Popular Music in Germany: Experimentation and Emancipation from Anglo-American Models

2004 ◽  
pp. 341-348
Author(s):  
Edward Larkey
Keyword(s):  
Popular Music ◽  
Anglo American

Coming out and beyond: press coverage of popular music artists Emmanuel Moire and Eddy de Pretto

2021 ◽  
Vol 46 (1) ◽  
pp. 75-102
Author(s):  
Chris Tinker
Keyword(s):  
Popular Music ◽  
Coming Out ◽  
Press Coverage ◽  
Same Sex ◽  
Self Disclosure ◽  
Anglo American ◽  
Newspaper Articles

Through an analysis of French mediated celebrity discourse this article examines how pop musicians negotiate same-sex desire and self-disclosure in contemporary France. Coverage of Eddy de Pretto and Emmanuel Moire in popular online magazine and newspaper articles is analyzed in terms of a framework that takes into account the context of dominant and normalizing discourses. Coverage exhibits a substantial range of shared and individual approaches, effectively combining normative and queer representations, French values of republicanism, filiation, and existential authenticity, as well as Anglo-American narratives of the closet and coming out.

Investigating the origins of contemporary basics on the drum kit: an exploration of the role of the hi-hat in Anglo-American popular musics from 1960 until 1974

Popular Music ◽  
2014 ◽  
Vol 33 (2) ◽  
pp. 293-314 ◽  
Author(s):  
Paul Fleet ◽  
Jonathon Winter
Keyword(s):  
Popular Music ◽  
Driving Force ◽  
Music History ◽  
Anglo American ◽  
Popular Music History ◽  
Selection Of

AbstractThe hi-hat is an instrument within the kit that is often the driving force of numerous grooves, and how the playing of this instrument developed across the period 1960–1974 in Anglo-American popular musics is a useful guide when considering how the drum kit has in turn defined certain genres and styles. This paper will study a selection of grooves that use the hi-hat as a discriminating factor which will help trace the origin of certain basics within straight rhythms. The first iterations of these grooves are traced and analysed to uncover the origin of particular patterns that have since become accepted and well used within popular musics. This date period is a particularly rich seam of popular music history in this respect, beginning with the earliest recorded examples of particular hi-hat techniques and leading to what could be considered a period where these techniques became commonplace.

scholarly journals Reconceptualizing Aesthetic Cosmopolitanism: Evidence From the Early Consecration of Anglo-American Pop-Rock in Italy

2018 ◽  
Vol 65 (1) ◽  
pp. 99-115
Author(s):  
Simone Varriale
Keyword(s):  
Popular Music ◽  
Social Process ◽  
Archival Research ◽  
Cultural Globalization ◽  
Cultural Forms ◽  
Anglo American ◽  
Symbolic Resource ◽  
Cultural Disposition

This article explores how foreign, recently imported cultural forms can redefine the dynamics of legitimation in national cultural fields. Drawing on archival research, the article discusses the early consecration of Anglo-American pop-rock in 1970s Italy and analyzes the articles published by three specialist music magazines. Findings reveal the emergence of a shared pop-rock canon among Italian critics, but also that this “cosmopolitan capital” was mobilized to implement competing editorial projects. Italian critics promoted both different strategies of legitimation vis-à-vis contemporary popular music and opposite views of cultural globalization as a social process. Theoretically, the article conceptualizes “aesthetic cosmopolitanism” as a symbolic resource that can be realized through competing institutional projects, rather than as a homogeneous cultural disposition.

scholarly journals Negotiating ‘His Master’s Voice’: Gramophone Music and Cosmopolitan Modernity in British Malaya in the 1930s and Early 1940s

2013 ◽  
Vol 169 (4) ◽  
pp. 457-494 ◽  
Author(s):  
Keyword(s):  
Popular Music ◽  
Recording Technology ◽  
Production And Distribution ◽  
Anglo American ◽  
American Popular Music ◽  
Musical Elements

