Fragments of a Queer Feminist Rock and Pop History in Vienna

2021 ◽  
Author(s):  
Magdalena Fürnkranz
Keyword(s):  
Popular Culture ◽  
Popular Music ◽  
Electronic Music ◽  
Historical Development ◽  
Rock Music ◽  
Pop Music ◽  
Rock Band ◽  
Music Scenes ◽  
Music Scene ◽  
Rock N Roll

The historical development of Viennese rock and pop music started with rock ’n’ roll in the 1950s, continued with beat music and the “dialect wave” in the late 1960s, punk in the 1980s, the popular Viennese electronic music scene in the 1990s, and is currently enjoying a renaissance of the “dialect wave.” Artists like the Rosée Sisters, Austria’s first all-female rock band founded in 1962, Topsy Girl, A-Gen 53, or SV Damenkraft were active in local music scenes. In retrospect, they are considered as exceptions in the historiography of Austrian popular music. This chapter discusses several feminist and queer artists and collectives in Austria, their position in popular culture, and in historical and geographical contexts. The author concentrates primarily on all-female bands, LGBTIQ+ artists, and queerpop projects to illustrate diverse approaches to music, feminism, and their position within the pop and rock music scenes in Vienna.

Humanism and Music

2020 ◽  
Author(s):  
Christopher M. Driscoll
Keyword(s):  
Artificial Intelligence ◽  
Popular Culture ◽  
Popular Music ◽  
Case Studies ◽  
Contemporary Music ◽  
Theoretical Relationship ◽  
Rock Band ◽  
Historical Developments ◽  
The Relationship

This chapter explores the relationship between humanism and music, giving attention to important theoretical and historical developments, before focusing on four brief case studies rooted in popular culture. The first turns to rock band Modest Mouse as an example of music as a space of humanist expression. Next, the chapter explores Austin-based Rock band Quiet Company and Westcoast rapper Ras Kass and their use of music to critique religion. Last, the chapter discusses contemporary popular music created by artificial intelligence and considers what non-human production of music suggests about the category of the human and, resultantly, humanism. These case studies give attention to the historical and theoretical relationship between humanism and music, and they offer examples of that relationship as it plays out in contemporary music.

Notation and identity in contemporary popular music

Popular Music ◽  
1983 ◽  
Vol 3 ◽  
pp. 215-234 ◽  
Author(s):  
H. Stith Bennett
Keyword(s):  
Popular Culture ◽  
Popular Music ◽  
Classical Music ◽  
The Other ◽  
Other Hand ◽  
The World ◽  
Long Term Changes ◽  
Western European ◽  
Rock N Roll

Popular music, like all manifestations of popular culture, lives on in spite of recurring criticisms that cast it as somehow inauthentic. In fact, defences against this discounting are built into popular music (for example, the Rolling Stones' classic: ‘It's only rock 'n' roll but I like it’) and built in, as well, to the identities of those who make the music a part of their lives, be they players, producers, consumers or critics. On the other hand, so-called classical music, not unlike other manifestations of Western European art culture, lives on in spite of popular music and provides the touchstone of authenticity that creates the defensive popular response. The ideas I am advancing here are intended to allow the players in this authenticity contest to be recognised as evidence of unique historical circumstances: recognised, that is, not only as stock dramatists of ethnocentrism, but as indicators of long-term changes in music cultures in all parts of the world.

scholarly journals Retro-Series About the Artists of Soviet Popular Music: Between Conventions, Past and Reality

2021 ◽  
pp. 298-331
Author(s):  
D.A. Zhurkova ◽  
Keyword(s):  
Popular Culture ◽  
Popular Music ◽  
Main Part ◽  
Pop Music ◽  
The Past ◽  
Soviet Cinema ◽  
The Status ◽  
Biographical Film ◽  
Film Genres ◽  
Insight Into

