Activities and Significance of Vocal Ensemble Groups in Korean Popular Music during the 1960s

2020 ◽  
Vol 42 (5) ◽  
pp. 569-596
Author(s):  
Hojeong Park ◽  
Sungkyoo Hong
Keyword(s):  
Popular Music ◽  
Vocal Ensemble ◽  
The 1960S

scholarly journals Musical Practices in the Funeral Context: A Case Study of Cemeteries in the Ljubljana Region in 2016

2017 ◽  
Vol 53 (1) ◽  
pp. 217-241
Author(s):  
Anita Prelovšek
Keyword(s):  
Popular Music ◽  
Folk Music ◽  
Classical Music ◽  
Instrumental Ensemble ◽  
Vocal Ensemble ◽  
Musical Practices

In Ljubljana and in its surroundings the music at a traditional funeral still consists usually of a vocal ensemble or a trumpet, but in 2016 this has increasingly tended to be replaced by a girl’s vocal and instrumental ensemble. The choice of music depends largely on the wishes of the relatives of the deceased. Folk music predominates, followed by popular music; the music requested least is classical music. The most frequently performed songs of the year 2016 were: Gozdič je že zelen, Lipa zelenela je and Nearer my God to Thee.

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.

Adopting imports: new images and alliances in Brazilian popular music of the 1990s

Popular Music ◽  
1999 ◽  
Vol 18 (3) ◽  
pp. 309-329 ◽  
Author(s):  
Cristina Magaldi
Keyword(s):  
Popular Music ◽  
Urban Youth ◽  
State Of The Art ◽  
Electronic Apparatus ◽  
Music Scene ◽  
Bossa Nova ◽  
The 1960S ◽  
Political Scene ◽  
Musical Styles

Anyone visiting Brazil today in search of an idealised ‘Brazilian Sound’ might, at first, be disappointed with the popular music scene. The visitor will soon realise that established musical styles such as bossa nova and MPB (Música Popular Brazileira (Brazilian Popular Music)), with their well-defined roles within the Brazilian social and political scene of the 1960s, 1970s, and early 1980s, have lost their immediate appeal with some contemporary audiences, and especially with Brazilian urban youth. In the 1990s, Brazilian radio and TV are saturated with a variety of new local genres that borrow heavily from international musical styles of all kinds and use state-of-the-art electronic apparatus. Hybrid terms such assamba-rock, samba-reggae, mangue-beat, afro-beat, for-rock(a contraction of forró and rock),sertaneja-country, samba-rap, andpop-nejo(a contraction of pop andsertanejo), are just a few examples of the marketing labels which are loosely applied to the current infusion of international music in the local musical scene.

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.

‘Funky Drummer’: New Orleans, James Brown and the rhythmic transformation of American popular music

Popular Music ◽  
2000 ◽  
Vol 19 (3) ◽  
pp. 293-318 ◽  
Author(s):  
Alexander Stewart
Keyword(s):  
New York ◽  
World War Ii ◽  
Popular Music ◽  
New Orleans ◽  
World War ◽  
Related Development ◽  
American Popular Music ◽  
Rock N Roll ◽  
The 1960S ◽  
Reverse Development

The singular style of rhythm & blues (R&B) that emerged from New Orleans in the years after World War II played an important role in the development of funk. In a related development, the underlying rhythms of American popular music underwent a basic, yet generally unacknowledged transition from triplet or shuffle feel (12/8) to even or straight eighth notes (8/8). Many jazz historians have shown interest in the process whereby jazz musicians learned to swing (for example, the Fletcher Henderson Orchestra through Louis Armstrong's 1924 arrival in New York), but there has been little analysis of the reverse development – the change back to ‘straighter’ rhythms. The earliest forms of rock 'n' roll, such as the R&B songs that first acquired this label and styles like rockabilly that soon followed, continued to be predominantly in shuffle rhythms. By the 1960s, division of the beat into equal halves had become common practice in the new driving style of rock, and the occurrence of 12/8 metre relatively scarce. Although the move from triplets to even eighths might be seen as a simplification of metre, this shift supported further subdivision to sixteenth-note rhythms that were exploited in New Orleans R&B and funk.

