scholarly journals How fleeting is fame? Collective memory for popular music

2018 ◽  
Author(s):  
Stephen Spivack ◽  
Sara Jordan Philibotte ◽  
Nathaniel Hugo Spilka ◽  
Ian Passman ◽  
Pascal Wallisch
Keyword(s):  
Popular Music ◽  
Collective Memory ◽  
Large Sample ◽  
The 1960S ◽  
Over Time

In this paper, we investigated the collective memory for popular music. To assess how well number-one hits are recognized over time, we randomly selected top songs fromthe last 76 years and presented them to a large sample of mostly millennial participants. In response to hearing each selection, participants were prompted to indicate whether they recognized each song. We found three distinct phases in collective memory: a steep linear drop-off in recognition for the music from this millennium, a stable plateau from the 1960s to the 1990s, and a further but more gradual drop-off for music from the 1940s and 1950s.More than half of recognition variability between songs can be accounted for by exposure as measured by Spotify play counts. We conclude that in the musical realm, fame is fleeting - but perhaps not as fleeting as previously suggested.

The Bible in Pop and Rock Music

2020 ◽  
pp. 329-343
Author(s):  
Michael J. Gilmour
Keyword(s):  
Popular Music ◽  
Collective Memory ◽  
Rock Music ◽  
Status Quo ◽  
Religious Language ◽  
Biblical Story ◽  
The Bible ◽  
The Status ◽  
The 1960S ◽  
Conservative Values

The Bible is ubiquitous in pop and rock music of the 1960s through to the present. This is surprising given that the art forms subsumed under these catchall categories are typically oppositional in nature. They resist the status quo and are often antiestablishment in posture, and by their very nature inclined to push back against the conservative values and authoritarian tendencies of organized religion. This chapter examines reasons why biblical and religious language is so persistent a feature in the popular music of recent decades, emphasizing the collective memory of the biblical story among songwriters and their audiences and the fragmentary nature of these “readings” of sacred texts and traditions.

Snobs and quétaines: prestige and boundaries in popular music in Quebec

Popular Music ◽  
2006 ◽  
Vol 25 (1) ◽  
pp. 97-116 ◽  
Author(s):  
MICHÈLE OLLIVIER
Keyword(s):  
Popular Music ◽  
Social Groups ◽  
French Language ◽  
Quebec French ◽  
Gender Divisions ◽  
And Gender ◽  
The 1960S ◽  
To Receive ◽  
Symbolic Boundary ◽  
Over Time

This paper is a study of prestige and boundaries in Quebec French-language popular music. Based on interviews with artists, producers and critics conducted in the early 1990s, I argue that popular music in Quebec at that time remained divided along a symbolic boundary established in the 1960s between a highly prestigious group of songwriters/rock artists, who wrote and sang their own material, and a less prestigious group of interpreters/artistes populaires, who sang light pop songs or songs written by others. As predicted by Bourdieu, I show that artists in the most prestigious category were associated with privileged social groups and gained material and symbolic advantages from their prestige. They are more likely to receive honorific awards, to be invited to perform at special cultural events, to see their work recognised as ‘important’, and to persist over time. In opposition to Bourdieu, however, I argue that in the context of emerging nationalism, their songs were also perceived as providing collective benefits over and beyond class and gender divisions.

scholarly journals On the Other Side of the Genre Boundary

Traditiones ◽  
2020 ◽  
Vol 48 (3) ◽  
pp. 21-41
Author(s):  
Ljubica Milosavljević
Keyword(s):  
Popular Music ◽  
Folk Music ◽  
The Other ◽  
Music Genres ◽  
Strategic Goals ◽  
The 1960S ◽  
Over Time ◽  
Professional Context

The fieldwork conducted in Belgrade during the summer and autumn of 2017 was oriented towards jazz musicians, and their strategies of action, in gist, implied playing other popular music genres through compromise – function work. Such business tactics are a consequence of jazz musicians’ ever-insecure position, but strategic goals have changed over time with the nature of that insecurity. Going beyond the genre boundary first became a means of securing the profession itself after WWII due to (foreign-)political and ideological influences, whereas from the 1960s to date, it has been the economic guaranty of the survival of many jazz musicians. Playing folk music is one of the observed strategies analysed through a broader sociopolitical, socioeconomic and professional context.

