Popular music heritage, cultural memory and cultural identity

2013 ◽  
Vol 20 (3) ◽  
pp. 219-223 ◽  
Author(s):  
Amanda Brandellero ◽  
Susanne Janssen ◽  
Sara Cohen ◽  
Les Roberts
Keyword(s):  
Cultural Identity ◽  
Popular Music ◽  
Cultural Memory

‘ROCK SPECTRALE’: THE CULTURAL IDENTITY OF THE ELECTRIC GUITAR IN TRISTAN MURAIL'S vampyr!

Tempo ◽  
2015 ◽  
Vol 69 (274) ◽  
pp. 22-32
Author(s):  
Ben Jameson
Keyword(s):  
Popular Culture ◽  
Cultural Studies ◽  
Cultural Identity ◽  
Popular Music ◽  
Musical Instruments ◽  
New Music ◽  
Electric Guitar ◽  
Concert Music ◽  
Analytical Approaches

AbstractThe electric guitar is one of the most iconic musical instruments of the twentieth and twenty-first centuries and, due to its ubiquitous use in much rock and popular music, it has developed a strong cultural identity. In recent years, as the electric guitar has become increasingly common in contemporary concert music, its cultural associations have inevitably shaped how composers, performers and listeners understand music performed on the instrument. This article investigates various issues relating to the electric guitar's cultural identity in the context of Tristan Murail's Vampyr! (1984), in the hope of demonstrating perspectives that will be useful in considering new music for the electric guitar more generally. The article draws both on established analytical approaches to Murail's spectral oeuvre and on concepts from popular music and cultural studies, in order to analyse the influence that the electric guitar's associations from popular culture have in new music.

scholarly journals National Identity Construction in Cultural and Creative Tourism: The Double Mediators of Implicit Cultural Memory and Explicit Cultural Learning

SAGE Open ◽  
2021 ◽  
Vol 11 (3) ◽  
pp. 215824402110407
Author(s):  
Shu-Ning Zhang ◽  
Wen-Qi Ruan ◽  
Ting-Ting Yang
Keyword(s):  
National Identity ◽  
Cultural Identity ◽  
Mixed Method ◽  
Cultural Memory ◽  
Interactive Effect ◽  
Cultural Learning ◽  
Structured Interviews ◽  
Factors Affecting ◽  
Mediating Role ◽  
Chinese Tourists

In light of the gap in the national identity research, this study proposes, constructs, and examines the path to national identity by using a mixed-method approach. Study 1 collected 502 questionnaires from Chinese tourists, and Study 2 conducted semi-structured interviews with 15 tourists. The findings confirm that cultural and creative tourism contributes to the construction of tourists’ national identity. Tourists’ long-term implicit cultural memory and short-term explicit cultural learning are the double guarantees for forming tourists’ cultural identity. Importantly, tourists’ cultural identity plays a critical mediating role in promoting national identity. Moreover, the interactive effect of cultural experience and creative performance accelerates the construction process of tourists’ national identity. This study consolidates the sociopolitical significance of cultural and creative tourism for national identity through a rare mixed method and identifies the specific role of the cultural factors affecting national identity, thereby providing great theoretical contributions and practical value.

scholarly journals Ideological and political conflicts about popular music in Serbia

2004 ◽  
pp. 271-284 ◽  
Author(s):  
Misa Djurkovic
Keyword(s):  
Twentieth Century ◽  
Cultural Identity ◽  
Popular Music ◽  
Specific Field ◽  
Political Conflicts ◽  
Musical Heritage

The paper is focused on ideological and political conflicts about popular music in Serbia, as a good example of wrong and confused searching for identity. Basic conflict that author is analyzing is about oriental elements (such as asymmetric rhythmic patterns and melismatic singing) and the question if they are legitimate parts of Serbian musical heritage or not. Author is making an analysis of three periods in twentieth century, in which absolutely the same arguments were used, and he's paying special attention to contemporary conflicts, trying to explain why all of the theories are ideologically based. Author is insisting on role market played in development and modernization of popular music in Serbia. The article is ending with some recommendations for better understanding of cultural identity in Serbia, and for recognizing popular music as specific field of interest and research.

