Showing papers on "Popular music published in 1975"
TL;DR: In this paper, the authors examined the structure of the music industry and the sorts of music produced over 26 years and found that a relatively long period of gradually increasing concentration is followed by a short burst of competition and diversity with changes in market structure preceding changes in music.
Abstract: This study questions the common assertion that culture forms go through cycles. Data on the structure of the music industry and the sorts of music produced over 26 years are examined. Periods of market concentration are found to correspond to periods of homogeneity, periods of competition to periods of diversity. A relatively long period of gradually increasing concentration is followed by a short burst of competition and diversity, with changes in market structure preceding changes in music. Assertions that consumers necessarily "get what they want" or "want what they get" are not supported. The degree of vertical integration at three key points (creative factors, merchandising and distribution), as well as diverse mechanisms in the industry's task environment, are found to be important in explaining these associations. Their nature suggests the fruitfulness of comparative studies of the production of symbol systems in the arts, science, and religion.
560 citations
Book•
01 Jan 1975
TL;DR: In this paper, a guide explores African music's forms, musicians, instruments, and place in the life of the people, and a discography classified by country, theme, group, and instrument is presented.
Abstract: Engaging and enlightening, this guide explores African music's forms, musicians, instruments, and place in the life of the people. A discography classified by country, theme, group, and instrument is also included.
131 citations
TL;DR: In this paper, the authors examined the role of cultural diversity in the diffusion of country music in the United States and concluded that the massification hypothesis was correct in observing that the old patterns of culture diversity along ethnic, regional, and even class lines are being destroyed or buried.
Abstract: The regionalization, commercialization, and subsequent diffusion of country music are examined in terms of the massification hypothesis. Each of the data sets examined suggests that the massification theorists were right in observing that the old patterns of cultural diversity along ethnic, regional, and even class lines are being destroyed or buried. But they have erred in their prediction of ever-increasing cultural homogeneity. While country music is increasingly embraced by mid-life, working and lowermiddle class whites irrespective of regional origin, "easy listening" music is the preferred music in the same segment of the population. These data bring into question the assumption that social classes have distinct cultures and lead to the conjecture that these musical styles may represent convenient indicators of emerging culture classes. The impact of modernization on cultural diversity has long held the attention of scholars. Industrialization, urbanization, and particularly the mass media are said to destroy regional, ethnic, religious, occupational, and similar forms of cultural diversity, replacing these with the homogenized products of mass culture. This massification hypothesis,was derived from observations made during the 1930s of the effects of commercial radio, popular music, movies, and mass circulation magazines on cultural traits in the United States, and also the propaganda uses made of these media by the rising totalitarian governments of Europe. The hypothesis was fully articulated in diverse essays and research studies made in the decade following World War II (Jacobs, 1959; Rosenberg and White, 1957). Dwight Macdonald (1957:62) puts the hypothesis most succinctly, "Mass culture is a dynamic, revolutionary force, breaking down the old barriers of class, tradition, taste, and dissolving all cultural distinctions. It mixes and scrambles-everything together, producing what might be called * This project was funded in part by grant RO7855-73-154 from the National Endowment for the Humanities which is gratefully acknowledged. Johnny Bond, Norman Cohen, George Collier, Gregory Daniels, Skeeter Davis, Archie Green, William Ivey, Grelun Landon, Ronnie Light, Jens Lund, Anthony Oberschall, Ruth Slack, and James D. Thompson provided much information, insight and encouragement along the way; Victoria Bransford and Russell Davis helped in the coding; while Patricia Averill, George Lewis, Claire Peterson, Neil V. Rosenberg, and Richard Simpson have added greatly to the clarity of the argument by their careful reading of an earlier draft of the paper. This content downloaded from 207.46.13.183 on Thu, 29 Sep 2016 05:49:50 UTC All use subject to http://about.jstor.org/terms 498 / SOCIAL FORCES / vol. 53:3, march 1975 homogenized culture." Comprehensive critiques of the theory, data, and metaphysics of massification can be found in Bauer and Bauer (1960) and Gans (1966). For our purposes, it is convenient to separate the massification hypothesis into two elements: first, that the forces of modernization significantly reduced cultural diversity; and second, that an increasingly homogeneous mass culture has emerged. All available evidence supports the first assertion that many cultural differences have been destroyed. This can be seen whether one looks at general processes such as the "Americanization" of immigrants or traces the ebb of regional differences in a particular culture realm such as blues music or linguistic dialects. The second assertion, that of increasing homogeneity, is however an oversimplification at best. Although the few well-researched studies that have been made do show little significant difference in cultural tastes across a wide range of social classes or occupations, this may be, as Wilensky (1964) recognized, in part an artifact of the way measurements are made. First, media with little available diversity, such as radio in the 1940s and television in the 1950s and 1960s, are often used; and second, cultural taste is frequently conceptualized simply as "high art" versus "popular culture" or some similar distinction which arbitrarily restricts to one dimension the range of cultural diversity
124 citations
Book•
31 Dec 1975
TL;DR: Denisoff as discussed by the authors follows the progress of a record through production, marketing, and distribution, and shows how a mistake made at any point can mean its doom, and suggests that a drastic shift in the demographic makeup of the pop music audience during the sixties has resulted in a broader listening public, including fans at every level of society.
