Orchestral Manoeuvres in the 1970s: l’Orchestra Co-operative, 1974–1983

Popular Music ◽  
2007 ◽  
Vol 26 (3) ◽  
pp. 409-427 ◽  
Author(s):  
FRANCO FABBRI
Keyword(s):  
Music Education ◽  
Popular Music ◽  
International Association ◽  
Ideological Criticism ◽  
Avant Garde ◽  
Popular Music Studies ◽  
Social Centre ◽  
Record Company

AbstractL’Orchestra, a cooperative established in 1974/75, based in Milan, Italy, was a unique organisation, involving musicians, sound and lighting engineers, music critics and teachers, and concert managers. It was started as a kind of artists’ union, a federation of folk, rock, political song, jazz, avant-garde groups, but in a few months it became a concert agency and a record company; it held music courses for amateurs and published music tutorials; it helped managing the first multipurpose art/social centre in Milan. L’Orchestra promoted studies along various disciplinary perspectives (sociology, music education, ideological criticism, semiotics) that in some respects embody and in others help explain the development of popular music studies and of the International Association for the Study of Popular Music (IASPM) in Italy.

The Göteborg connection: lessons in the history and politics of popular music education and research

Popular Music ◽  
1998 ◽  
Vol 17 (2) ◽  
pp. 219-242 ◽  
Author(s):  
Philip Tagg
Keyword(s):  
Music Education ◽  
Popular Music ◽  
Social Issues ◽  
International Association ◽  
Turn Of The Millennium ◽  
Popular Music Studies ◽  
Wide Range ◽  
Media Hegemony ◽  
Work Education ◽  
Political Economic

BothPopular Musicand the International Association for the Study of Popular Music (IASPM) have been in existence for almost a generation. Given the radical social and political changes affecting the general spheres of work, education and research since the establishment of those two institutions in 1981, it is perhaps time for popular music scholars to review their own historical position and to work out strategies for the brave new world of monetarism facing those who will hopefully survive another generation after we quinquagenarian baby boomers of the rock era have disappeared from the academic scene. Of course, such a process of intellectual and ideological stocktaking requires detailed discussion of a wide range of political, economic and social issues that cannot be covered in a single article. I will therefore restrict the account that follows to a discussion of one particular set of historical strands affecting the development of popular music studies. This part of our history is virtually unknown in the anglophone quarters that have, for obvious reasons of language and music media hegemony, dominated the international field of popular music studies. It is, however, as I hope to show, a story of considerable relevance to more general problems of music education and research at the turn of the millennium. I shall return to these broader issues at the end of the article.

Toru Mitsui goes into retirement

Popular Music ◽  
2006 ◽  
Vol 25 (2) ◽  
pp. 323-329
Author(s):  
Shuhei Hosokawa
Keyword(s):  
Popular Music ◽  
International Association ◽  
Good Opportunity ◽  
Popular Music Studies ◽  
Look Back ◽  
The University

For the readers of Popular Music, the name of Toru Mitsui is associated with the ‘Booklist’, a column he was in charge of from 1989 to 2002. For many members of the International Association for the Study of Popular Music, the meeting he organised in Kanazawa in 1997 is unforgettable. For scholars and students interested in Japanese popular music, his numerous articles in English are the first references to be read. Last March (2005) Professor Mitsui retired from Kanazawa University, where he had taught since 1969. To commemorate his retirement, a Festschrift entitled Popular Music and Academia (2005b) was published in coordination with a symposium held at the University of Tokyo in May 2004. This is a good opportunity to look back over his prolific career in popular music studies.