Indigenous higher education sector: the evolution of recognised Indigenous Leaders within Australian Universities

2020 ◽  
pp. 1-7 ◽  
Author(s):  
Stacey Kim Coates ◽  
Michelle Trudgett ◽  
Susan Page
Keyword(s):  
Higher Education ◽  
Indigenous Education ◽  
Indigenous Australians ◽  
Access To Higher Education ◽  
Public Schooling ◽  
Indigenous Students ◽  
Early Experiences ◽  
Commonwealth Government ◽  
The 1960S ◽  
Over Time

Abstract There is clear evidence that Indigenous education has changed considerably over time. Indigenous Australians' early experiences of ‘colonialised education’ included missionary schools, segregated and mixed public schooling, total exclusion and ‘modified curriculum’ specifically for Indigenous students which focused on teaching manual labour skills (as opposed to literacy and numeracy skills). The historical inequalities left a legacy of educational disparity between Indigenous and non-Indigenous Australians. Following activist movements in the 1960s, the Commonwealth Government initiated a number of reviews and forged new policy directions with the aim of achieving parity of participation and outcomes in higher education between Indigenous and non-Indigenous Australians. Further reviews in the 1980s through to the new millennium produced recommendations specifically calling for Indigenous Australians to be given equality of access to higher education; for Indigenous Australians to be employed in higher education settings; and to be included in decisions regarding higher education. This paper aims to examine the evolution of Indigenous leaders in higher education from the period when we entered the space through to now. In doing so, it will examine the key documents to explore how the landscape has changed over time, eventually leading to a number of formal reviews, culminating in the Universities Australia 2017–2020 Indigenous Strategy (Universities Australia, 2017).

Symbolic Figures of the Decembrists in the Memorial Space of Irkutsk (Early 20th Century - 1991)

2021 ◽  
pp. 129-138
Author(s):  
Yekaterina I. Krasilnikova ◽  
◽  
Keyword(s):  
Social Identity ◽  
Collective Memory ◽  
Regional Identity ◽  
100Th Anniversary ◽  
The State ◽  
Soviet Period ◽  
Local Authorities ◽  
Politics Of Memory ◽  
The 1960S ◽  
Memorial Space

The author explores the problem of reflecting the collective memory of Siberians about the exiled Decembrists in the memorial space of Irkutsk at different historical stages. The aim of the article is to characterize the developing dynamics of a segment of the memorial space system that includes Irkutsk's memorial places associated with the Decembrists in the chronological framework of the Soviet period of Russian history. The study is based on the principle of historicism. The methodological reference point of the research is the problem field of memory studies; the concepts of the places of memory of P. Nora and cultural memory of J. Assmann and A. Assmann are used. The author also employs historical-genetic and historical-comparative methods. Within the framework of the Soviet period, three stages of forming the segment of the Irkutsk memorial space associated with the memory about the Decembrists were identified. The first stage, from the 1910s till 1925, reflects the general weakness of Irkutsk city residents' collective memory about the Decembrists, which was manifested in neglecting memorial sites, and the beginning of the awakening of interest in the Decembrists among the local liberal-minded intelligentsia. At the second stage, from 1925 (the 100th anniversary of the Decembrist uprising) till the 1960s, under the influence of the state politics of memory that recognized the Decembrists as the first generation of Russian revolutionaries, the intelligentsia of Irkutsk were actively forming the locus of the Decembrists' memorial space in their city. Based on the memory about the Decembrists, the intelligentsia was constructing their social identity. But the local authorities did not provide the intelligentsia with the desired support, which significantly complicated achieving the memorialization tasks. At the third stage, in the 1960s-1980s, the memory about the Decembrists' stay in Irkutsk was in demand among the local authorities, who used it especially actively during celebrations dedicated to the anniversaries of the city. Many memorable places were designated, and their protection was improved. The sharply increased attention of Irkutsk local administration and city residents to the exiled Decembrists reflected the growth of their regional identity. The author revealed the dependence of reflecting the collective memory about the Decembrists in the Irkutsk memorial space on the state and regional politics of memory, as well as on the local intelligentsia initiatives, for which the memory about the Decembrists served as one of the foundations for constructing their social identity.

