scholarly journals Debates sobre o tecnobrega e indústria cultural em tempos de pós-fordismo * Debates on tecnobrega: culture industry in times of post-fordism

2013 ◽  
Vol 2 (2) ◽  
pp. 78 ◽  
Author(s):  
RAQUEL SANT'ANA
Keyword(s):  
Twentieth Century ◽  
Popular Music ◽  
Music Industry ◽  
Culture Industry ◽  
Discursive Construction ◽  
Brazilian Music ◽  
Television Shows ◽  
The Press ◽  
Restructuring Process

<p><strong>Resumo:</strong> As últimas décadas do século XX foram marcadas por uma profunda reestruturação produtiva que afetou também a chamada “indústria cultural”. No campo da música, a alegação de que haveria uma crise causada pela circulação de cópias ilegais marcou a reorganização do setor. Neste artigo, analiso o debate em torno do tecnobrega, circuito de música popular que foi transformado em modelo para a indústria fonográfica nacional. Essa construção discursiva contou com participação de imprensa, programas televisivos e análises acadêmicas, que construíram, aos poucos, uma imagem de que o gênero seria a superação da dicotomia centro versus periferia. Esse caso permite pensar algumas das novas configurações da indústria cultural no mundo pós-fordista.</p><p><strong>Palavras-chave:</strong> Tecnobrega – Indústria Fonográfica – Circuitos Musicais.</p><p> </p><p><strong>Abstract:</strong> The last decades of the Twentieth Century were marked by a profound restructuring process that has also affected the so-called "culture industry". In the music field , the claim that there would be a crisis caused by the circulation of illegal copies marked the sector reorganization. This article analyses the debate on the tecnobrega circuit of popular music which has been transformed into a model for the Brazilian music industry. This discursive construction had debates in the press, television shows and academic analysis, which gradually built an image that such genre would be the breakthrough of the center versus periphery dichotomy. This case allows us to consider some of the new settings of the culture industry in the post-Fordist world.</p><p><strong>Keywords:</strong> Tecnobrega – Phonographic Industry – Music Circuits.</p>

The Jewish Population of Tennessee

2018 ◽  
Author(s):  
Laurence Maslon
Keyword(s):  
Twentieth Century ◽  
Popular Music ◽  
Jewish Population ◽  
Music Industry ◽  
Major Power ◽  
Sheet Music ◽  
Early Music ◽  
Music Publishers ◽  
Popular Music Industry

At the beginning of the twentieth century, the first way that the imprimatur of Broadway reached consumers was through the immense distribution of colorful and tuneful sheet music. Early music publishers learned quickly that associating a song with a Broadway show such as the Ziegfeld Follies, Broadway personalities such as Al Jolson and Fanny Brice, or Broadway composers such as Victor Herbert gave that tune a special identity that increased its popularity. In addition, music publishers, such as Max Dreyfus, were major power brokers in the popular music industry, yielding the ability to make a song into a hit, and continued to be influential through the first half of the twentieth century.

Capitalism and Romantic ideology in the record business

Popular Music ◽  
1983 ◽  
Vol 3 ◽  
pp. 143-156 ◽  
Author(s):  
Jon Stratton
Keyword(s):  
Popular Music ◽  
Music Industry ◽  
Economic Importance ◽  
Culture Industry ◽  
Capitalist Society ◽  
Ordered Structure ◽  
Cultural Products ◽  
Popular Music Industry ◽  
The Individual

Given the existing capitalist determinants on the structure of the popular music industry, the record companies, because of their economic importance, not only represent one moment in a system where the music moves from artist to audience, but also generate both the artist, as producer for the industry, and the audience, as consumer for the industry's products — and both as living facets of an ideology best described as Romantic. Romanticism, whilst lived as being in opposition to capitalist concerns founded on rationality and standardisation, in fact supports capitalism by providing both an enabling rationale for invention and a sustaining emphasis on the individual which allows cultural products to be viewed as something other than simply more commodities. The Otherness of culture in capitalist society may be viewed as the manifestation of the necessary but repressed ‘irrational’ qualities which bring into existence and sustain the rational, ordered structure of capitalist practice. In the record business, both the rational aspects of capitalism and the Romanticism of its Other are highlighted by virtue of the highly developed capitalist nature of the culture industry.

