Resonances

2013 ◽  
Keyword(s):  
Popular Music ◽  
Musical Instrument ◽  
Field Of Study ◽  
Avant Garde ◽  
Critical Exploration ◽  
History Of ◽  
Theoretical Paradigms

Resonances is a compelling collection of new essays by scholars, writers and musicians, all seeking to explore and enlighten this field of study. Noise seems to stand for a lack of aesthetic grace, to alienate or distract rather than enrapture. And yet the drones of psychedelia, the racket of garage rock and punk, the thudding of rave, the feedback of shoegaze and post-rock, the bombast of thrash and metal, the clatter of jungle and the stuttering of electronica, together with notable examples of avant-garde noise art, have all found a place in the history of contemporary musics, and are recognised as representing key evolutionary moments. Noise therefore is the untold story of contemporary popular music, and in a critical exploration of noise lies the possibility of a new narrative: one that is wide-ranging, connects the popular to the underground and avant-garde, fully posits the studio as a musical instrument, and demands new critical and theoretical paradigms of those seeking to write about music.

The Musicality of Canadian Cinema

2019 ◽  
pp. 390-408
Author(s):  
Michael Brendan Baker
Keyword(s):  
Popular Music ◽  
Case Studies ◽  
National Cinema ◽  
Avant Garde ◽  
Institutional Forces ◽  
History Of ◽  
Narrative Account

This chapter offers a narrative account of music in Canadian cinema that highlights the contributions of its pioneers. Case studies spanning the critically acclaimed, the curious, and the marginalized allow for an effort to flesh out the place of music, particularly popular music, in this national cinema. While the esthetics and dollars-and-cents of music in film may be similar in Canada as elsewhere, the expectations of filmmakers and audiences are perhaps uniquely Canadian as a result of industrial and institutional forces. Animation, the avant-garde, and documentary are particularly vibrant spaces for the innovative use of music and differentiate the history of music in Canadian cinema from other more commercially oriented contexts.

The Relentless Pursuit of Tone

2018 ◽  
Keyword(s):  
Popular Music ◽  
Wide Spectrum ◽  
Empty Space ◽  
Musical Instrument ◽  
Raw Material ◽  
Pop Music ◽  
Sound Waves ◽  
Recorded Sound ◽  
History Of ◽  
Entire History

The Relentless Pursuit of Tone: Timbre in Popular Music assembles a wide spectrum of contemporary perspectives on how sound functions in an equally wide array of popular music. With subjects ranging from the twang of country banjos and the sheen of hip-hop strings to the crunch of amplified guitars and the thump of subwoofers on the dance floor, this volume attempts to bridge the gap between timbre, the purely acoustic characteristics of sound waves, and tone, an emergent musical construct that straddles the borderline between the perceptual and the political. The book’s chapters engage with the entire history of popular music as recorded sound, from the 1930s to the present day, under four large categories. The chapters in Part I, “Genre,” ask how sonic signatures define musical identities and publics; Part II, “Voice,” considers the most naturalized musical instrument, the human voice, as racial and gendered signifier, as property or likeness, and as raw material for algorithmic perfection through software; Part III, “Instrument,” tells stories of the way some iconic pop music machines—guitars, strings, synthesizers—got (or lost) their distinctive sounds; and Part IV, “Production,” puts it all together, asking structural questions about what happens in a recording studio, what is produced (sonic cartoons, rockist authenticity, empty space?), and what it all might mean. The book includes a general theoretical introduction by the editors and an afterword by noted popular music scholar Simon Frith.

scholarly journals The Landscape of Sound in the Nineteenth and Twentieth Centuries

2004 ◽  
Vol 13 (4) ◽  
pp. 493-504 ◽  
Author(s):  
LUDOVIC TOURNÈS
Keyword(s):  
New York ◽  
Los Angeles ◽  
Popular Music ◽  
Classical Music ◽  
Interdisciplinary Approach ◽  
Cultural Analysis ◽  
Collective Identities ◽  
Avant Garde ◽  
French Music ◽  
History Of

Alain Corbin, Les cloches de la terre. Paysage sonore et culture sensible dans les campagnes au XIXe siècle (Paris: Flammarion, 1994), 359 pp., €8.69 (pb), ISBN 2080814532.Glenn Watkins, Proof through the Night. Music and the Great War (Berkeley, Los Angeles and London: University of California Press, 2003), 598 pp., $49.95 (hb), ISBN 0520231589.Jeffrey Jackson, Making Jazz French. Music and Modern Life in Interwar Paris (Durham, NC, and London: Duke University Press, 2003), 266 pp., $21.95 (pb), ISBN 0822331373.Bernard Gendron, Between Montmartre and the Mudd Club. Popular Music and the Avant-Garde (Chicago and London: University of Chicago Press, 2003), 388 pp., $55.00 (hb), ISBN 0226287351.David Looseley, Popular Music in Contemporary France (Oxford and New York: Berg, 2003), 254 pp., $25.00 (pb), ISBN 1859736319.Though undoubtedly thriving, the history of music is still a somewhat peripheral area of research which many historians dismiss as secondary. For many years publication in the subject remained the domain of two kinds of researchers, either musicologists – ‘insiders’ au fait with the technical vocabulary – or sociologists and practitioners of ‘cultural studies’ – ‘outsiders’ chiefly interested in the reception of musical phenomena and their role in the constitution of individual and collective identities. This division has become very blurred over the last few years, which have seen the emergence of a number of works with an interdisciplinary approach. But for most historians the history of music remains a largely unfamiliar theme which they struggle to include in any global social or cultural analysis. This struggle is apparent at two levels: first, the difficulty of developing guidelines to the historicity of musical events and, second, the difficulty of escaping the chronology of classical music, which is predicated on a succession of styles and composers. Based on these two points, this article will attempt to develop, through a transverse reading of certain recent works, some working hypotheses centring on the notion of a ‘landscape of sound’ or paysage sonore, as proposed some ten years ago by Alain Corbin, a notion which, it seems to me, may make a valuable contribution to rejuvenating the history of music.