International Association for the Study of Popular Music (UK Branch) 2000 Conference

Popular Music ◽  
2001 ◽  
Vol 20 (2) ◽  
pp. 263-274
Author(s):  
Peter Symon
Keyword(s):  
Popular Music ◽  
International Association ◽  
Popular Music Studies ◽  
Working Lives ◽  
The Media ◽  
Media Politics ◽  
State Of Affairs ◽  
The Uk ◽  
The University

For some reason, the working lives of music makers are not often given the attention in popular music studies which might be expected. The launch of the UK Year of the Artist – celebrating the role of artists in society – immediately before the 2000 conference of the UK branch of the International Association for the Study of Popular Music (IASPM), meant that it was especially timely, then, for the IASPM event to address this state of affairs. The conference, The Popular Musician: Performance, Poetics, Power, was held at the University of Surrey, 7–9 July 2000, and took as its central theme the position of musicians – in the music industry, in relation to fans and audiences and in the media, politics and society.

The ambivalence of becoming a small business: Learning processes within an aspiring rock band

Popular Music ◽  
2020 ◽  
Vol 39 (3-4) ◽  
pp. 585-599
Author(s):  
Tobias Malm
Keyword(s):  
Small Business ◽  
Music Education ◽  
Popular Music ◽  
Research Area ◽  
Learning Processes ◽  
Organisational Form ◽  
Rock Band ◽  
Popular Music Studies ◽  
Music Making ◽  
The Social

The process of becoming a rock musician strongly relates to the organisational form of the band (Bennett 1980; Green 2002; Behr 2010). At all levels of ambition and success, membership of a band provides the musician with a natural entry point for performing to an audience and forging a potential career (Smith 2013a). The ‘micro-organisational’ (Bennett 2001) development of a band, therefore, is an important career prerequisite for rock musicians (Behr 2015). However, the social and practical challenges of musicianship seem to be continuously underemphasised within the field of popular music studies (Cohen 1993; Kirschner 1998; Lashua 2017; Weston 2017; Kielich 2018). Therefore, in this article I will focus on an aspiring rock band's informal learning processes in becoming a small business together. The study provides insights into the educational and organisational aspects of band practices and contributes to the fields of popular music, education and organisation studies – fields that are converging in the emerging interdisciplinary research area of ‘organising music-making’ (Beech and Gilmore 2015).

A Rising Tide

2021 ◽  
pp. 265-274
Author(s):  
Will Kuhn ◽  
Ethan Hein
Keyword(s):  
Music Education ◽  
Popular Music ◽  
Electronic Music ◽  
Music Teachers ◽  
Music Technology ◽  
Cultural Authenticity ◽  
Music Program ◽  
Popular Music Studies ◽  
Vernacular Music ◽  
School Music

This chapter reflects on the curriculum outlined in the book and how it fits into the larger music education landscape. While project-based electronic music may not be appealing to all music teachers, the benefits of this approach to music education generally are broad and substantial. An open-enrollment music technology course creates a culture of inclusion that can lend a school’s music program greater cultural authenticity and demographic inclusiveness. When students are able to create music in their preferred styles, it validates their musical identities and helps them build toward lifelong learning. There are racial politics underlying the gulf between “school” music and “popular” music, and the chapter discusses the opposition that each successive form of African-American popular and vernacular music has faced in the academy. Critical popular music studies animated by antiracism can serve to both advance social justice goals, and to strengthen and enrich music programs.

The Musicality of Canadian Cinema

2019 ◽  
pp. 390-408
Author(s):  
Michael Brendan Baker
Keyword(s):  
Popular Music ◽  
Case Studies ◽  
National Cinema ◽  
Avant Garde ◽  
Institutional Forces ◽  
History Of ◽  
Narrative Account

This chapter offers a narrative account of music in Canadian cinema that highlights the contributions of its pioneers. Case studies spanning the critically acclaimed, the curious, and the marginalized allow for an effort to flesh out the place of music, particularly popular music, in this national cinema. While the esthetics and dollars-and-cents of music in film may be similar in Canada as elsewhere, the expectations of filmmakers and audiences are perhaps uniquely Canadian as a result of industrial and institutional forces. Animation, the avant-garde, and documentary are particularly vibrant spaces for the innovative use of music and differentiate the history of music in Canadian cinema from other more commercially oriented contexts.

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