The Jewish Atlantic: Diaspora and Pop Music

2019 ◽  
pp. 109-130
Author(s):  
Caspar Battegay
Keyword(s):  
Hip Hop ◽  
Black Atlantic ◽  
Pop Music ◽  
Music Business ◽  
Intercultural Exchange ◽  
Cultural Minorities ◽  
Rock N Roll ◽  
Paul Gilroy ◽  
The Relationship ◽  
Production Conditions

This chapter discusses the emergence of pop music as a distinctive musical genre intended for very wide audiences and often controlled by the giants of the music business. It describes how pop is characterized by the specific conditions of religious and cultural minorities that are closely linked to African American history, such as jazz, blues, rock 'n' roll, reggae, disco music, soul, and hip hop. It also mentions the British scholar of cultural studies named Paul Gilroy, who defined the production conditions of hip hop as transnational structures of circulation and intercultural exchange. The chapter examines the relationship between the hip hop world and the real world that changed since Gilroy's observations in the 1990s. It talks about the insistence on the diasporic context of the 'Black Atlantic' and its kinship with Jewish modernity that remains pivotal to any pursuit of the diaspora in popular culture.

What Do Music Preferences Reveal About Personality?

2012 ◽  
Vol 33 (2) ◽  
pp. 119-130 ◽  
Author(s):  
Alexandra Langmeyer ◽  
Angelika Guglhör-Rudan ◽  
Christian Tarnai
Keyword(s):  
Gender Differences ◽  
Hip Hop ◽  
Structural Equation ◽  
Equation Model ◽  
Pop Music ◽  
Music Preferences ◽  
Short Test ◽  
Age Range ◽  
First Time ◽  
The Relationship

The present study is the first to examine the relationship between music preferences and personality among a sample of young Germans (N = 422, age range 21–26 years). We replicated the factor structure of the Short Test of Music Preferences (STOMP, Rentfrow & Gosling, 2003 ) by means of confirmatory factor analysis (CFA). The validity of the STOMP was also confirmed for the first time by rating soundclips. The relationship between the dimensions of personality (Big Five Inventory) and music preferences (STOMP and soundclips) was analyzed with a structural equation model (SEM). Gender differences were examined with multigroup analyses (MGA). Our findings corroborate earlier findings on the relationship between music preferences and personality: Individuals open to experience prefer reflective and complex music (e.g., classical) and intense and rebellious music (e.g., rock), whereas they dislike upbeat and conventional types of music (e.g., pop music). Extraverts, on the other hand, prefer upbeat and conventional and energetic and rhythmic types of music (e.g., rap/hip-hop). The results reveal some gender differences.

scholarly journals CONNECTION BETWEEN PERSONAL VALUES AND MUSIC PREFERENCES

2020 ◽  
pp. 52-56
Author(s):  
Anton Kurapov ◽  
Mykhailo Kandykin
Keyword(s):  
Hip Hop ◽  
Personal Values ◽  
Punk Rock ◽  
Pop Music ◽  
Music Preferences ◽  
Age And Gender ◽  
Music Festivals ◽  
Aged People ◽  
And Gender ◽  
The Relationship

This article describes the main correlations that were obtained between music preferences and personal values. It has been discovered that personal values play a significant role in people’s music preferences and they are at the forefront in proposing a map that links personal values to music preferences. According to the results, music preferences can be defined by personal values since people tend to listen to a specific type of music if corresponding values are projected such as conservatism and openness. In this case, music is broken into four preference dimensions which include reflective and complex for folk, jazz, and classical, rebellious and intense comprising of punk, rock, and alternate, conventional and upbeat comprising of pop, country, and soundtracks, and lastly rhythmic and energetic including funk, electronica, hip-hop, and soul. Besides, preferences may be defined by socio-demographic characteristics such as age and gender such that the young people tend to prefer music because of what the other peers listen to and enjoy music in social places such as bars, restaurants, and music festivals, middle-aged people listen to the music of their preferences and at the time of their choosing at homes or while carrying out activities, the aged tend to have less music preference but some cannot do anything without listening to music and therefore have to keep their preference music always. Males tend to focus on certain genres of music such as heavy metal and rock which are associated with cognitive listening and demonstrates a negatively conservative nature of music while females prefer listening to pop music more than males. This article discloses the main results that were obtained in the empirical study of different articles concerning the topic of the relationship between personal values and music preferences. No such research was conducted on Ukrainian-speaking samples before.