Avant-Gardists and the Lure of Pop Music

2017 ◽  
Author(s):  
Carol Vernallis
Keyword(s):  
Popular Music ◽  
Music Videos ◽  
Pop Music ◽  
Avant Garde ◽  
Sound Image ◽  
Derek Jarman ◽  
History Of ◽  
Joseph Cornell ◽  
Cultural Constraints ◽  
Experimental Films

This chapter provides methods and models for thinking about avant-garde and experimental films and videos that incorporate popular music. It sketches the history of intersections between avant-gardists and popular music. It also provides close readings of works by Kenneth Anger, Bruce Connor, Joseph Cornell, Derek Jarman, Tony Oursler, Pipilotti Rist, Andy Warhol and others. It claims that institutional, formal and cultural constraints not only limit the frequency with which avant-gardists participate with pop musicians and pop music, they also colour the audiovisual relations within the works themselves. Avant-garde films and videos with pop soundtracks emphasise particular kinds of audiovisual relation—relations that differ from sound-image connections in narrative films, YouTube clips, commercials and music videos. It is demonstrated that this experimental subgenre embodies a unique sort of sound-image relation and suggests, finally, that these videos can expand our knowledge of audiovisual relations more broadly.

Playing-related Injury in Guitarists Playing Popular Music

2003 ◽  
Vol 18 (4) ◽  
pp. 150-152 ◽  
Author(s):  
John L Rigg ◽  
Randy Marrinan ◽  
Mark A Thomas
Keyword(s):  
Popular Music ◽  
Large Population ◽  
Musical Instrument ◽  
The United States ◽  
Medical Problems ◽  
Increased Risk ◽  
History Of ◽  
Electric Guitars ◽  
Anatomic Locations ◽  
Musical Genres

Playing a musical instrument involves the repetitive use of muscles, often at their extreme range of motion. Consequently, musicians in general are at an increased risk for the development of pain syndromes related to nerve or musculoskeletal damage. Acoustic and electric guitars are among the most popular instruments in the world today, with a large population of musicians at risk of injury. This article examines the results of a survey completed by 261 professional, amateur, and student guitarists to determine the most common anatomic locations of playing-related pain and its relationship to possible etiologic factors. A survey of 15 questions was distributed to professional, amateur, and student guitarists who play the musical genres of rock/blues, jazz, and folk across the United States and Canada. The questions addressed type of guitar played, style of music performed, playing posture, picking technique, anatomic location of pain, history of formal training, presence of playing-related pain in the past 12 months, history of trauma to the affected area, and history of other nonrelated medical problems. Playing-related pain was reported by 160 (61.3%) of 261 guitarists who completed the survey. The most often reported location was the fretting hand, with 109 (41.8%) of 261 subjects reporting the presence of playing-related pain in the previous 12 months. The back and neck were the next most reported sites of playing-related pain, with 45 (17.2%) of 261 subjects reporting back pain and 39 (14.9%) of 261 subjects reporting neck pain in the previous 12 months. The results suggest that a substantial number of guitarists playing various styles of popular music are experiencing playing-related pain.

A voice without a face: popular music and the phonograph in the 1890s

Popular Music ◽  
1991 ◽  
Vol 10 (1) ◽  
pp. 1-9 ◽  
Author(s):  
Dave Laing
Keyword(s):  
Popular Music ◽  
Musical Instrument ◽  
Recording Process ◽  
History Of ◽  
The Subject ◽  
Music Recording ◽  
Formative Years

While the rock'n'roll era, dance bands, country and the blues have been the subject of detailed and analytical histories, the 1890s, those formative years of music-recording, still await adequate and rigorous scrutiny. The standard (and only) history of the recording process remains Roland Gelatt's The Fabulous Phonograph, whose first edition appeared in 1955. But while Gelatt's foreword promisingly notes that ‘the history of the phonograph is at once the history of an invention, an industry and a musical instrument’, his book seldom rises above a journalistic narrative. It is also marred by an ill-concealed bias towards the classical repertoire and against popular musics.

