scholarly journals Retro-Series About the Artists of Soviet Popular Music: Between Conventions, Past and Reality

2021 ◽  
pp. 298-331
Author(s):  
D.A. Zhurkova ◽  
Keyword(s):  
Popular Culture ◽  
Popular Music ◽  
Main Part ◽  
Pop Music ◽  
The Past ◽  
Soviet Cinema ◽  
The Status ◽  
Biographical Film ◽  
Film Genres ◽  
Insight Into

The article deals with the dramaturgical and aesthetic patterns of the Russian TV series of the 2000s–2010s, which provide insight into the lives of famous Soviet pop music artists. The main characters in the biopics studied were inspired by Leonid Utyosov, Pyotr Leshchenko, Lyubov Orlova, Anna German, Lyudmila Zykina, Valentina Tolkunova, Alla Pugacheva, Lyudmila Gurchenko, Edita Piekha, Valery Obodzinsky and Muslim Magomaev. The article gives an overview of the similarities in the development of historical and biographical film genres in Hollywood and Soviet cinema. Moreover, a brief introduction to Soviet films about musicians is provided. The main part of the research is devoted to the issues of adaptation of Hollywood conventions of the music biopic genre In Russiania. Through the interaction of the Soviet past, Hollywood standards and contemporary Russian realities, the specific features of different narration types are revealed, the issue of authenticity is considered, and the status of pop music in the past and present is outlined. In addition, the types of dramatic conflicts and types of heroes are analyzed, questions of the commercial component in relation to Soviet popular culture are raised.

Hawaiian Music and Oceanizing American Studies

2018 ◽  
Vol 52 (04) ◽  
pp. 1163-1172
Author(s):  
LEAH KURAGANO
Keyword(s):  
Popular Culture ◽  
Popular Music ◽  
Identity Formation ◽  
Social Relations ◽  
American Studies ◽  
High Culture ◽  
The 1950S ◽  
Cultural Forms ◽  
Insight Into ◽  
Culture Concept

American studies has been dedicated to understanding cultural forms from its beginnings as a field. Music, as one such form, is especially centered in the field as a lens through which to seek the cultural “essence” of US America – as texts from which to glean insight into negotiations of intellectual thought, social relations, subaltern resistance, or identity formation, or as a form of labor that produces an exchangeable commodity. In particular, the featuring of folk, indigenous, and popular music directly responded to anxieties in the intellectual circles of the postwar era around America's purported lack of serious culture in comparison to Europe. According to John Gilkeson, American studies scholars in the 1950s and 1960s “vulgarized” the culture concept introduced by the Boasian school of anthropology, opening the door to serious consideration of popular culture as equal in value to high culture.1

scholarly journals Media, ideological hegemony and popular music: Golden microphone song contestMedya, ideolojik hegemonya ve popüler müzik: Altın mikrofon şarkı yarışması

2015 ◽  
Vol 12 (2) ◽  
pp. 1446
Author(s):  
Levent Ergun
Keyword(s):  
Popular Culture ◽  
Mass Media ◽  
Popular Music ◽  
Music History ◽  
Symbiotic Relationship ◽  
Daily News ◽  
The Past ◽  
Theoretical Status ◽  
The Media ◽  
Popular Music History

<p>This article focuses on "Golden Microphone Award" song contest which has been organized under the sponsorship of Hürriyet Daily News between the years of 1965-68. Between the different forms of popular culture/music and mass media, there is a characteristically symbiotic relationship in which one almost can not survive in the absence of the other. Golden Microphone song contest, organized under the sponsorship of the mass media institution, Hürriyet Daily News, requires an evaluation in a scope that exceeds this symbiotic relationship. Because the role that Hürriyet plays in the circulation and the support of the dominant ideological definitions and representations is more important here. If we consider Golden Microphone contest as a moment,we can say that: there is a dynamic arena for the media, official ideology, musicians and audience in which both the elements of resistance and consent, the issues of the past and the future; hence overlapping and conflicting elements are available. In this framework, this research tries to analyse the dynamics of this specific moment of Turkish popular music history by using the theoretical status of media, sponsorship, ideology and hegemony concepts.  </p><p> </p><p><strong>Özet</strong></p><p>Bu makale, Hürriyet Gazetesi’nin sponsorluğunda 1965-68 yılları arasında düzenlenen “Altın Mikrofon Armağanı” adlı şarkı yarışması üzerine odaklanır. Popüler kültürün/müziğin farklı formları ile kitle iletişim araçları arasında, diğeri olmadan birisinin hayatını neredeyse sürdüremez olduğu karakteristik bir simbiyotik ilişki vardır. Bir kitle medyası olarak Hürriyet Gazetesinin sponsorluğunda düzenlenen “Altın Mikrofon” şarkı yarışması, bu simbiyotik ilişkiyi aşan bir çerçeve içinde değerlendirmeyi de gerektirmektedir. Çünkü Hürriyet’in egemen ideolojik tanımlar ve temsillerin dolaşımı ve pekiştirilmesinde oynadığı rol, burada çok daha önemlidir. Altın Mikrofon yarışmasını bir uğrak (moment) olarak ele alırsak şunu söyleyebiliriz: bu uğrakta gerek medya, gerek resmi ideoloji, gerekse müzisyenler ve izlerkitle için; hem direniş hem kabullenme ögeleri, hem geçmişin ve geleceğin unsurları, dolayısıyla hem birbiriyle örtüşen hem de çatışan ögelerin olduğu dinamik bir mücadele alanı bulunmaktadır. Bu çerçevede çalışma; medya, sponsorluk, ideoloji ve hegemonya kavramlarının teorik statüsünden yararlanarak, Türk popüler müzik tarihinin bu özgül uğrağını biçimlendiren dinamikleri analiz etme girişimidir.</p>

