Conclusion

2021 ◽  
pp. 311-328
Author(s):  
Brent Auerbach
Keyword(s):  
Popular Music ◽  
Classical Tradition ◽  
Musical Work ◽  
Wide Range ◽  
Motivic Analysis

This chapter concludes Musical Motives with an assessment of the benefits and disadvantages of motivic analysis. Listed among the benefits are the method’s general accessibility and its applicability to a wide range of musics. A disadvantage is that a great many pieces even within the Western Classical tradition, naturally resist motivic analysis. The chapter cautions that motivic analysis holds potential but is no panacea. What it does do is allow analysts to quickly and productively engage many dimensions of a musical work. Subsequent portions of the conclusion investigate the extent to which other musico-theoretic entities—specifically, fugue subjects, Galant schemas, and the hooks of popular music—intersect the motive concept. Last, consideration is given to the method’s reliance on literal association as a price to be paid for theoretic rigor.

Sport and Society in Global France

2019 ◽  
Author(s):  
Cathal Kilcline
Keyword(s):  
Popular Music ◽  
Social Cohesion ◽  
Social Issues ◽  
Television Advertising ◽  
Sports Industry ◽  
Wide Range ◽  
Post Industrial ◽  
Privileged Site

From Zinedine Zidane to Lance Armstrong and from Michael Jordan to Marie-José Pérec, over the last thirty years, numerous individuals have emerged through the global sports industry to capture the imagination of the French public and become touchstones for the discussion of a host of social issues. This book provides new insights into the evolution of the global sporting spectacle through a study of star athletes, emblematic organisations, key locations, and celebrated moments in French sport from the mid-1980s to the present day. It draws on a wide range of sources, from film, television, advertising, newspapers, and popular music to cover key developments in sports including football, motorsport, basketball, and cycling. Sport here emerges as a privileged site for the discussion of the nature of contemporary nationhood, as well as for the performance of France’s postcolonial heritage. Simultaneously, sport provides a platform for the playing out of concerns over globalisation, and, in a time of post-industrial uncertainty, for nostalgic reminiscences of an apocryphal bygone era of social cohesion. The exploration of these themes leads to new understandings of the ways sport influences and is implicated in broader social and cultural concerns in France today.

scholarly journals Sacred Languages of Pop: Rooted Practices in Globalized and Digital French Popular Music

2019 ◽  
Vol 3 (1) ◽  
pp. 195-206 ◽  
Author(s):  
Michael Spanu
Keyword(s):  
Social Norms ◽  
Popular Music ◽  
Middle Ages ◽  
Digital Technologies ◽  
Wide Range ◽  
Religious Control ◽  
Local Languages ◽  
The Middle Ages

Abstract Nowadays, popular music artists from a wide range of cultures perform in English alongside other local languages. This phenomenon questions the coexistence of different languages within local music practices. In this article, I argue that we cannot fully understand this issue without addressing the sacred dimension of language in popular music, which entails two aspects: 1) the transitory experience of an ideal that challenges intelligibility, and 2) the entanglement with social norms and institutions. Further to which, I compare Latin hegemony during the Middle Ages and the contemporary French popular music, where English and French coexist in a context marked by globalisation and ubiquitous digital technologies. The case of the Middle Ages shows that religious control over Latin led to a massive unintelligible experience of ritual singing, which reflected a strong class divide and created a demand for music rituals in vernacular languages. In the case of contemporary French popular music, asemantical practices of language are employed by artists in order to explore alternative, sacred dimensions of language that challenge nationhood.

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.

Prologue

2018 ◽  
Author(s):  
E. Douglas Bomberger
Keyword(s):  
United States ◽  
Popular Music ◽  
Symphony Orchestra ◽  
The United States ◽  
Wide Range ◽  
New Year’S Eve

The activities of eight musicians on New Year’s Eve 1916 reflected their positions in the varied musical tapestry of the United States. Two symphony orchestra conductors, three classical soloists, two jazz musicians, and a military bandleader entertained patrons in a wide range of settings as they and their audiences prepared for the year ahead. As the old year ended, Europe was at war, but the United States was not. This fortunate situation created lucrative opportunities for performers of both classical and popular music. Their positions in the musical hierarchy were about to be upended in the turbulent year of 1917.

Marrying Past, Present, and Future

2017 ◽  
Author(s):  
Tanya Merchant
Keyword(s):  
Popular Music ◽  
Central Asia ◽  
Folk Music ◽  
Art Music ◽  
Musical Performance ◽  
Vital Part ◽  
Western Art ◽  
Wide Range ◽  
Wedding Music ◽  
Musical Genres

This chapter examines the ways in which musicians cross the four musical genres in Uzbekistan: maqom, folk music, Western art music, and popular music. Most of the women interviewed for this book interacted with all four genres at some point, and most have strong opinions about each type of practice. The diversity of styles of music present in events associated with Uzbek weddings and the ubiquity of weddings means that they act as unifiers for Tashkenters across disciplinary divides. The chapter first provides an overview of the importance of wedding music throughout Central Asia before discussing the significance of musical performance at weddings. It shows that wedding music is a vital part of the musical economy in Tashkent and is one that involves a wide range of musical styles, including most of those institutionalized in the Uzbek State Conservatory.

