Book Review: Music, Space and Place: Popular Music and Cultural Identity

2005 ◽  
Vol 20 (2) ◽  
pp. 268-271
Author(s):  
Keith Negus
Tempo ◽  
2015 ◽  
Vol 69 (274) ◽  
pp. 22-32
Author(s):  
Ben Jameson

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.


2004 ◽  
pp. 271-284 ◽  
Author(s):  
Misa Djurkovic

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.


Author(s):  
B. Retang Wohangara

One important theme attached to pop culture is the politics of representation and sub-cultural identity. The pop singer Madonna and then the Spice Girls are frequently regarded as the representation of modern women offering a different face of feminism ideology. Successfully entering the market competition, Madonna, through her cry of 'material girl', characterizes herself as an independent woman in the still dominating patriarchal world while challenging the burden of morality placed on the shoulders of women. She asks young women to rebel against male-centred traditions and unashamedly exposes her sensuality as a source of power and even domination, or in short celebrating 'being women'. The flag of Girl Power is also waved by the 1990'sBritish female singers, the Spice Girls, who call young girls to "be strong, be brave, be loud and control your own destiny. Believe that your self can do anything you want to do and be confident. We have to be independent, but it does not mean that you don't need a boy" (Swastika 2004: 66).


2013 ◽  
Vol 24 (4) ◽  
pp. 508-510
Author(s):  
Irene Theodoropoulou
Keyword(s):  

Sign in / Sign up

Export Citation Format

Share Document