Look! Hear! The uneasy relationship of music and television

Popular Music ◽  
2002 ◽  
Vol 21 (3) ◽  
pp. 277-290 ◽  
Author(s):  
Simon Frith
Keyword(s):  
Popular Music ◽  
Turning Point ◽  
Music History ◽  
Musical Culture ◽  
Music Business ◽  
Popular Music History ◽  
Rock N Roll ◽  
Relationship Of ◽  
The Impact ◽  
The Relationship

Television is an essential part of the star-making machinery of the music business and music accompanies nearly all television programmes, and yet the relationship between the two is uneasy. Television does not seem to be an essential part of musical culture and adds little to music aesthetically. Music has had little impact on the form or aesthetics of television. And yet television has certainly had an impact on music and particularly on the mediation of rock and the formation of the modern pop/rock aesthetic. Here it is not music in television that is important but television in music. The 1950s was a significant turning point in popular music history not so much because of the musical revolution of rock ‘n’ roll but because of the impact of television.

Contractual Relationships among Artists, Record Labels, and Artist Management Companies in Japan

2020 ◽  
Author(s):  
Kazuhiro Ando
Keyword(s):  
Music Industry ◽  
Music Business ◽  
Know How ◽  
Contractual Relationships ◽  
The World ◽  
Employee Relationship ◽  
International Audience ◽  
Music Market ◽  
Japanese Music ◽  
The Relationship

Although Japan is the second largest music market in the world, the structure and practices of the music industry are little understood internationally. People overseas need to know how the music business works in Japan so that they can conduct business comfortably. The Japanese music industry has unique features in some respects. First, Japanese record labels remain heavily dependent on traditional physically packaged music although its profitability is much lower than that of digital distribution. Second, full-scale competition in the music copyright management business has just begun. While JASRAC monopolized this market for more than sixty years, the new entrant, NexTone has gradually increased the market share thanks to the frustration experienced by many music publishers and songwriters in their dealings with JASRAC. Third, the relationship between artists and artist management companies is more like an employer-employee relationship than a client-agent relationship. Artist management companies are fully invested in discovering, nurturing, and marketing young artists just the way big businesses handle their recruits. This chapter illuminates practices of the Japanese music industry for an international audience.

scholarly journals White Pop, Shiny Armour and a Sling and Stone: Indigenous Expressions of Contemporary Congregational Song Exploring Christian-Māori Identity

Religions ◽  
2021 ◽  
Vol 12 (2) ◽  
pp. 123
Author(s):  
Shannon Said
Keyword(s):  
Hip Hop ◽  
Minority Groups ◽  
Cultural Backgrounds ◽  
Congregational Song ◽  
Christian Worship ◽  
Pentecostal Churches ◽  
The Relationship ◽  
Sydney Australia

It has taken many years for different styles of music to be utilised within Pentecostal churches as acceptable forms of worship. These shifts in musical sensibilities, which draw upon elements of pop, rock and hip hop, have allowed for a contemporisation of music that functions as worship within these settings, and although still debated within and across some denominations, there is a growing acceptance amongst Western churches of these styles. Whilst these developments have taken place over the past few decades, there is an ongoing resistance by Pentecostal churches to embrace Indigenous musical expressions of worship, which are usually treated as token recognitions of minority groups, and at worst, demonised as irredeemable musical forms. This article draws upon interview data with Christian-Māori leaders from New Zealand and focus group participants of a diaspora Māori church in southwest Sydney, Australia, who considered their views as Christian musicians and ministers. These perspectives seek to challenge the relationship between Indigenous and non-Indigenous relations within a church setting and create a more inclusive philosophy and practice towards being ‘one in Christ’ with the role of music as worship acting as a case study throughout. It also considers how Indigenous forms of worship impact cultural identity, where Christian worship drawing upon Māori language and music forms has led to deeper connections to congregants’ cultural backgrounds.

