Pub Date : 2024-03-11DOI: 10.1017/s0261143024000047
Anastassiya Andrianova
‘Bayraktar’, a pop/rap song written by a Ukrainian soldier following Russia's invasion of Ukraine on 24 February 2022, went viral, spawning various covers, from electronic dance music to hardcore punk. I analyse this digital archive of 19 ‘Bayraktar’ songs, including five that share only the title with Taras Borovok's paradigmatic song, and contextualise it within the broader historical and decolonial frameworks of Ukrainian resistance music, including the protest music of the Orange Revolution and the Euromaidan demonstrations, and the anti-war music produced during the Donbas war and in the first six months of the ongoing Russia–Ukraine war. I apply the method of multimodal critical discourse analysis to highlight the ways that sound, image (videos and stills) and text (lyrics and verbal descriptions on YouTube) forge nationalist and global protest rhetorics, and also function pragmatically to raise awareness, fundraise for the armed forces and humanitarian efforts, and boost morale in Ukraine and abroad.
{"title":"Not your ordinary drone: odes to the Bayraktar in the Russia–Ukraine war","authors":"Anastassiya Andrianova","doi":"10.1017/s0261143024000047","DOIUrl":"https://doi.org/10.1017/s0261143024000047","url":null,"abstract":"<p>‘Bayraktar’, a pop/rap song written by a Ukrainian soldier following Russia's invasion of Ukraine on 24 February 2022, went viral, spawning various covers, from electronic dance music to hardcore punk. I analyse this digital archive of 19 ‘Bayraktar’ songs, including five that share only the title with Taras Borovok's paradigmatic song, and contextualise it within the broader historical and decolonial frameworks of Ukrainian resistance music, including the protest music of the Orange Revolution and the <span>Euromaidan</span> demonstrations, and the anti-war music produced during the Donbas war and in the first six months of the ongoing Russia–Ukraine war. I apply the method of multimodal critical discourse analysis to highlight the ways that sound, image (videos and stills) and text (lyrics and verbal descriptions on <span>YouTube</span>) forge nationalist and global protest rhetorics, and also function pragmatically to raise awareness, fundraise for the armed forces and humanitarian efforts, and boost morale in Ukraine and abroad.</p>","PeriodicalId":46171,"journal":{"name":"Popular Music","volume":"11 1","pages":""},"PeriodicalIF":0.4,"publicationDate":"2024-03-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140098205","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 : 2024-03-01DOI: 10.1017/s026114302300051x
Dave Russell
The British amateur fretted instrument orchestra was a product of the late Victorian and Edwardian banjo and mandolin ‘crazes’. Lacking deep community roots, early organisations were numerous but mainly short-lived. However, reconstituted as more broadly based clubs, they enjoyed a substantial revival from the later 1920s and played a major role in the preservation of fretted instrumental culture at a time when it was losing purchase in wider popular musical life. Clubs and orchestras provided a significant outlet for the musical talents of lower-middle and working-class amateur musicians and, although always ultimately male-dominated, gave greater opportunity to women than was the norm within amateur instrumental music-making. The charitable concerts that featured so strongly in their work provided an impressive record of public service. However, their instrumentation and middle-of-the-road repertoire rendered them increasingly unfashionable in the changed popular musical climate of the 1950s and entirely marginal by the end of the 1960s.
{"title":"‘The practice of the twanged instruments’. Evaluating the amateur fretted instrument orchestra in British popular musical life, c.1890–c.1960","authors":"Dave Russell","doi":"10.1017/s026114302300051x","DOIUrl":"https://doi.org/10.1017/s026114302300051x","url":null,"abstract":"The British amateur fretted instrument orchestra was a product of the late Victorian and Edwardian banjo and mandolin ‘crazes’. Lacking deep community roots, early organisations were numerous but mainly short-lived. However, reconstituted as more broadly based clubs, they enjoyed a substantial revival from the later 1920s and played a major role in the preservation of fretted instrumental culture at a time when it was losing purchase in wider popular musical life. Clubs and orchestras provided a significant outlet for the musical talents of lower-middle and working-class amateur musicians and, although always ultimately male-dominated, gave greater opportunity to women than was the norm within amateur instrumental music-making. The charitable concerts that featured so strongly in their work provided an impressive record of public service. However, their instrumentation and middle-of-the-road repertoire rendered them increasingly unfashionable in the changed popular musical climate of the 1950s and entirely marginal by the end of the 1960s.","PeriodicalId":46171,"journal":{"name":"Popular Music","volume":"79 1","pages":""},"PeriodicalIF":0.4,"publicationDate":"2024-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140019251","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 : 2024-01-08DOI: 10.1017/s026114302300048x
Stanley Ralph Fink
In order to reveal normative prototypes undergirding various formal sections, this article introduces the ‘Anchoring vi Schema’: a medium length major-mode passage (typically eight or 16 bars) that initiates on an unambiguous hypermetric downbeat (for example, the beginning of a verse or chorus). The Anchoring vi Schema must begin with tonic harmony and deploy submediant harmony at its midpoint – the second most hypermetrically strong beat. The identification of the Anchoring vi Schema enables closer readings of phrase expansion and deletion in popular music. A comparison of the common harmonies used in eight- and 16-measure passages reveals some striking similarities, particularly in terms of where tonic and subdominant chords are likely to occur. Although the endings of formal sections can take a variety of paths – including arriving at various tonal goals within a range of possible times – hypermetrically accented beginnings and midpoints show greater consistency in their organisation.