History

2017 ◽  
Author(s):  
Matthew C. Ehrlich ◽  
Joe Saltzman
Keyword(s):  
Popular Culture ◽  
Pop Culture ◽  
Journalism History ◽  
The Past ◽  
The Press ◽  
Critical Insight ◽  
Historical Issues ◽  
Insight Into

This chapter focuses on the image of journalism's past that is presented by popular culture. Some historians have argued that journalism history too often has served only to celebrate the press rather than providing critical insight into its problems. Pop culture regularly depicts journalism's history through simple, linear, dramatic tales that use the past to speak to the present and that adopt partisan viewpoints on historical issues. As such, it both mythologizes and demythologizes the press, at once celebrating and parodying well-known figures and happenings in journalism's past. Yet pop culture has also presented a less heroic picture at times by casting a skeptical and even mocking eye toward journalism history and by highlighting more sordid aspects that the conventional histories have sometimes downplayed or overlooked.

Fragments of a Queer Feminist Rock and Pop History in Vienna

2021 ◽  
Author(s):  
Magdalena Fürnkranz
Keyword(s):  
Popular Culture ◽  
Popular Music ◽  
Electronic Music ◽  
Historical Development ◽  
Rock Music ◽  
Pop Music ◽  
Rock Band ◽  
Music Scenes ◽  
Music Scene ◽  
Rock N Roll

The historical development of Viennese rock and pop music started with rock ’n’ roll in the 1950s, continued with beat music and the “dialect wave” in the late 1960s, punk in the 1980s, the popular Viennese electronic music scene in the 1990s, and is currently enjoying a renaissance of the “dialect wave.” Artists like the Rosée Sisters, Austria’s first all-female rock band founded in 1962, Topsy Girl, A-Gen 53, or SV Damenkraft were active in local music scenes. In retrospect, they are considered as exceptions in the historiography of Austrian popular music. This chapter discusses several feminist and queer artists and collectives in Austria, their position in popular culture, and in historical and geographical contexts. The author concentrates primarily on all-female bands, LGBTIQ+ artists, and queerpop projects to illustrate diverse approaches to music, feminism, and their position within the pop and rock music scenes in Vienna.

The Master of Mystery

2019 ◽  
Vol 31 (2) ◽  
pp. 147-164
Author(s):  
Pat O’Grady
Keyword(s):  
Popular Music ◽  
New Technologies ◽  
Pop Music ◽  
Social Hierarchies ◽  
Production Studies ◽  
Music Production ◽  
Emergent Technologies ◽  
The Past ◽  
Popular Music Studies ◽  
Production Techniques

Over the past twenty years, the field of popular music studies has significantly enhanced our understanding of pop music production. Studies have drawn from a range of industry discussions to explore, for example, the ways in which emergent technologies have led to distinctive production techniques and the important role that recording technologies play in shaping the sound of pop music. Whereas many industry discussions have provided productive sites of analysis, they can also obstruct research in some respects. This article focuses on an area of music production where such industrial discussions tend to hinder, rather than enhance, an understanding of its practices. It examines the ways in which industry discussions position the process of mastering as “mysterious.” This article argues representations of mastering as “mysterious” work to reinforce the importance of this practice and also safeguard it from new technologies that might challenge its dominance. These representations can function to reproduce and secure social hierarchies within the field.

scholarly journals Mesto popularne muzike u sistemu zaštite kulturne baštine na primeru saradnje Narodne biblioteke Srbije i Zadužbine Milana Mladenovića

Bosniaca ◽  
2020 ◽  
Vol 25 (25) ◽  
pp. 141
Author(s):  
Maša Miloradović
Keyword(s):  
Popular Culture ◽  
Cultural Heritage ◽  
Popular Music ◽  
20Th Century ◽  
Active Role ◽  
National Library ◽  
The Past ◽  
Traditional Institutions ◽  
Heritage Protection