scholarly journals Social Class Origin and Assortative Mating in Britain, 1949–2010

Sociology ◽  
2017 ◽  
Vol 52 (6) ◽  
pp. 1217-1236 ◽  
Author(s):  
Ursula Henz ◽  
Colin Mills
Keyword(s):  
Social Class ◽  
Assortative Mating ◽  
Class Mobility ◽  
The Social ◽  
Class Origin ◽  
To Come ◽  
Similar Class ◽  
The 1960S ◽  
Level Aspect ◽  
Over Time

This article examines trends in assortative mating in Britain over the last 60 years. Assortative mating is the tendency for like to form a conjugal partnership with like. Our focus is on the association between the social class origins of the partners. The propensity towards assortative mating is taken as an index of the openness of society which we regard as a macro level aspect of social inequality. There is some evidence that the propensity for partners to come from similar class backgrounds declined during the 1960s. Thereafter, there was a period of 40 years of remarkable stability during which the propensity towards assortative mating fluctuated trendlessly within quite narrow limits. This picture of stability over time in social openness parallels the well-established facts about intergenerational social class mobility in Britain.

Gendered and Censored Modernity

2017 ◽  
Author(s):  
Soojin Kim
Keyword(s):  
South Korea ◽  
Popular Music ◽  
Social Values ◽  
Development Project ◽  
Collective Memories ◽  
Korean Society ◽  
Colonial Experience ◽  
The Korean War ◽  
The 1960S ◽  
The U.S

This chapter examines the ways in which a juxtaposition of two definitions of modernity are reflected in the two female singers, Yi Mi-ja and Patti Kim, who actively performed in postwar South Korea, particularly between the 1960s and the 1970s. While different social values and cultural practices constituted the modernity of South Korea, most scholarship on Korean popular music gives particular attention to the cultural products of modernity that have been influenced by the West, mostly by the U.S. This chapter, however, suggest that the different cultures from Korea, Japan, and the U.S. together constitute the modernity of Korea. Also, different collective memories from the Japanese colonial experience, the Korean War, and the Korean government-led economic development project shape the ideal form of modernization. Modernity in South Korean popular music shows that the periods between the 1960s and the 1970s juxtapose what the Korean society was facing and seeking at the time. Focusing on the Yi and Kim’s music and their performance styles, this chapter explores how different musical cultures and social values are reflected in their music as a way to construct gendered and censored modernity.

‘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.

The Democratic Deficit of United States Federalism? Red State, Blue State, Purple?

2018 ◽  
Vol 46 (4) ◽  
pp. 645-667
Author(s):  
Vicki C Jackson
Keyword(s):  
United States ◽  
State Legislatures ◽  
The United States ◽  
State Legislature ◽  
Democratic Deficit ◽  
The Us ◽  
The 1960S ◽  
Us Senate ◽  
The One ◽  
Over Time

Aspects of an entrenched constitution that were essential parts of founding compromises, and justified as necessary when a constitution was first adopted, may become less justifiable over time. Is this the case with respect to the structure of the United States Senate? The US Senate is hardwired in the Constitution to consist of an equal number of Senators from each state—the smallest of which currently has about 585,000 residents, and the largest of which has about 39.29 million. As this essay explains, over time, as population inequalities among states have grown larger, so too has the disproportionate voting power of smaller-population states in the national Senate. As a result of the ‘one-person, one-vote’ decisions of the 1960s that applied to both houses of state legislatures, each state legislature now is arguably more representative of its state population than the US Congress is of the US population. The ‘democratic deficit’ of the Senate, compared to state legislative bodies, also affects presidential (as compared to gubernatorial) elections. When founding compromises deeply entrenched in a constitution develop harder-to-justify consequences, should constitutional interpretation change responsively? Possible implications of the ‘democratic’ difference between the national and the state legislatures for US federalism doctrine are explored, especially with respect to the ‘pre-emption’ doctrine. Finally, the essay briefly considers the possibilities of federalism for addressing longer term issues of representation, polarisation and sustaining a single nation.

Sign in / Sign up

Export Citation Format

Share Document