Questions of style: notes on Italian hip hop

Popular Music ◽  
1995 ◽  
Vol 14 (3) ◽  
pp. 333-348 ◽  
Author(s):  
Tony Mitchell
Keyword(s):  
Communist Party ◽  
Political Party ◽  
Hip Hop ◽  
Rock Music ◽  
Public Image ◽  
Slow Process ◽  
Explosive Material ◽  
The Public ◽  
Music And Politics ◽  
The Relationship

In his article ‘Rock music and politics in Italy’, Umberto Fiori deploys the example of an open-air concert by Genesis in Tirrenia in the province of Pisa, promoted in the summer of 1982 by the Italian Communist Party (PCI) as part of its annual Feste dell'Unita, as a summary example of de-politicisation of the consumption and production of rock music in Italy, and the institutionalisation of the oppositional, dissenting aspects of rock music that had previously been so potent there throughout the 1970s. To Fiori, the Genesis concert representedan unmistakeable step forward in the slow process of the ‘normalisation’ of the relationship between rock and politics in Italy. Explosive material until a few years before, rock music in the 1980s seems to have returned to being a commodity like any other, even in Italy. The songs are once again simply songs, the public is the public. The musicians are only interested in their work, and the organisers make their expected profits. If they happen to be a political party, so much the better: they can also profit in terms of public image and perhaps even votes. … Italy now learnt how to institutionalise deviation and transgression. An ‘acceptable’ gap was re-established between fiction and reality, desire and action, and music and political practice. (Fiori 1984, pp. 261–2)

The Dictionary of Soul

2016 ◽  
Author(s):  
David Brackett
Keyword(s):  
Black Identity ◽  
Musical Style ◽  
History Of ◽  
Rock N Roll ◽  
Relationship Of ◽  
The Relationship

One of the most striking occurrences in the history of Billboard’s popularity charts was the disappearance of the R&B chart from November 1963 to January 1965. This chapter analyzes this event in depth in order to examine the relationship of R&B to the mainstream. R&B continued to have an active existence (illustrated by a discussion of radio formats) despite the disappearance of Billboard’s chart; the temporary cessation of the chart was due to conflictual understandings of genre based in part on different weightings of musical style versus the importance of audience. The “British Invasion” and the emergence of folk-rock during 1964-65 created greater racial division of the mainstream than had existed since the arrival of early rock ‘n’ roll. In the period immediately following, greater emphasis on black identity, musically and politically during the late 1960s led to the re-naming of the R&B category to Soul in 1969.

Producing Diaspora

2018 ◽  
pp. 160-184
Author(s):  
Catherine M. Appert
Keyword(s):  
United States ◽  
Hip Hop ◽  
The United States ◽  
Indigenous Music ◽  
Material Gain ◽  
The Face ◽  
The Relationship ◽  
Musical Elements ◽  
Verbal Performance

This chapter shows how palimpsestic practices of hip hop genre produce diasporic connections. It describes how hip hop practices of layering and sampling delink indigenous musical elements from traditional communicative norms to rework them in hip hop, where they signify rootedness and locality in ways consistent with hip hop practice in the United States. It demonstrates that this process relies on applications of hip hop time (musical meter) as being fundamentally different from indigenous music, whose local appeal is contrasted with hip hop’s global intelligibility. It outlines how hip hop concepts of flow free verbal performance from lyrical referentiality to render it a musical element. It argues that these practices of hip hop genre, in their delinking of sound and speech, reshape understandings of the relationship between commercialism and referentiality, and suggests that voice therefore should be understood to encompass artists’ agency in pursuing material gain in the face of socioeconomic struggle.

Sign in / Sign up

Export Citation Format

Share Document