Na primeru nedavno uspostavljene saradnje između Narodne biblioteke Srbije i Zadužbine Milana Mladenovića; jugoslovenskog muzičara i pesnika poslednjih decenija 20. veka; pokazan je model udruživanja tradicionalne baštinske ustanove i privatne institucije u oblasti zaštite kulturne baštine. Posvećena je pažnja načinima na koje se memorijalizuju i muzealizuju ličnosti i pojave iz nedavne prošlosti iz domena “popularne” kulture. Ukazuje se na neophodnost aktivnije uloge tradicionalnih ustanova u “otkrivanju” baštine; proširivanju na netradicionalne oblike stvaralaštva.--------------------------------------------Place of the Popular Music in the System of Cultural Heritage Protection – The Example of Cooperation between National Library of Serbia and Milan Mladenović EndowmentThe Example of recently established cooperation between National Library of Serbia and Endowment of Milan Mladenović (Yugoslav poet and musician from the last decades of 20th century) shows a model of joining traditional heritage institution and a private endowment in the area of cultural heritage protection. Attention is paid to the ways of memorialisation and musealisation of personalities and phenomenons of the past in the domain of “popular” culture. The more active role of traditional institutions in “discovering” heritage is needed; as well as action towards coverage of wider range of non-traditional cultural creations.

scholarly journals The Music of Tomorrow, Yesterday! Music, Time and Technology in BioShock Infinite

2014 ◽  
Vol 7 (2) ◽  
Author(s):  
Andra Ivănescu
Keyword(s):  
Video Games ◽  
Popular Music ◽  
Time Travel ◽  
Pop Music ◽  
David Lynch ◽  
The Third ◽  
The Past ◽  
Player Experience ◽  
One Step ◽  
Player Experiences

Filmmakers such as Kenneth Anger, David Lynch and Quentin Tarantino have taken full advantage of the disconcerting effect that pop music can have on an audience. Recently, video games have followed their example, with franchises such as Grand Theft Auto, Fallout and BioShock using appropriated music as an almost integral part of their stories and player experiences. BioShock Infinite takes it one step further, weaving popular music of the past and pop music of the present into a compelling tale of time travel, multiverses, and free will. The third installment in the BioShock series has as its setting the floating city of Columbia. Decidedly steampunk, this vision of 1912 makes considerable use of popular music of the past alongside a small number of anachronistic covers of more modern pop music (largely from the 1980s) at crucial moments in the narrative. Music becomes an integral part of Columbia but also an integral part of the player experience. Although the soundscape matches the rest of the environment, the anachronistic covers seem to be directed at the player, the only one who would recognise them as out of place. The player is the time traveller here, even more so than the character they are playing, making BioShock Infinite one of the most literal representations of time travel and the tourist experience which video games can represent.

scholarly journals Order, Joy, Youth

2021 ◽  
Vol 33 (1) ◽  
pp. 31-35
Author(s):  
S. Alexander Reed
Keyword(s):  
Popular Music ◽  
Collective Identity ◽  
Hip Hop ◽  
The Body ◽  
Marshall Mcluhan ◽  
Specific Content ◽  
The World ◽  
The Status ◽  
Insight Into

This talk identifies in popular music a common but largely untheorized phenomenon. Parade aesthetics are marked by an implied permeability between performers and audience, and the jubilant instrumentalization of individuals toward collective identity for its own sake. As a connoted medium (per Marshall McLuhan) the parade extends the body, rendering its participants larger, louder, and more opulently visible. It simultaneously miniaturizes the world, reducing it to the status of model, token, and toy. Such aesthetics then invite young pop audiences to step into roles with grownup attributes of instrumentalization, bigness, and access. These attributes are structural within parade aesthetics and largely independent of specific content. The talk concludes with an insight into the parade-like nature of first-wave hip-hop.

Artificial Intelligence-Led Content Publishing, Metadata Creation, and Knowledge Discovery

2021 ◽  
pp. 198-213
Author(s):  
Usha B. Biradar ◽  
Lokanath Khamari ◽  
Jignesh Bhate
Keyword(s):  
Artificial Intelligence ◽  
Knowledge Discovery ◽  
End Users ◽  
Scholarly Publishing ◽  
Decision Systems ◽  
The Past ◽  
Track Record ◽  
The Status ◽  
Editorial Decision ◽  
Insight Into

Digital transitions have had strong headwinds in scholarly publishing for the past decade. It started with digitising content and is resting somewhere between tying up diverse content and catering to diverse end users. The goal is still to keep up with the changing landscape, and a demonstrable way of doing so is to actively participate by quickly adapting to standards. Artificial intelligence (AI) has a proven track record of helping with this and is an integral part of the solution frameworks. The chapter content includes a brief insight into some practices and workflows within scholarly publishing that stand to benefit from direct intervention of AI. These include editorial decision systems, metadata enrichments, metadata standardization, and search augmentations. The authors bring to light various developments in scholarly publishing and the status of some of the best implementations of AI techniques in aiding and upkeep of the ‘digital transformations'.

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