Chicha in the shanty towns of Arequipa, Peru

Popular Music ◽  
1993 ◽  
Vol 12 (3) ◽  
pp. 229-244 ◽  
Author(s):  
Margaret Bullen
Keyword(s):  
Popular Music ◽  
Wide Spread ◽  
Vacant Lots ◽  
Squatter Settlements ◽  
The Andes ◽  
Set Up ◽  
The 1960S

Chicha, a fermented maize beer, traditional in the Andes and brewed by Andean migrants in the shanty towns of Peru's cities, has given its name to a musical movement, which first emerged in the migrant squatter settlements of Lima in the 1960s. By the mid-1980s chicha was the most well-known and wide-spread form of urban popular music in Peru (Romero 1990; Rowe & Schelling 1991, pp. 121–2), widely played, sung and danced in impromptu chichodromos, set up in walled-in vacant lots or back yards.

The power ballad

Popular Music ◽  
2012 ◽  
Vol 31 (3) ◽  
pp. 437-459 ◽  
Author(s):  
David Metzer
Keyword(s):  
Popular Culture ◽  
Popular Music ◽  
Culture Media ◽  
The Other ◽  
Music Genres ◽  
History Of ◽  
The 1960S

AbstractThe power ballad has become a mainstay of popular music since the 1970s. This article offers a history of the songs and discusses their place in the larger field of popular music genres. The songs are defined by the use of both a musical formula based on constant escalation and an expressive formula that combines the euphoric uplift created by rousing music with sentimental themes and ploys. Contrary to views that power ballads first appeared in 1980s rock and are primarily rock numbers, the songs emerged in the 1970s pop recordings of Barry Manilow and others, and from early on crossed genre lines, including pop, rock and R&B. These crossings result in an exchange between the fervour of the power ballad and the distinct expressive qualities of the other genres. This article also places the power ballad in the larger history of the ballad. The songs are part of a shift toward more effusive and demonstrative styles of ballads underway since the 1960s. In addition, the emotional excesses of the power ballad fit into a larger change in the expressive tone of works across different popular culture media. With those works, emotions are to be large, ecstatic and immediate.

scholarly journals ‘Rock'n'roll was everywhere’: Youth culture history as heritage tourism on Queensland's Gold Coast

2015 ◽  
Vol 22 (2) ◽  
pp. 131-142 ◽  
Author(s):  
Christine Feldman-Barrett
Keyword(s):  
Popular Music ◽  
Urban Area ◽  
Youth Culture ◽  
Heritage Tourism ◽  
Gold Coast ◽  
Culture History ◽  
The Future ◽  
Australian City ◽  
New Perspective ◽  
The 1960S

AbstractHistorically, the Gold Coast is a ‘young’ city and urban area inextricably tied to tourism, and a reputation for sun and surf. While this is undeniably true, another lesser known narrative bound to music-driven youth culture from the 1960s to the 1980s is also part of the Gold Coast's history. With ‘heritage tourism’ linked to popular music in recent years, this article examines how the Gold Coast's youth culture history may potentially inform new tourist practices in the country's sixth largest city. Regardless of whether such heritage tourism is ever adopted by the Gold Coast's governing bodies, mapping this relationship between music, youth and place offers a new perspective on an active Australian city— one often stereotyped as a place with a penchant for erasing its past and only looking to the future.

Tom Zé and the performance of citizenship in Brazil

Popular Music ◽  
2009 ◽  
Vol 28 (2) ◽  
pp. 217-237
Author(s):  
CHRISTOPHER DUNN
Keyword(s):  
Civil Society ◽  
Working Class ◽  
Popular Music ◽  
Urban Communities ◽  
Recent Work ◽  
Consumer Society ◽  
Authoritarian Rule ◽  
Avant Garde ◽  
The 1960S ◽  
Historical Trajectory

AbstractThis paper examines the recent historical trajectory of the idea of citizenship in Brazil through the perspective of Tom Zé, a composer and musician noted for his juxtaposition of avant-garde poetics and popular music. My study begins with his participation in the watershed Tropicália movement of the 1960s, focusing on his critique of consumer society and its implications for popular citizenship. In the early 1970s, the figure of the bourgeois citizen, or senhor cidadão, appears in his work as a caustic critique of those who benefited most from the expansion of capitalism during the period of authoritarian rule. With the re-emergence of civil society and redemocratisation in the 1980s, Tom Zé's work reveals a more affirmative notion of citizenship premised on the discourse of self-represenation among working-class subjects. Finally, this paper discusses Tom Zé's most recent work and its contribution to insurgent forms of citizenship in contemporary Brazil involving historically marginalised and impoverished urban communities within the context of neo-liberal globalisation.

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