Misreading Egypt

2018 ◽  
Author(s):  
Jesse Schotter
Keyword(s):  
New Media ◽  
Narrative Form ◽  
Experimental Film ◽  
Tower Of Babel ◽  
Avant Garde ◽  
Sergei Eisenstein ◽  
History Of ◽  
The One ◽  
The Relationship ◽  
Modern Technologies

The first chapter of Hieroglyphic Modernisms exposes the complex history of Western misconceptions of Egyptian writing from antiquity to the present. Hieroglyphs bridge the gap between modern technologies and the ancient past, looking forward to the rise of new media and backward to the dispersal of languages in the mythical moment of the Tower of Babel. The contradictory ways in which hieroglyphs were interpreted in the West come to shape the differing ways that modernist writers and filmmakers understood the relationship between writing, film, and other new media. On the one hand, poets like Ezra Pound and film theorists like Vachel Lindsay and Sergei Eisenstein use the visual languages of China and of Egypt as a more primal or direct alternative to written words. But Freud, Proust, and the later Eisenstein conversely emphasize the phonetic qualities of Egyptian writing, its similarity to alphabetical scripts. The chapter concludes by arguing that even avant-garde invocations of hieroglyphics depend on narrative form through an examination of Hollis Frampton’s experimental film Zorns Lemma.

Sea Urchins and Circuses: The Modernist Natural Histories of Jean Painlevé and Alexander Calder

2018 ◽  
Vol 13 (2) ◽  
pp. 187-211
Author(s):  
Patricia E. Chu
Keyword(s):  
New Media ◽  
Sea Urchins ◽  
Life Sciences ◽  
Three Dimensional ◽  
Machine Age ◽  
Avant Garde ◽  
History Of ◽  
And Performance ◽  
The One ◽  
Natural Historian

The Paris avant-garde milieu from which both Cirque Calder/Calder's Circus and Painlevé’s early films emerged was a cultural intersection of art and the twentieth-century life sciences. In turning to the style of current scientific journals, the Paris surrealists can be understood as engaging the (life) sciences not simply as a provider of normative categories of materiality to be dismissed, but as a companion in apprehending the “reality” of a world beneath the surface just as real as the one visible to the naked eye. I will focus in this essay on two modernist practices in new media in the context of the history of the life sciences: Jean Painlevé’s (1902–1989) science films and Alexander Calder's (1898–1976) work in three-dimensional moving art and performance—the Circus. In analyzing Painlevé’s work, I discuss it as exemplary of a moment when life sciences and avant-garde technical methods and philosophies created each other rather than being classified as separate categories of epistemological work. In moving from Painlevé’s films to Alexander Calder's Circus, Painlevé’s cinematography remains at the forefront; I use his film of one of Calder's performances of the Circus, a collaboration the men had taken two decades to complete. Painlevé’s depiction allows us to see the elements of Calder's work that mark it as akin to Painlevé’s own interest in a modern experimental organicism as central to the so-called machine-age. Calder's work can be understood as similarly developing an avant-garde practice along the line between the bestiary of the natural historian and the bestiary of the modern life scientist.

National Institute of Art and Design named after Kamoliddin Behzod

2019 ◽  
Vol 5 (4) ◽  
pp. 104-108
Author(s):  
Dilzoda Alimkulova
Keyword(s):  
20Th Century ◽  
Art And Design ◽  
Avant Garde ◽  
History Of ◽  
20Th Century Art

The art of Uzbekistan of the first decade of 20th century (1920-30s) is worthily recognized as the brightest period in history of Uzbek national art. We may observe big interest among the artwork which was created during the years of Independence of Uzbekistan towards the art of 20th century and mainly it may be seen in form, style, idea and semantics. Despite the significant gap between the 20th century art tendencies and Independence period, there is very big influence of avant-garde style in works of such artists as Javlon Umarbekov, Akmal Ikramjanov, Alisher Mirzaev, Tokhir Karimov, Daima Rakhmanbekova and others.

Toward an Islamic Framework for Worldview Studies

2007 ◽  
Vol 24 (2) ◽  
pp. 22-43
Author(s):  
Abdelaziz Berghout
Keyword(s):  
Subject Matter ◽  
Textual Analysis ◽  
Field Of Study ◽  
Inductive Approach ◽  
Islamic Thought ◽  
History Of ◽  
Field Of Inquiry ◽  
Muslim Scholars

The paper examines the importance of designing a framework for studying worldviews within the parameters of contemporary Islamic thought. It briefly reviews both selected western and Islamic stances on worldview studies. The literature reveals that research on this topic and its application to different spheres has become a topic of some interest to many intellectual circles, particularly in the western context. Hence, the possibility of forming an Islamic civilizational framework for an inquiry into people’s worldviews needs to be assessed. This article follows a textual analysis and inductive approach to analyze the prospects of formulating an Islamic framework for research on worldviews and its applications. It concludes that western scholars have made considerable efforts in treating people’s worldviews as a field of study, while Muslim scholars have not. In this respect, many western researchers have contributed to developing worldview studies as a separate field of inquiry, including the history of concept, subject matter, objectives, kinds, methods, and applications. Therefore, the need to enhance the Islamic input and research pertaining to this field by introducing an Islamic civilizational framework and approach of inquiry becomes apparent.

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