian-based singers’ post-war Croatian tours as case studies, analysing musical fluidities in the material and symbolic navigation of post-Yugoslav performance networks and focusing on borderwaters such as the Danube that bridge the region's peoples, centring their interconnected industrial and cultural attachments, yet also physically and politically separating former Yugoslav republics. Reviewing hydrological conceptions of territorial belonging in the late-Yugoslav period and in the 1990s as expressed in their ballads and reception history, it argues that the singers (Đorđe Balašević and Zvonko Bogdan), in attempting to re-establish their interrepublic touring practices with the backing of Serbian tambura bands, engage in an economy of love that, as with revival tours elsewhere in Europe, has proved more efficacious than nostalgia for responding to recent political and socioeconomic changes in the European Union.

This article studies how Illapu, a prominent Chilean New Song band, deals with Mapuche culture and sound. Through the analysis of four songs, I argue that by first incorporating Mapuche instruments and rhythms (1970s), and then adding engaged lyrics dealing with Mapuche history (1980s), and finally engaging with Mapuche listeners and artists (1990s–2000s), Illapu participates in the transformation of the way in which indigeneity is conceived. I assert that the transformation of their creative processes takes place in parallel with the emergence of a public political Mapuche subject distinctly identified as such. By positioning themselves as ‘brown’ exemplary agents, the members of Illapu get to voice current Mapuche political demands without resorting to supplantation.

The Rolling Stones played a core role in establishing the generic conventions of rock. A key ideological element of this was the band's reverential dedication to the blues and the importance of the blues to their musical development. However, what is much less recognised is the influence of soul on the band's sound. By looking at the band's repertoire, composition and performing style, this paper explores the influence that soul, particularly Southern soul, had on the band's formative years and argues that, in many ways, they have adopted the aesthetic conventions of soul, rather than rock, for the majority of their career. Rethinking The Stones’ style in this way may help us better understand their position in the rock canon, while also encouraging careful interrogation of the racialised division of rock and soul that emerged in the late 1960s.

Why would Celtic women performers invoke a dead colonialist English poet in their airs and dance sets? This article provides close readings of Shakespearean elements in the musical compositions of gold- and platinum-selling artists Loreena McKennitt, Ensemble Galilei, and Méav. It assesses the archaicising musical language, structural reshapings, and ekphrastic elements as signals of ‘restitutional creativity’ and trans-temporal collaboration. It also analyses the reception of these works by fans and critics, responses replete with invocations of tradition and of timelessness. Like the fanfic-producing enthusiasts of Johnathan Pope's Shakespeare's Fans, the fans for Celtic music capitalise on their awareness of Shakespearean elements in this music to display personal expertise. In so doing, they enhance their own belonging within the Celtic music community.

This article focuses on Kardeş Türküler, a band that reflects the multiple cultural heritages of Anatolia in its concerts and albums. Kardeş Türküler has taken a unique stance in choosing to express itself from a culturally pluralistic perspective rather than following a single language or identity. Referring to Kardeş Türküler as ‘art action’, and utilising the non-reductive methods of John Street that focus on the two-way interaction between music and politics, I conducted in-depth interviews in 2017, 2020 and 2021 with the core members and the former coach of the group regarding its intellectual roots and internal modus operandi. There are three main reasons for Kardeş Türküler's deep engagement with music as protest: being against the cultural–artistic policies of the Republican period; the political meaning of making multilingual music in Turkiye; and Kardeş Türküler's engagement with post-neoliberal street protests such as the Gezi Park movement.