The article deals with the dramaturgical and aesthetic patterns of the Russian TV series of the 2000s–2010s, which provide insight into the lives of famous Soviet pop music artists. The main characters in the biopics studied were inspired by Leonid Utyosov, Pyotr Leshchenko, Lyubov Orlova, Anna German, Lyudmila Zykina, Valentina Tolkunova, Alla Pugacheva, Lyudmila Gurchenko, Edita Piekha, Valery Obodzinsky and Muslim Magomaev. The article gives an overview of the similarities in the development of historical and biographical film genres in Hollywood and Soviet cinema. Moreover, a brief introduction to Soviet films about musicians is provided. The main part of the research is devoted to the issues of adaptation of Hollywood conventions of the music biopic genre In Russiania. Through the interaction of the Soviet past, Hollywood standards and contemporary Russian realities, the specific features of different narration types are revealed, the issue of authenticity is considered, and the status of pop music in the past and present is outlined. In addition, the types of dramatic conflicts and types of heroes are analyzed, questions of the commercial component in relation to Soviet popular culture are raised.

The Pop Music Mainstream

2017 ◽  
Author(s):  
James Wierzbicki
Keyword(s):  
World War Ii ◽  
Popular Music ◽  
Age Groups ◽  
Pop Music ◽  
World War ◽  
Rock N Roll ◽  
Main Thing

This chapter examines the two most successful commodities in the field of popular music in 1950: “The Tennessee Waltz” and “Goodnight, Irene”—both of which are composed in 3/4 time. In terms of meter alone, these two extraordinarily successful songs stand as much in contrast to the rock 'n' roll music that captured the attention of American teenagers later in the decade as to the swing music that appealed to Americans of diverse age groups in the years leading up to and including World War II. But meter is not the main thing that distinguishes “The Tennessee Waltz,” and “Goodnight, Irene.” Rather than meter, or tempo, or even rhythm, what most distinguishes these songs from earlier and later efforts is their treatment of rhythm.

Epilogue

2019 ◽  
pp. 195-200
Author(s):  
Jennifer Iverson
Keyword(s):  
Popular Music ◽  
Electronic Music ◽  
Rock Music ◽  
The United States ◽  
Art Music ◽  
Art Making ◽  
Avant Garde ◽  
Cognitive Research ◽  
Cultural Sphere ◽  
German City

Midcentury electronic studios drove the development of high art music, but also fed back into the cultural sphere in many ways, proving consequential in scientific, architectural, and popular music domains. The phonetics–music collaborations, for instance, were carried even further in continuing phonetic, linguistic, and cognitive research in Cologne and beyond. The integrated serial designs of the WDR composers, and especially their optimistic utopian dreams, inspired architectural plans for a rebuilt German city that would coalesce around art-making spaces. In popular music spheres such as film sound and rock music, the avant-garde music of the WDR composers, as well as new electronic synthesizers, had significant impacts. These rich cross-pollinations are due in large part to the heterogeneous, laboratory-like structure of the WDR studio, a structure that was replicated in the electronic studios that sprung up in the United States, Asia, and Latin America. In summary, the WDR studio had far-reaching consequences that were both structural and aesthetic. Cultural wounds were exposed and salved as electronic music began to make progress in reclaiming wartime spaces, ideas, and technologies. The impacts of midcentury electronic music continue to reverberate today.

Campus Rock

2020 ◽  
Vol 32 (3) ◽  
pp. 51-72
Author(s):  
James Carter
Keyword(s):  
Popular Music ◽  
Liberal Arts ◽  
Rock Music ◽  
College Campuses ◽  
College Campus ◽  
Pop Music ◽  
Acid Rock ◽  
Radio Stations ◽  
The Sixties ◽  
The Relationship

During 1967-8, The Lovin’ Spoonful, The Animals, The Who, Richie Havens, Jefferson Airplane and the Iron Butterfly, performed in the gymnasium at the small, liberal arts Drew University in suburban New Jersey. Turns out, this experience was not unique to Drew. College campuses across the country were essential for the growth of popular music, and of rock music in particular in the mid- to late-sixties. The music industry took notice as booking agents, record shops, pop music promoters, radio stations, and industry magazines and newspapers all began to place more emphasis on the opportunities provided by the nation’s colleges. While we know a great deal about activism on college campuses during the sixties, we know little about that same environment and its relationship to the growth and development of rock culture. This essay will explore the relationship between the growth of rock culture, the college campus, and the broader sixties experience. The college campus proved crucial in the development of rock music as student tastes determined “rock culture.” Folk, pop, soul/R&B, folk rock, hard rock, and psychedelic/acid rock, thrived simultaneously on the college campus from 1967 to 1970, precisely the period of significant change in popular music.