The Polish Tin Pan Alley, a Jewish Street

2020 ◽  
pp. 147-164
Author(s):  
Robert A. Rothstein
Keyword(s):  
Twentieth Century ◽  
Popular Music ◽  
Music Industry ◽  
Tin Pan Alley ◽  
Music Publishers ◽  
American Popular Music ◽  
Popular Music Industry ◽  
Jewish Composers

This chapter highlights the 28th Street, between Fifth and Sixth Avenues in Manhattan, that became the home of several music publishers. It looks into the various accounts of how 28th Street came to be called “Tin Pan Alley,” pointing out the observation that the pianos played by song “pluggers” produced a cacophony reminiscent of the clatter of tin pans. It also mentions how the name “Tin Pan Alley” was eventually used as a metonym for the American popular-music industry. The chapter explores the pre-eminent role of Jewish composers, poets, songwriters, and performers in the Polish popular music industry of the 1920s and 1930s. It also focuses on Adam Aston, who was credited with popularizing the first Polish rumba, and Mieczysław Fogg, the most popular Polish singer of the twentieth century.

Chinese toms in the making of the drum kit: Localization and exoticism

2021 ◽  
Vol 5 (2) ◽  
pp. 227-242 ◽  
Author(s):  
Henry Johnson
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Music Education ◽  
Popular Music ◽  
Musical Instruments ◽  
New Music ◽  
Late Nineteenth Century ◽  
The Future ◽  
Late Nineteenth

The late nineteenth century and early decades of the twentieth century saw the drum kit emerge as an assemblage of musical instruments that was central to much new music of the time and especially to the rise of jazz. This article is a study of Chinese drums in the making of the drum kit. The notions of localization and exoticism are applied as conceptual tools for interpreting the place of Chinese drums in the early drum kit. Why were distinctly Chinese drums used in the early drum kit? How did the Chinese drums shape the future of the drum kit? The drum kit has been at the heart of most popular music throughout the twentieth century to the present day, and, as such, this article will be beneficial to educators, practitioners and scholars of popular music education.

Visualizing Winchester: a brand history through iconic Western images

2018 ◽  
Vol 10 (4) ◽  
pp. 383-419 ◽  
Author(s):  
Terrence H. Witkowski
Keyword(s):  
Twentieth Century ◽  
Visual Culture ◽  
Cultural Analysis ◽  
Primary Data ◽  
Content Type ◽  
Wild West Shows ◽  
Television Shows ◽  
Lever Action ◽  
The Media ◽  
Heroic Narrative

Purpose This paper aims to present a visually documented brand history of Winchester Repeating Arms through a cultural analysis of iconic Western images featuring its lever action rifles. Design/methodology/approach The study applies visual culture perspectives and methods to the research and writing of brand history. Iconic Western images featuring Winchester rifles have been selected, examined, and used as points of departure for gathering and interpreting additional data about the brand. The primary sources consist chiefly of photographs from the nineteenth century and films and television shows from the twentieth century. Most visual source materials were obtained from the US Library of Congress, the Smithsonian Institution, the Buffalo Bill Center of the West and the Internet Movie Firearms Database. These have been augmented by written sources. Findings Within a few years of the launch of the Winchester brand in 1866, visual images outside company control associated its repeating rifles with the settlement of the American West and with the colorful people involved. Some of these images were reproduced in books and others sold to consumers in the form of cartes de visite, cabinet cards and stereographs made from albumen prints. Starting in the 1880s, the live Wild West shows of William F. Cody and his stars entertained audiences with a heroic narrative of the period that included numerous Winchesters. During the twentieth century and into the present, Winchesters have been featured in motion pictures and television series with Western themes. Research limitations/implications Historical research is an ongoing process. The discovery of new primary data, both written and visual, may lead to a revised interpretation of the selected images. Originality/value Based largely on images as primary data sources, this study approaches brand history from the perspective of visual culture theory and data. The research shows how brands acquire meaning not just from the companies that own them but also from consumers, the media and other producers of popular culture.

Global Visions and Patriotic Sentiments: The Rise and Fall of Ecumenical Reputations, 1890–1922

2012 ◽  
Vol 14 ◽  
pp. 236-247
Author(s):  
Stuart Mews
Keyword(s):  
Twentieth Century ◽  
Foreign Missions ◽  
Ecumenical Movement ◽  
Early Twentieth Century ◽  
The Press ◽  
Modern Form

Two names stand out in the wealth of young talent which forged the networks which came together in what has come to be called the ecumenical movement, John R. Mott (1865–1955) and his contemporary Nathan Söderblom (1866–1931). For his fellow American Robert Schneider, Mott was ‘undoubtedly the most famous Protestant ecumenist of the early twentieth century’. To his fellow Swede Bengt Sundkler, Söderblom provided the spark of innovation in 1919–20 which was ‘the beginnings in embryo of what later became the ecumenical movement in its modern form’. The purpose of this paper is to consider their contributions in the period from 1890 to 1922, and the overlap and divergences of their roles in the movements contributing to ecumenical thinking and action. Amongst those disparate though sometimes overlapping strands were the concerns of foreign missions, students and peace. A subsidiary theme is that of mischief-making, sometimes out of ignorance, sometimes by design of the press.

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.

Sign in / Sign up

Export Citation Format

Share Document