scholarly journals CULTURAL HERITAGE OF THE BEATLES AND THE INFLUENCE OF THEIR LOVE SONGS ON STUDENTS’ EMPATHY

2020 ◽  
Vol 1 (9(77)) ◽  
pp. 284-289
Author(s):  
Yuliia Rybinska ◽  
Svitlana Pechenizka ◽  
Oksana Stebaieva
Keyword(s):  
Cultural Heritage ◽  
Popular Music ◽  
Love Styles ◽  
Popular Songs ◽  
Personal Experiences ◽  
Love Song

The article describes and analyses the cultural heritage and the Beatles mania phenomenon. Explorations and expressions of love have dominated the lyrical content of popular music for decades, to the extent that the love song can be said to be the archetypal pop song. A detailed division of “love styles” has been proposed by the psychologist John Alan Lee, who suggests that there are six distinct styles of love. Through a consideration of the application of his typology to the lyrics of popular songs, it can be seen that the categories he has identified have relevance musically, as well as socially and emotionally. When these insights are employed in the analysis of songs written and performed by the Beatles, significant differences are seen in the approach to love between the group’s earlier and later material. It is argued that these are not random variations, but indications of the ways in which their personal experiences and professional evolution were reflected in the nature of their music.

scholarly journals Mesto popularne muzike u sistemu zaštite kulturne baštine na primeru saradnje Narodne biblioteke Srbije i Zadužbine Milana Mladenovića

Bosniaca ◽  
2020 ◽  
Vol 25 (25) ◽  
pp. 141
Author(s):  
Maša Miloradović
Keyword(s):  
Popular Culture ◽  
Cultural Heritage ◽  
Popular Music ◽  
20Th Century ◽  
Active Role ◽  
National Library ◽  
The Past ◽  
Traditional Institutions ◽  
Heritage Protection

Na primeru nedavno uspostavljene saradnje između Narodne biblioteke Srbije i Zadužbine Milana Mladenovića; jugoslovenskog muzičara i pesnika poslednjih decenija 20. veka; pokazan je model udruživanja tradicionalne baštinske ustanove i privatne institucije u oblasti zaštite kulturne baštine. Posvećena je pažnja načinima na koje se memorijalizuju i muzealizuju ličnosti i pojave iz nedavne prošlosti iz domena “popularne” kulture. Ukazuje se na neophodnost aktivnije uloge tradicionalnih ustanova u “otkrivanju” baštine; proširivanju na netradicionalne oblike stvaralaštva.--------------------------------------------Place of the Popular Music in the System of Cultural Heritage Protection – The Example of Cooperation between National Library of Serbia and Milan Mladenović EndowmentThe Example of recently established cooperation between National Library of Serbia and Endowment of Milan Mladenović (Yugoslav poet and musician from the last decades of 20th century) shows a model of joining traditional heritage institution and a private endowment in the area of cultural heritage protection. Attention is paid to the ways of memorialisation and musealisation of personalities and phenomenons of the past in the domain of “popular” culture. The more active role of traditional institutions in “discovering” heritage is needed; as well as action towards coverage of wider range of non-traditional cultural creations.

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.

Marketing musicscapes, or the political economy of contagious magic

2013 ◽  
Vol 14 (1) ◽  
pp. 10-29 ◽  
Author(s):  
Les Roberts
Keyword(s):  
Political Economy ◽  
United Kingdom ◽  
Cultural Heritage ◽  
Popular Music ◽  
Place Branding ◽  
Sympathetic Magic ◽  
The United Kingdom ◽  
Symbolic Value ◽  
Music Tourism ◽  
Post Industrial

The economic imperatives that have driven, with various shades of success, urban regeneration initiatives in post-industrial towns and cities in the United Kingdom have sought to capitalise on a music and cultural heritage predicated on an intrinsic embeddedness in the place of the local. Building on discussions around popular musicscapes and local distinctiveness, this article explores the contention that the appeal of popular music heritage from a tourism and place-marketing perspective can in part be attributed to the ‘contagious magic’ factor: the tapping of symbolic value associated with well-known musicians and the interweaving of these narratives into the wider place-myths attached to particular locations as part of boosterist and regeneration strategies. Alongside celebrity-oriented ‘contagion’ as an efficacious tool of alchemical place branding, ‘sympathetic magic’, its anthropological twin, is ritually enacted in embodied and performative iterations of music and place, including music tourism and heritage trails, studio tours, and tribute acts. Drawing on research conducted into popular music heritage tourism in the United Kingdom, this article explores links between cultural heritage, consumption and place by examining the extent to which the ‘rubbing off’ of musical cultural capital can be said to have informed the development of a political economy of contagious magic.

Sign in / Sign up

Export Citation Format

Share Document