为了揭示支撑各种形式段落的规范原型，本文介绍了 "锚定 vi 模式"：一个中等长度的大调段落（通常为 8 小节或 16 小节），以一个明确的超节拍下行节拍（例如，诗句或合唱的开头）开始。锚定 vi 模式必须以调性和声开始，并在中点（即第二强拍）使用次中性和声。确定了锚定 vi 模式，就能更仔细地解读流行音乐中的乐句扩展和删除。通过比较八拍子和十六拍子乐段中常用的和声，可以发现一些惊人的相似之处，尤其是在调性和弦和副主和弦可能出现的位置上。虽然形式段落的结尾可以有多种路径--包括在一系列可能的时间内达到各种调性目标，但超音重音的起点和中点在其组织上表现出更大的一致性。
{"title":"The ‘Anchoring vi Schema’ and its relation to phrase rhythm in popular music","authors":"Stanley Ralph Fink","doi":"10.1017/s026114302300048x","DOIUrl":"https://doi.org/10.1017/s026114302300048x","url":null,"abstract":"<p>In order to reveal normative prototypes undergirding various formal sections, this article introduces the ‘Anchoring vi Schema’: a medium length major-mode passage (typically eight or 16 bars) that initiates on an unambiguous hypermetric downbeat (for example, the beginning of a verse or chorus). The Anchoring vi Schema must begin with tonic harmony and deploy submediant harmony at its midpoint – the second most hypermetrically strong beat. The identification of the Anchoring vi Schema enables closer readings of phrase expansion and deletion in popular music. A comparison of the common harmonies used in eight- and 16-measure passages reveals some striking similarities, particularly in terms of where tonic and subdominant chords are likely to occur. Although the endings of formal sections can take a variety of paths – including arriving at various tonal goals within a range of possible times – hypermetrically accented beginnings and midpoints show greater consistency in their organisation.</p>","PeriodicalId":46171,"journal":{"name":"Popular Music","volume":"140 1","pages":""},"PeriodicalIF":0.4,"publicationDate":"2024-01-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139398128","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 : 2023-12-15DOI: 10.1017/s0261143023000508
Richard Osborne
In Britain, the Select Committee of the government department for Digital, Culture, Media and Sport has investigated the economics of streaming and recommended that the share of revenues for record companies should decrease so that songwriters can earn more. This article addresses lobbying activity that has resulted from this recommendation. To support their causes, songwriter representatives and record company organisations have made incorrect or misleading use of data from the report Music Creators’ Earnings in the Digital Age. This article looks at the impact of these uses and provides corrections and alternatives to the statistics that have been employed. It also looks at the importance of the issues that have been raised. In conclusion, it addresses aspects of record company accounting that will need to be considered if an increase for songwriters is to be made at their expense.