Abstract: More than 90 record companies release over 9,000 pop records each year--a staggering total of 52,000 songs. Each one competes for the gold record, the recording industry's symbol of success that certifies $1 million worth of records have been sold. Solid Gold explains why, for each record that succeeds, countless others fail. This book follows the progress of a record through production, marketing, and distribution, and shows how a mistake made at any point can mean its doom. Denisoff suggests that a drastic shift in the demographic makeup of the pop music audience during the sixties has resulted in a broader listening public, including fans at every level of society.
78 citations
Book•
01 Jan 1975
TL;DR: The cultural explosion: an overview The high status popular music public The high-status classical music public as discussed by the authors The low-status concert public Conclusion Appendix Bibliography Index, Bibliography index.
Abstract: Contents: Preface Introduction The cultural explosion: an overview The high-status popular music public The high-status classical music public The low-status concert public Conclusion Appendix Bibliography Index.
56 citations
TL;DR: In this article, the authors present a sound recording popularity chart, which is a useful tool for music research and can be found in many dictionaries and encyclopedias, such as:
Abstract: (1975). Sound recording popularity charts: A useful tool for music research. Popular Music and Society: Vol. 4, No. 2, pp. 86-99.
28 citations
TL;DR: In the past fifteen years, rock music in the US has expressed a dream for a recast America and for a changed world as discussed by the authors, and it expresses a desire for a new America and a new world.
Abstract: Rock music in the past fifteen years expresses a dream for a recast America and for a changed world.
16 citations
Journal Article•
TL;DR: For radio music, some and unlike time, newspapers other researchers media, can serve have has as not agents acknowledged been of socialization as discussed by the authors, however, studied, radio and newspapers can serve as agents of socialisation.
Abstract: For radio music, some and unlike time, newspapers other researchers media, can serve have has as not agents acknowledged been of socialization.1 systematically that television, However, studied, radio and newspapers can serve as agents of socialization.1 However, music, u like othe media, s not been sys emat cally studie , either as an agent of socialization, or as a reflection of the attitudes of its audience.2 Nevertheless, the function and social effects of popular music have received considerable public attention. For example, the Cuban regime declared all forms of rock music subversive to the government. In the United States, many Americans, including former VicePresident Agnew, have argued that popular music is an opinion formation device, capable of "hypnotizing and brainwashing" American teenagers.3 What scholarly evidence is there to substantiate the view that there is a significant relationship between the "message" context of popular music and the attitudes of the listening audience? In the realm of conjecture, academicians have disagreed on the answer; one school has seen music as background noise with little meaning while another school has assumed that music is central in evoking a new social ethic.4 In the realm of empirical research, most studies have avoided a direct examination of the linkage between music content and audience attitudes.5 For example,
TL;DR: The relationship of poetry and music is so close that few performances of music take place without the use of poetry in one form or another as mentioned in this paper, and it is doubtful that in the total repertoire of African traditional music, purely instrumental pieces outS number accompanied and unaccompanied vocal pieces.
Abstract: The relationship of poetry and music is so close that few performances of music take place without the use of poetry in one form or another. It is doubtful that in the total repertoire of African traditional music, purely instrumental pieces outS number accompanied and unaccompanied vocal pieces. Moreover, even when voices are absent, musical instruments on their own are very often used to imitate speech, particularly in the music of African peoples who use tone-languages, The potential musicality of tone languages and the ease with which it can be realized on pitched musical instruments is a central factor of melodic style In African music, since the tonal lines of songs and of the musical patterns of 'talking' instruments generally follow the same contours as those suggested by the speech tones of the texts used.
TL;DR: The music of women's liberation can be classified into three categories: songs of sisterhood, women's empowerment, and women's self-love as discussed by the authors, with a focus on women.
Abstract: (1975). Songs of sisterhood: The music of women's liberation. Popular Music and Society: Vol. 4, No. 2, pp. 77-85.
TL;DR: In this paper, the coming crisis in the youth music market is discussed, with a focus on the music industry as a whole, and a discussion of the role of technology in this crisis.
Abstract: (1978). The coming crisis in the youth music market. Popular Music and Society: Vol. 6, No. 2, pp. 185-201.
TL;DR: In this paper, the authors proposed a method to solve the problem of the lack of resources in the field of cyber-physical health care by using the Internet of Things (IoT).