Popular music heritage, community archives and the challenge of sustainability

2016 ◽  
Vol 20 (5) ◽  
pp. 476-491 ◽  
Author(s):  
Sarah Baker ◽  
Jez Collins
Keyword(s):  
At Risk ◽  
Technological Change ◽  
Popular Music ◽  
Case Studies ◽  
Cultural Memory ◽  
Country Music ◽  
Sustainable Practices ◽  
Community Archives

This article identifies the challenges community archives of popular music face in achieving medium- to long-term sustainability. The artefacts and vernacular knowledge to be found in community archives, both physical and online, are at risk of being lost ‘to the tip’ and, consequently, to ‘cultural memory’, due to a lack of resources and technological change. The authors offer case studies of the British Archive of Country Music, a physical archive, and an online Facebook group Upstairs at the Mermaid, to exemplify how and why such groups must strategize their practices in order to remain sustainable. By including both online and physical community archiving in the scope of this research, the authors find that despite key differences in practice, both archival communities face similar threats of closure. The article concludes with an overview of the general outlook for community archives, and possible solutions to this ongoing issue of sustainable practices and processes for this sector.

Kiwi rock: popular music and cultural identity in New Zealand

Popular Music ◽  
1994 ◽  
Vol 13 (3) ◽  
pp. 261-278 ◽  
Author(s):  
Roy Shuker ◽  
Michael Pickering
Keyword(s):  
New Zealand ◽  
Cultural Identity ◽  
Popular Music ◽  
Commercial Success ◽  
Music Scene ◽  
History Of ◽  
Comprehensive History

The New Zealand popular music scene has seen a series of high points in recent years. Published in 1989 were John Dix's labour of love, Stranded in Paradise, a comprehensive history of New Zealand rock'n'roll; an influential report by the Trade Development Board, supportive of the local industry; and the proceedings of a well-supported Music New Zealand Convention held in 1987 (Baysting 1989). In the late 1980s, local bands featured strongly on the charts, with Dave Dobbyn (‘Slice of Heaven’, 1986), Tex Pistol (‘The Game of Love’, 1987) and the Holiday Makers (‘Sweet Lovers’, 1988) all having number one singles. Internationally, Shona Laing (‘Glad I'm Not A Kennedy’, 1987) and Crowded House (‘Don't Dream It's Over’, 1986) broke into the American market, while in Australia many New Zealand performers gathered critical accolades and commercial success.

'Ideal Scheme' or 'Passing over the Rainbow': Transmission of the Georgian Cultural Identity among the Fereydani Gorjīs

2008 ◽  
Vol 12 (1) ◽  
pp. 35-43 ◽  
Author(s):  
Tamta Khalvashi
Keyword(s):  
Cultural Identity ◽  
Cultural Memory ◽  
Identity Maintenance ◽  
Sense Of Identity

AbstractConceptualising Fereydani Georgians, who have lived in Iran for almost 400 years, I have always found myself asking how such groups manage to survive as groups at all and why these kinds of people strive to maintain their sense of identity or retain their cultural memory? I place the concept of identity at the heart of the analysis. Therefore, this article explores the main aspects of identity maintenance and transmission through the presentation of a number of ethnographic materials based on my own research among Fereydani repatriates now living in Tbilisi. I try to show how certain traditions, rituals, customs, etc. are transmitted from generation to generation in the place where the environment is not native, and how such cultural artefacts express the elements of identity.

scholarly journals The Monumental Configuration of Athenian Temporality: Space, Identity and Mnemonic Trajectories of the Periklean Building Programme

2018 ◽  
Vol 2 ◽  
pp. 20-45
Author(s):  
Ben Stanley Cassell
Keyword(s):  
Cultural Identity ◽  
Cultural Memory ◽  
Persian Wars ◽  
Spatio Temporal

This paper intends to illustrate the monuments of the Periklean building programme as embodying acts of temporal configuration; organizing synoptic episodes into an ethno-cultural continuum. A required element to this process is the issue of space, both in its experienced and imagined aspects, as the framework by which temporality is fixed and recounted. By viewing the monuments and accompanying iconography as spatio-temporal configurations, we can see the generation of those elements necessary for the formation of cultural identity via memory. This includes the provision of axial points in time, set in space and wider temporal chronologies, and the election of totemic, and semioticized personages. Moreover, as the configurative action is both framed and informed by its enunciative context, the monuments indicate the promotion of biographical memory, as relating to the Persian Wars, into the register of Athenian cultural memory and temporality.

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