{"title":"Songwriters vs. the recording industry: the use and abuse of statistics in UK streaming debates","authors":"Richard Osborne","doi":"10.1017/s0261143023000508","DOIUrl":"https://doi.org/10.1017/s0261143023000508","url":null,"abstract":"In Britain, the Select Committee of the government department for Digital, Culture, Media and Sport has investigated the economics of streaming and recommended that the share of revenues for record companies should decrease so that songwriters can earn more. This article addresses lobbying activity that has resulted from this recommendation. To support their causes, songwriter representatives and record company organisations have made incorrect or misleading use of data from the report <jats:italic>Music Creators’ Earnings in the Digital Age</jats:italic>. This article looks at the impact of these uses and provides corrections and alternatives to the statistics that have been employed. It also looks at the importance of the issues that have been raised. In conclusion, it addresses aspects of record company accounting that will need to be considered if an increase for songwriters is to be made at their expense.","PeriodicalId":46171,"journal":{"name":"Popular Music","volume":"7 1","pages":""},"PeriodicalIF":0.4,"publicationDate":"2023-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138687556","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 : 2023-12-11DOI: 10.1017/s0261143023000478
Kieran Edmond James
{"title":"The Punk Rock Politics of Joe Strummer. Radicalism, Resistance and Rebellion. By Gregor Gall. Manchester: Manchester University Press, 2022. 295 pp. ISBN 978-1-52614-898-8","authors":"Kieran Edmond James","doi":"10.1017/s0261143023000478","DOIUrl":"https://doi.org/10.1017/s0261143023000478","url":null,"abstract":"","PeriodicalId":46171,"journal":{"name":"Popular Music","volume":"16 10","pages":""},"PeriodicalIF":0.4,"publicationDate":"2023-12-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138979900","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 : 2023-11-28DOI: 10.1017/s0261143023000454
Jessica Sequeira
{"title":"Naná Vasconcelos's Saudades. By Daniel B. Sharp. Bloomsbury Academic, 33 1/3 Brazil series, 2021. 272 pp. ISBN: 978-1-501-34570-8","authors":"Jessica Sequeira","doi":"10.1017/s0261143023000454","DOIUrl":"https://doi.org/10.1017/s0261143023000454","url":null,"abstract":"","PeriodicalId":46171,"journal":{"name":"Popular Music","volume":"26 1 1","pages":""},"PeriodicalIF":0.4,"publicationDate":"2023-11-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139219704","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 : 2023-11-28DOI: 10.1017/s0261143023000430
James A. Hodges
{"title":"Raving. By McKenzie Wark. Durham, NC: Duke University Press, 2023, 136 pp. ISBN: 978-1-4780-1938-1","authors":"James A. Hodges","doi":"10.1017/s0261143023000430","DOIUrl":"https://doi.org/10.1017/s0261143023000430","url":null,"abstract":"","PeriodicalId":46171,"journal":{"name":"Popular Music","volume":"36 22 1","pages":""},"PeriodicalIF":0.4,"publicationDate":"2023-11-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139217872","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 : 2023-11-20DOI: 10.1017/s0261143023000442
Duncan Heining
{"title":"Exhibitions, Music and the British Empire. By Sarah Kirby. Martelsham: Boydell Press, 2022. 264 pp. ISBN: 978-1-783-27673-8","authors":"Duncan Heining","doi":"10.1017/s0261143023000442","DOIUrl":"https://doi.org/10.1017/s0261143023000442","url":null,"abstract":"","PeriodicalId":46171,"journal":{"name":"Popular Music","volume":"13 3-4","pages":""},"PeriodicalIF":0.4,"publicationDate":"2023-11-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139256850","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 : 2023-09-25DOI: 10.1017/s0261143023000387
Elodie A. Roy
An abstract is not available for this content. As you have access to this content, full HTML content is provided on this page. A PDF of this content is also available in through the ‘Save PDF’ action button.
{"title":"Under suspicion: library music and the Musicians’ Union in Britain, 1960–1978 – CORRIGENDUM","authors":"Elodie A. Roy","doi":"10.1017/s0261143023000387","DOIUrl":"https://doi.org/10.1017/s0261143023000387","url":null,"abstract":"An abstract is not available for this content. As you have access to this content, full HTML content is provided on this page. A PDF of this content is also available in through the ‘Save PDF’ action button.","PeriodicalId":46171,"journal":{"name":"Popular Music","volume":"52 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135816333","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 : 2023-09-22DOI: 10.1017/s0261143023000314
Shuhei Hosokawa, Yusuke Wajima
An abstract is not available for this content. As you have access to this content, full HTML content is provided on this page. A PDF of this content is also available in through the ‘Save PDF’ action button.
{"title":"In Memory of Toru Mitsui (1940–2023)","authors":"Shuhei Hosokawa, Yusuke Wajima","doi":"10.1017/s0261143023000314","DOIUrl":"https://doi.org/10.1017/s0261143023000314","url":null,"abstract":"An abstract is not available for this content. As you have access to this content, full HTML content is provided on this page. A PDF of this content is also available in through the ‘Save PDF’ action button.","PeriodicalId":46171,"journal":{"name":"Popular Music","volume":"816 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136061678","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}
扫码关注我们
求助内容：
应助结果提醒方式：
京公网安备 11010802042870号