Abstract The label ‘His Master’s Voice’ (HMV) dominated the recording technology, production and distribution of 78 rpm discs in British Malaya in the 1930s and early 1940s. By analysing the lagu Melayu which formed a large part of the repertoire recorded by HMV, this article shows that musicians were able to decentre colonial hegemony by combining Anglo-American popular music idioms with Malay and other foreign musical elements. The new hybrid music with texts about progress was a vehicle for disseminating a form of national culturalism that advocated vernacular modernity, rooted cosmopolitanism, inclusiveness, and a broader sense of Malayness.

scholarly journals Mimicking the mimics: problematizing cover performance of Filipino local music on social media

2021 ◽  
pp. 016344372110298
Author(s):  
Carljohnson Anacin ◽  
David Baker ◽  
Andy Bennett
Keyword(s):  
Social Media ◽  
Popular Music ◽  
Critical Discussion ◽  
Cultural Imperialism ◽  
The West ◽  
Popular Songs ◽  
Social Media Platforms ◽  
Anglo American ◽  
Filipino Culture ◽  
Cover Songs

The performance of cover songs in popular music has long been a subject of critical discussion and debate due to the artistic, social, cultural, and commercial issues that covers raise. In non-Western societies, most popular songs covered by artists are Anglo-American, a situation which implicitly privileges Western music and reinforces both the “west and the rest” trope and the cultural imperialism thesis. Taking American amateur artists and their online videos performing Filipino popular music as case studies, this article examines how social media platforms facilitate and problematize center-periphery relations in popular music through a diffusion of cultural products “from the rest to the west.” Moreover, we show that more than the promise of audience reach, the phenomenon reflects how these cover artists embody cultural and social situatedness in Filipino culture. As they mimic the mimics, they also embody an identity in motion.

scholarly journals In Between the ‘Brows’: The Influx of Highbrow Literature into Popular Music

2016 ◽  
Vol 13 (1) ◽  
pp. 81-95
Author(s):  
Oana Ursulesku
Keyword(s):  
Twentieth Century ◽  
Cultural Heritage ◽  
Popular Music ◽  
Literary Work ◽  
Pivotal Role ◽  
New Work ◽  
Literary Canon ◽  
Popular Song ◽  
Work Of Art ◽  
Anglo American

The global phenomenon of popular music from the middle of the twentieth century on played a pivotal role in the merging of what was traditionally deemed high and low cultures. Performers of popular music of different genres started including direct references to literary works from the Anglo-American literary canon, one of the most famous examples being Kate Bush’s 1989 single “The Sensual World,” in which she originally intended to quote verbatim from Molly Bloom’s soliloquy Bloom in James Joyce’s Ulysses; however, since permission from the Joyce Estate was not granted, the song did get recorded, but with lyrics that Bush wrote herself, inspired by Molly Bloom’s words on the page.This paper analyses the way ideas from the original literary work get transposed and adapted in the lyrics of the popular song, giving credit to the musicians as not only innovative creators of a new work of art, but creators of an adapted work of art that can be intertextually read in the context of the artist’s cultural heritage.

Theorizing and Documenting Cultural Insularity in the Center: A Critical Analysis of U.S. College Students’ English-Language Spotify Consumption Orientations

2020 ◽  
pp. 019685992097715
Author(s):  
Christof Demont-Heinrich
Keyword(s):  
Popular Music ◽  
English Language ◽  
Cultural Consumption ◽  
Pop Music ◽  
Written Discourse ◽  
Cultural System ◽  
The United Kingdom ◽  
Cultural Domain ◽  
Anglo American ◽  
Analytical Utility

This paper highlights an instructive case of cultural insularity in the center (CIC) and illustrates the potential theoretical and analytical utility of a theory of CIC. CIC refers to a tendency among many American cultural consumers toward comparative inwardness in their cultural consumption orientations. This insular tendency is particularly pronounced vis-a-vis “language heavy” cultural goods such as popular music. I critically engage the notion of CIC via a textual analysis of the written discourse of 86 American undergraduates produced via an assignment completed in four international communication classes. This assignment asked students to investigate popular music on Spotify sung in languages other than English and to write about their process. I use this analysis of undergraduate written reflection vis-à-vis their exploration of non-English language pop music to reflect on the general explanatory utility of CIC. Ultimately, a CIC model encourages us to critically explore the unique ways in which American cultural consumers and Anglo-American consumers in countries such as the United Kingdom are positioned vis-à-vis the global cultural system. More broadly, CIC encourages us to critically engage the ways in which the global cultural system orients toward an English-language dominated center, especially in the cultural domain of popular music.

