scholarly journals The appearance of concept albums in Yugoslav popular music: Kamen na kamen - long play records

Muzikologija ◽  
2014 ◽  
pp. 167-194
Author(s):  
Jelena Jovanovic
Keyword(s):  
Popular Music ◽  
Social Economic ◽  
Concept Album ◽  
Thematic Unity ◽  
Full Sense ◽  
The Common ◽  
1960S And 1970S ◽  
The 1960S ◽  
Common Content ◽  
Musical Elements

It is commonly understood that a concept album is ?a studio album where all musical or lyrical ideas contribute to a single overall theme or unified story? (Shuker 2002: 5). In this paper this term will be used to denote an album containing extra-musical themes and not simply collections of compositions defined only by genre or theme. In order for an album to belong to this category, it must have taken a thematic unity realized by the common content (thematically) of its compositions and common musical means. Although the beginnings of such creative trends can be traced from 1940, the 1960s and 1970s brought the most influential releases of this kind, especially The Beatles? album Sgt. Pepper?s Lonely Hearts Club Band (1967), which has had a great impact on many authors. As far as is known, the topic of concept albums in Yugoslavia has not yet been elaborated, so this article seems to be the first dedicated to this subject. It seems that in Yugoslavia there had been albums with elements of concept released before the appearance of the Kamen na kamen group album in 1973, entitled LP-60993 (Zagreb: Jugoton). The author of the album was Nikola Borota Radovan. After that, a double LP by the same ensemble and songwriter appeared in 1975 entitled OOUR/AVNOJ (RTV Ljubljana), with even more clearly expressed characteristics of concept. The aim of this article is to show that the thematic and conceptual elements of these editions are firmly connected to those of the concept album. These LPs were formed within the following thematic and contextual frames: 1) Borota`s general inclination towards folklore tradition(s) as a permanent source of inspiration, 2) models among the greatest popular music works that influenced his writing projects, primarily The Beatles? concept albums, and 3) social, economic and political circumstances in Yugoslavia at the time when these albums appeared. Even if it is not strictly a concept album in the full sense, the album LP- 60993 might be regarded as the first album with elements of concept published by a Yugoslav author, according to all the criteria and analyzed results. The elements that show a clear connection to the concept are as follows: leading subject(s)/idea(s) that demand(s) the order of compositions, organization of musical elements and motives on macro- and micro-levels (to produce formal and thematic unity), elements of narrative and musical/sound symbols, including elements of musique concr?te.

The History and Historiography of Populism in Brazil (1930–1964)

2021 ◽  
Author(s):  
Angela de Castro Gomes
Keyword(s):  
Trade Unions ◽  
Socioeconomic Development ◽  
Political Conflicts ◽  
Original Proposal ◽  
The Media ◽  
The Common ◽  
1960S And 1970S ◽  
Getulio Vargas ◽  
The 1960S ◽  
Brazilian History

The first decades of the 21st century brought back to the international arena a family of terms well known in Latin America to designate both styles of politics and the leaders who embodied them: populism and populists. Brazil is seen as a paradigmatic example of this type of experience, called “classic populism,” for two periods of its history, corresponding to its process of transition from a “traditional” society to a “modern” economy and society. The first period ran from the 1930 revolution until 1945, with the fall of the Estado Novo and the removal of its “leader,” Getúlio Vargas. The latter period covered the 1950s, “the golden years of populism,” since, despite the socioeconomic development achieved, democracy did not manage to establish itself in the country. The populist interpretation of this period of Brazilian history was formulated and shared by academia, essentially after the 1964 coup, and was dominant in the 1960s and 1970s. However, it extended these frontiers, using the language of the media, political conflicts, and the common sense of Brazilians. Widely used, the concepts of populism and populist were conflated with the events and characters they name, only being critiqued in the 1980s and 1990s. Since then, the number of scholars seeking other references has grown, whether redrafting the meanings of the original proposal, the case of the “populist political system,” or abandoning it completely, in the example of the “trabalhista pact.” In this dense debate, one constant can be observed: in Brazil populism became a “category of accusation,” translating negative values present in the “other” to whom one is referring. Although many academic studies do not use this pejorative tone, it is so consolidated in Brazilian politics that it has become part of the political culture of parties and trade unions, circulating widely.

‘Illiterate’ musicians: an historic review of curriculum and practice for student popular musicians in Australian senior secondary classrooms

2019 ◽  
Vol 36 (02) ◽  
pp. 155-171 ◽  
Author(s):  
Christine Carroll
Keyword(s):  
World War Ii ◽  
Music Education ◽  
Popular Music ◽  
Curriculum Reform ◽  
School Curriculum ◽  
Secondary Classrooms ◽  
Western Art ◽  
1960S And 1970S ◽  
The 1960S ◽  
Senior Secondary

AbstractThis article examines curriculum and practice in Australian secondary classroom music education, in order to trace the inclusion of, and provision for, students with learning orientations based on popular music forms. A 60-year period of curriculum reform, matriculation statistics and literature is surveyed with a focus on the state of New South Wales (NSW), where the ‘non-literate’ student musician was first acknowledged in curriculum documents dating from the late 1970s at the senior secondary level (Music Syllabus Year 11 and 12: New 2 Unit A Course. Draft Document). Three overlapping eras frame discussion. The first discusses the original post–World War II school curriculum established for Western art music (WAM); the second discusses the period of curriculum reform beginning in the 1960s and 1970s, which leads to the inclusion of popular music at junior secondary levels; and the third is the present era from roughly 1980 onwards, where separate pathways of instruction are maintained for WAM and students with interests in popular and contemporary musics. Legitimation Code Theory (LCT) from the sociology of education is employed, with analysis unveiling a series of historic code shifts and clashes with implications for present practice. An unveiling of these codes explains the cause of ongoing tensions surrounding the inclusion of popular music and musicians in Australian music classrooms and provides foundation for much-needed curriculum development in the NSW context, and potentially elsewhere, where similar dynamics underpin practice in secondary classrooms.