‘Catalanism Only Will Win by the Force of Songs’, Revisited 100 Years After. The Role of Catalan(ist) Pop-Rock Music in Socially Sanitizing Working-Class Neighborhoods of Barcelona (1976–2000)

2012 ◽  
Vol 2 (2) ◽  
pp. 1-20
Author(s):  
Jordi Nofre
Keyword(s):  
Working Class ◽  
Rock Music ◽  
Urban Life ◽  
Political Freedom ◽  
Great Success ◽  
Conservative Government ◽  
Music Scenes ◽  
Music Scene ◽  
Fascist Regime

Abstract: During the last years of the Spanish fascist regime, two politically contrary music scenes emerged in Barcelona. While Catalanist folk music emerged for political freedom, Spanished rock’n’roll, punk, and heavy scenes emerged in the working-class suburbs of Barcelona, denouncing bad conditions of everyday urban life. The great success of this last music scene in Barcelona in the 1980s led to the then nationalist, conservative government of Catalonia to promote a new socially and politically sanitized music scene in response to such class-based contestation. This study aims to explore how a new Catalan(ist) pop-rock scene was created to socially and culturally sanitize the working-class suburbs of Barcelona along the decades of the 1980s and 1990s.

Alternations

2009 ◽  
Vol 12 (3) ◽  
pp. 367-382 ◽  
Author(s):  
Janne Mäkelä
Keyword(s):  
Popular Culture ◽  
Popular Music ◽  
Rock Music ◽  
Media Discourse ◽  
International Level ◽  
National Cultures ◽  
Metal Music ◽  
The Us ◽  
The Media ◽  
Relationship Of

This article examines the national-international relationship of recent music discourses in Finland. Since 2000, Finnish popular music has gained notable recognition at the international level. Some acts (e.g. HIM, Children of Bodom and Apocalyptica) have even succeeded in the US market, which traditionally has been considered important for music performers. This export boom has had a significant role in the legitimization of rock music, yet it has revealed how contemporary national cultures are produced in a context of popular culture in which distinctiveness often is sought globally. Tracing the changes in Finnish music exports and using the media discourse of metal music as an example, this article argues that international fame not only supports the commercial prosperity and institutional production of Finnish popular music, but also appears as a form of modern nation-building.

scholarly journals In Search of ‘Authentic’ Yugoslav Rock: The Life and Afterlife of Bijelo Dugme

2017 ◽  
pp. 43 ◽  
Author(s):  
Ana Petrov
Keyword(s):  
Popular Music ◽  
Media Studies ◽  
Hard Rock ◽  
Music Industry ◽  
Former Yugoslavia ◽  
The West ◽  
The Public ◽  
Rock Band ◽  
Music Scene ◽  
Popular Music Industry

In this article I address the ways in which rock band Bijelo Dugme (White Button) has become one of the symbols of the former Yugoslavia, by analyzing its activities and reception, both in the Yugoslav and the post-Yugoslav periods. Starting from 1974, when its first album was released, Bijelo Dugme gained high popularity and drew the attraction of the public due to its specific sound and image. Being between the East and the West, Yugoslavia’s popular music scene was constantly focused on searching for a kind of music that would epitomize the ‘authentic’ Yugoslav music. The folk-influenced hard rock sound (so-called shepherd rock) was recognized as such a feature and it soon became one of the symbols of Yugoslav culture itself, making Sarajevo one of its epicenters. I here argue that the band appears to be a Yugoslav symbol since (1) its active years coincide precisely with the period in Yugoslavia that was marked with relevant changes, beginning with its 1974 constitution and ending with its disintegration; (2) it is regarded as a feature representing one of the most important successes of the country’s popular music industry; and (3) it has had a specific ‘afterlife’ that sheds light on the ways culture in the Yugoslav era is perceived currently. Article received: May 1, 2017; Article accepted: May 8, 2017; Published online: September 15, 2017Original scholarly paperHow to cite this article: Petrov, Ana. "In Search of ‘Authentic’ Yugoslav Rock: The Life and Afterlife of Bijelo Dugme." AM Journal of Art and Media Studies 13 (2017): 43-59. doi: 10.25038/am.v0i13.182

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