Abstract: _-:i-i-i-iiii ii-i-:': 3:_:::::i:ii:::':i--:2ilx:i:::. :::-:::::::.:----:-:::-:-i-'iii:lii:-' _:::_:::: ;::_:::i_ :: -:::::-:::,::ilr:-::i-i:;i:ii--:i::iii g 8 aeas8sa:aParrallpP????????????? jijiijiijii_ : : i-::i:-Qi::?: :: ?:::: :: ?::?::: :-41:0::: ::::::::::::::: \"i'J i: ' 'i'i'---- -' i ' ''l'?i,:iii-;iiiiiiiiji;iil -iiiii -:-:i:::i:: .i: i:-::-:::i:-:_:::i ::. : . ::;:-:::::::: i-ijiliiliiii;ii''i :-:-:::--::::-i::::::-:-:-:::::::::-:i:.::-:_: : iii-i',-'-'--_-_ ::: : :-'\" --:''''''-':-------::::':'-'\" \"'\":': : iiiii ::: ::':':-:::::-:-:-:::'\":':;: iiliji ::::::;i:i jji iiiiiii:iiii-iiiii? 'i'lrll
TL;DR: The role of rock: A review and critique of alternative perspectives on the impact of rock music is given in this paper, with a focus on the role of women in rock music.
Abstract: (1975). The role of rock: A review and critique of alternative perspectives on the impact of rock music. Popular Music and Society: Vol. 4, No. 4, pp. 195-207.
TL;DR: Folk music is often seen as an agent in the maintainance of social equilibrium, subject to gradual 'evolutionary' or 'organic' change through the process of variation.
Abstract: THIS is a voice crying in the wilderness. Folklife studies in Europe and America have concentrated on the collection and analysis of an accumulated corpus of material, which appears to have a structure, called 'the tradition'. Charles Seeger points out that this is an illusion, a result of our position in space and time, since in reality the repertoire and its relation to the culture of which it is a part are in a constant state of flux.2 Nevertheless, the study of folk music has been predominantly concerned with continuity and stability. Folk music is often seen as an agent in the maintainance of 'social equilibrium', subject to gradual 'evolutionary' or 'organic' change through the process of variation. For Cecil Sharp, in the transmission of folk music:
TL;DR: In this paper, radio programming: Relating ratings to revenues in a major market is discussed. But the authors focus on radio programming and do not consider the other aspects of radio programming.
Abstract: (1975). Radio programming: Relating ratings to revenues in a major market. Popular Music and Society: Vol. 4, No. 4, pp. 208-225.
TL;DR: The development of the stage band as a separate entity in this country's music curriculum closely resembles the concert band movement that took place earlier in the twentieth century as mentioned in this paper, and it is possible to compare the developments of the two movements and to make predictions about the future of stage band movement based on the history of the band movement.
Abstract: The development of the stage band as a separate entity in this country's music curriculum closely resembles the concert band movement that took place earlier in the twentieth century. The resemblance is so close that it is possible to compare the developments of the two movements and to make predictions about the future of the stage band movement based on the history of the concert band movement. School concert bands developed in great numbers during the second decade of this century as a result of several factors, one of which was the popularity of professional bands, which had played an important role in American entertainment since the latter part of the nineteenth century. When school bands were developing into a full-blown movement, the professional bands were beginning to decline and were no longer a major force in American musical life. Professional bands had gotten off to an exciting start with Patrick Gilmore's sensationalism. His band was not the first, but it was his work that brought professional bands to the pub>&1A~~~~S_~~ _ ! 4 _lic's awareness. He was followed by such band leaders as John Philip Sousa, Edwin Franko Goldman and Arthur Pryor. American professional bands traveled all over the country playing concerts and dances in communities of every size. During the summers, they played at amusement parks and vacation resorts. When the American public beThe author is chairman of the music education program at The Catholic University of America, Washington, D.C.
Book•
01 Jan 1975
TL;DR: The authors traces the history of western music from medieval times to the twentieth century, and looks at ancient and oriental music and traces the development of classical music from classical times to modern times.
Abstract: Looks at ancient and oriental music and traces the history of western music from medieval times to the twentieth century.
TL;DR: The white R&B audience and the music industry, 1952-1956 as discussed by the authors, was a seminal work in the field of popular music and society, focusing on the black audience.
Abstract: (1978). >The white R & B audience and the music industry, 1952–1956. Popular Music and Society: Vol. 6, No. 2, pp. 150-167.
TL;DR: Jazz has been around and in more-or-less general usage in the schools for some twenty years now as discussed by the authors, and it would be more accurate to say that the stage band is around that long and that jazz is just now beginning to appear on the school scene.
Abstract: Jazz has been around and in more-or-less general usage in the schools for some twenty years now. Maybe it would be more accurate to say that the stage band has been around that long and that jazz is just now beginning to appear on the school scene. In traveling around the country, I have frequently been asked, \"Where is this movement going? Where should it be going? How do the schools in this state or area compare with those elsewhere?\" It is sometimes embarrassing to answer these questions can-