Remembering Popular Music, Documentary Style

2011 ◽  
Vol 12 (6) ◽  
pp. 513-530 ◽  
Author(s):  
Alison Huber
Keyword(s):  
Popular Music ◽  
Wide Audience ◽  
The Past ◽  
History Of ◽  
Entire History ◽  
The Senses ◽  
Anglo American ◽  
American Popular Music ◽  
To Come ◽  
Aesthetic Characteristics

Over the past forty years, a growing number of television documentaries have attempted to produce a history of Anglo-American popular music for a wide audience. This article represents an attempt to come to terms with the particularity of the popular music documentary form and the different ways in which these documentaries present themselves as authoritative public texts that circulate understandings about popular music’s past. The argument is inspired by the landmark mid-1970s installment in this tradition: Tony Palmer’s epic seventeen-part narrative, All You Need Is Love. While this series makes strong historical claims—in Palmer’s words, it sets out to tell “nothing less than the entire history and development of popular music”—the author argues that the series is, in fact, based on the tropes and discourses of memory. Through an analysis of some of the particular formal and aesthetic characteristics of the series, this article reveals the ways in which talking and thinking about the past of popular music and its culture necessarily call on an experience of the senses that is simultaneously replayed and refracted as memory.

IASPM's 13th Biennial Conference: a review from the periphery

Popular Music ◽  
2006 ◽  
Vol 25 (1) ◽  
pp. 127-130
Author(s):  
Hyunjoon Shin ◽  
Pil Ho Kim
Keyword(s):  
Graduate Students ◽  
South Korea ◽  
Popular Music ◽  
Biennial Conference ◽  
Popular Music Studies ◽  
Or Economics ◽  
Anglo American ◽  
Global Connection

Some ten years ago, a group of graduate students in South Korea started reading ‘canons’ of popular music studies, such as those by Simon Frith, Iain Chambers, Keith Negus, Tony Mitchell, and Roy Shuker, among others. No formal discipline, be it music, communication, sociology or economics, embraced the group with open arms. Its members did not even know of the existence of IASPM until a few years later. Being ‘local’ without global connection, at the margins of academia in the periphery of Anglo-American cultural/intellectual centres, was an uneasy position to say the least.

scholarly journals Drum Groove Corpora

2021 ◽  
Vol 16 (1) ◽  
pp. 114-123
Author(s):  
Fred Hosken ◽  
Toni Bechtold ◽  
Florian Hoesl ◽  
Lorenz Kilchenmann ◽  
Olivier Senn
Keyword(s):  
Popular Music ◽  
Music Performance ◽  
Common Point ◽  
Future Studies ◽  
Fair Principles ◽  
Anglo American ◽  
American Popular Music ◽  
Point Of Reference

Patterned microtiming deviations from metronomic regularity are ubiquitous in the performance of metered music. The relevance of microtiming to the perception of music has been studied since the 1980s. Most recently, microtiming has been investigated as a cause of groove (i.e., the pleasant urge to move in response to music). The study of microtiming relies on the availability of microtiming data. This report presents three large corpora of onset timings derived from drum kit performances in popular Anglo-American popular music styles. These data are made freely available (CC 4.0 license) to provide a resource for use by analysts and experimenters alike. They offer a common point of reference for future studies into the temporal facets of music performance. The datasets adhere to FAIR principles; they thus facilitate replication of analyses and experimental stimuli.

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