Remembrance of Things Past: Marxism and the Study of Popular Music

2019 ◽  
Vol 16 (1) ◽  
pp. 141-155
Author(s):  
SIMON FRITH
Keyword(s):  
Popular Music ◽  
Sociology Of Knowledge ◽  
Subsequent Development ◽  
Commercial Music ◽  
Popular Music Studies ◽  
History Of ◽  
Cultural Ideology ◽  
1960S And 1970S ◽  
The 1960S

AbstractThis article considers the role of Marxism in the history of popular music studies. Its approach combines the sociology of knowledge with a personal memoir and its argument is that in becoming a field of scholarly interest popular music studies drew from both Marxist theoretical arguments about cultural ideology in the 1950s and 1960s and from rock writers’ arguments about the role of music in shaping socialist bohemianism in the 1960s and 1970s. To take popular music seriously academically meant taking it seriously politically. Once established as an academic subject, however, popular music studies were absorbed into both established music departments and vocational, commercial music courses. Marxist ideas and ideologues were largely irrelevant to the subsequent development of popular music studies as a scholarly field.

Class Love and the Unfinished Transformation of Social Hierarchy in Nepali Communist Songs

Red Strains ◽  
2013 ◽  
Author(s):  
Anna Stirr
Keyword(s):  
Twentieth Century ◽  
Popular Music ◽  
Social Hierarchy ◽  
Political Organization ◽  
Musical Representations ◽  
Stark Contrast ◽  
1960S And 1970S ◽  
The 1960S ◽  
Strong Concern

Nepal's twentieth-century tradition of leftist music, known as pragatisil git or progressive song, developed musically during the 1960s and 1970s along with state-sponsored nationalist genres meant to serve as musical representations of Nepali identity. The differences were primarily in the lyrics: pragatisil git's leftist themes were deemed too incendiary for a regime that forbade political organization. Composers writing songs for the national radio were encouraged to produce love songs, deemed apolitical and therefore safe. At first glance, communist pragatisil git avoids themes of love, in stark contrast to mainstream folk and popular music. Yet, while themes of romance are indeed absent from most Nepali communist music, a closer look demonstrates a strong concern with other forms of love and sentiment. This chapter focuses upon the theme of class love, examining how it is imagined to be socially transformative, and how it has changed through different communist parties' imaginings.

scholarly journals From Authoritarian Liberalism to Economic Technocracy: Neoliberalism, Politics and ‘De-democratization’

2016 ◽  
Vol 43 (4-5) ◽  
pp. 725-745 ◽  
Author(s):  
Ray Kiely
Keyword(s):  
Market Economy ◽  
Chicago School ◽  
Political Order ◽  
Constitutional Order ◽  
Liberal Democratic ◽  
The Common ◽  
Mass Democracy ◽  
1960S And 1970S ◽  
The 1960S ◽  
Liberal Modernity

Neoliberalism is often sharply contrasted with collectivist ideologies, including conservatism and fascism as well as socialism. This paper challenges such a characterization as too one-sided, focusing on neoliberalism in the context of ‘crises’ of liberal modernity, highlighting significant areas of overlap with authoritarian conservative and neo-fascist critiques of the rise of ‘mass democracy’ in the 1930s, and the common project to resist the politicization of the market economy and constitutional order. This project was applied and adapted in the post-1945 context, and specifically the second crisis of liberal modernity in the 1960s and 1970s, which turned to insights from the Chicago School to support economic technocracy over democracy. It was in this context that neoliberals developed either a more explicit authoritarianism in order to resist the demands of democracy, or the reconstruction of governance according to market principles, both designed to ‘de-democratize’ the liberal democratic political order.

‘Phases and stages, circles and cycles’: Willie Nelson and the concept album

Popular Music ◽  
2011 ◽  
Vol 30 (3) ◽  
pp. 389-408 ◽  
Author(s):  
Travis D. Stimeling
Keyword(s):  
Rock Music ◽  
Music Industry ◽  
Country Music ◽  
Compositional Approach ◽  
Concept Album ◽  
Recording Artist ◽  
Music Community ◽  
1960S And 1970S ◽  
The 1960S ◽  
Musical Forms

AbstractWhile many rock artists explored the compositional possibilities of the concept album in the 1960s and 1970s, Nashville's country music community largely ignored the format. But a few artists working on the fringes of country music – and who, notably, aligned themselves with the countercultural images and attitudes of the time – did begin to experiment with the format in the first years of the 1970s. Chief among them was country songwriter and recording artist Willie Nelson who, by the dawn of the 1970s, was on the verge of breaking away from Music Row to seek more lucrative opportunities in Texas. This article explores the role that Nelson's experimentation with the concept album played in his efforts to adopt a countercultural image, develop a younger audience and challenge the hegemony of the country music industry. Moreover, close examination of Nelson's compositional approach to three albums – Yesterday's Wine (1971), Phases and Stages (1974) and Red Headed Stranger (1975) – reveals that Nelson consciously blended the singles-based approach to songwriting that predominated in 1960s and 1970s Nashville and the extended narrative and musical forms of contemporaneous rock music to create musical products that suited the needs of country radio and rock fans alike.

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