Conclusion

Sweet Thing ◽  
2021 ◽  
pp. 236-247
Author(s):  
Nicholas Stoia
Keyword(s):  
Popular Music ◽  
The Past ◽  
Wide Range

The Conclusion turns back to the initial postwar examples. After the preceding excavation of the musical past, we can now see the ancient foundations upon which these later songs are built. It is not within the scope of this study to make a detailed exploration of the “Sweet Thing” scheme in postwar popular music, but consideration of these and a few other examples gives some indication of the increasingly wide range of genres that it enters into during this period, and of later popular music’s strong reflections of the past.

Cli-fi in Other Media

2020 ◽  
pp. 171-189
Author(s):  
Andrew Milner ◽  
J.R. Burgmann
Keyword(s):  
Short Stories ◽  
Popular Music ◽  
Print Media ◽  
Graphic Novels ◽  
Visual Media ◽  
Positive Adaptation ◽  
Wide Range ◽  
Climate Fiction ◽  
Narrative Forms ◽  
Climate Crisis

This chapter explores cli-fi in other print media (short stories, published poetry, comics and graphic novels), recorded popular music (folk and rock), and audio-visual media (cinema, television and videogames). It identifies rhetorically effective instances of cli-fi from a wide range of media, notably Carol Ann Duffy’s ‘Keep It in the Ground’, Brian Wood’s The Massive, Anohni’s Hopelessness, Franny Armstrong’s The Age of Stupid and Darren Aronofsky’s Noah. But it concludes, nonetheless, that it is in cli-fi novels and trilogies, especially those that deal with mitigation and negative or positive adaptation, that the major effort to respond to the climate crisis has taken shape. The more general conclusion, then, is that longer narrative forms seem best suited to climate fiction.

The Area in Between

2020 ◽  
pp. 126-146
Author(s):  
Victoria Malawey
Keyword(s):  
Popular Music ◽  
Electronic Effects ◽  
Technological Mediation ◽  
Vocal Signal ◽  
Music Production ◽  
Wide Range

This chapter explores the ways in which recorded voices interact with external technologies and proposes a continuum of extremes of “wetness” and “dryness” based on the degree to which listeners perceive processing of a vocal signal. The chapter offers an overview of the most commonly used signal processes in popular music production, including vocal layering, overdubbing, pitch modification, recording transmission, compression, reverb, spatial placement, delay, and other electronic effects, which interact with elements from the domains of pitch, prosody, and quality. Analyses of vocally driven music recorded by Björk and cover versions of her songs by other artists demonstrate the wide range of possibilities associated with technological mediation.

Introduction

2019 ◽  
pp. 1-16
Author(s):  
Sumanth Gopinath ◽  
Pwyll ap Siôn
Keyword(s):  
Popular Culture ◽  
Discourse Analysis ◽  
Popular Music ◽  
Formal Analysis ◽  
Reception History ◽  
Contemporary Fiction ◽  
Steve Reich ◽  
Wide Range ◽  
The Subject

This introduction starts off by situating the music of Steve Reich both in relation to popular culture (film, contemporary fiction, and popular music) and as the subject of serious musicological study. An overview of the ever-changing landscape of Reich scholarship is then provided—from formal analyses to approaches that seek to view the composer’s music through the prism of the “new musicology.” The introduction concludes by arguing that the gap between discourse and practice is sometimes extensive. Reich’s own reflections can at times obfuscate more complex realities that lie under the surface. In encompassing sketch studies, discourse analysis and reception history, hermeneutic investigations, intertextual studies, historical timelines and contexts, harmonic and formal analysis, philosophical and religious ruminations, and deep archival digging, this volume draws on a wide range of perspectives that contribute a wealth of knowledge and learning that complements Reich’s own writings.

The Montreal International Jazz Festival

Popular Music ◽  
2000 ◽  
Vol 19 (2) ◽  
pp. 253-255
Author(s):  
Bruno Deschênes
Keyword(s):  
Popular Music ◽  
The Other ◽  
Music Festivals ◽  
The Public ◽  
Wide Range ◽  
The World ◽  
Film Series ◽  
Twentieth Anniversary ◽  
The City ◽  
Musical Styles

The Festival International de Jazz de Montréal (Montreal International Jazz Festival), which celebrated its twentieth anniversary in 1999, has become one of the most popular music festivals in the world, attracting in just twelve days more than a million and a half people. Most visitors are Canadians and Americans, but Europeans are attending in greater numbers each year.The first Festival, held in the summer of 1979, lasted less than a week. Since then, it has progressively expanded and has moved from one site to another several times to accommodate the growing number of visitors. At its current site in downtown Montreal, in the neighbourhood of the Place des Arts, it now lasts a full twelve days. In 1998, thirty-six concert series and two film series were offered for a total of 411 events. Of these, 103 were paying concerts, and 298 were free concerts held for the most part out of doors. Jazz presented in more than twelve bars all over the city also forms part of the event.From noon to 6 pm, a free outdoor concert is held every hour. From 6 pm to midnight, two more free concerts are performed simultaneously. During the day, street bands give strollers a taste of a wide range of musical styles. For more than twelve hours the public can hear music nonstop by moving from one venue to the other. The downtown site is big enough to avoid the overlapping of music from simultaneous performances. At the end of the afternoon and in the evening, Festival-goers can enjoy the indoor paying concerts.

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