Showing papers on "Popular music published in 1979"

From Craft to Art: The Case of Sound Mixers and Popular Music

Abstract: The paper studies popular music as a production process and delineates the varieties of its social organization. It explores the problems endemic to the collaborative nature of the production process and examines in detail the job experiences of one collaborator in particular, the sound mixer, during a period when craft activities were being transformed into artistic activities.

The Latin Tinge: The Impact of Latin American Music on the United States

Abstract: The Tejano superstar Selena and the tango revival both in the dance clubs and on Broadway are only the most obvious symptoms of how central Latin music is to American musical life. Latino rap has brought a musical revolution, while Latin and Brazilian jazz are ever more significant on the jazz scene. With the first edition of The Latin Tinge, John Storm Roberts offered revolutionary insight into the enormous importance of Latin influences in U.S. popular music of all kinds. Now, in this revised second edition, Roberts updates the history of Latin American influences on the American music scene over the last twenty years. From the merengue wave to the great traditions of salsa and nortena music to the fusion styles of Cubop and Latin rock, Roberts provides a comprehensive review. With an update on the jazz scene and the careers of legendary musicians as well as newer bands on the circuit, the second edition of The Latin Tinge sheds new light on a rich and complex subject: the crucial contribution that Latin rhythms are making to our uniquely American idiom.

The soul of mbira : music and traditions of the Shona people of Zimbabwe

Abstract: A scholarly portrayal of Shona musicians and the African Musical tradition. l Berliner provides the complete cultural context for the music and an intimate, precise account of the meaning of the instrument and its music.

Southern Music/American Music

Abstract: Southern Music/American Music is the first book to investigate the facets of American music from the South and the many popular forms that emerged from it. In this substantially revised and updated edition, Bill C. Malone and David Stricklin bring this classic work into the twenty-first century, including new material on recent phenomena such as the huge success of the soundtrack to O Brother, Where Art Thou? and the renewed popularity of Southern music, as well as important new artists Lucinda Williams, Alejandro Escovedo, and the Dixie Chicks, among others. Extensive bibliographic notes and a new suggested listening guide complete this essential study.

What can we learn when they sing? vocal genres of the suya indians of central brazil

Abstract: what the music is all about. The music of these societies is truly a different music in which (in most cases) everybody performs, there are no full-time musical specialists, the sounds are not always "easy" to listen to, a "piece" may last 15 hours, and there is no easily accessible vocabulary with which to discover what they are doing. One is not surprised that musicians have preferred to work with the music of musical specialists in other parts of the world, nor that anthropologists have felt ill-equipped and left the matter to marginal comments on song texts and frequent statements to the effect that "music is very important to the members of this society." Unsurprising as it may be, the resulting neglect is nevertheless unfortunate, because music is indeed very important. Regardless of how "importance" is measured, the amount of time and resources devoted to music by the entire population of most Lowland South American societies is eloquent. Analyses of work habits show that subsistence could be assured with 3 or 4 hours of work a day under traditional conditions (Carneiro 1961); members of many societies sing nearly this long every day for long periods of time. Yet how much more we know about the socio-economic features of these societies than the musical! Music is a special form of communication. Its very nonspeech features make it a privileged vehicle for transmitting values and ethos that are more easily "musicked" than put into speech. These are communicated not only through the sounds, but in the movements of the performers, and the time, place, and conditions under which they are performed. In the following pages I will discuss some of the things we can 0014-1836/79/2303-0373$0.66 O 1979 Society for Ethnomusicology, Inc.

An Introduction to America's Music

Abstract: Part 1 The first three centuries: "The First Song" - Native American music European inroads - early Christian music making from ritual to art - the flowering of sacred music "Old, Simple Ditties" - Colonial song, dance, and home music making performing "By Particular Desire" - Colonial military, concert, and theatre music maintaining oral traditions - African music in early America correcting "The Harshness of Our Singing" - New England psalmody reformed Part 2 The nineteenth century: edification and economics - the career of Lowell Mason singing praises - Southern and Frontier devotional music "Be It Ever So Humble" - theatre and opera, 1800-1860 blacks, whites, and the minstrel stage - home music making and the publishing industry from Jeanie to Dixie - parlour songs, 1800-1865 of yankee doodle and ophicleides - bands and orchestras, 1800 to the 1870s from church to concert hall - the rise of classical music from log house to opera house - Anthony Philip Heinrich and William Henry Fry a New Orleans original - Gottschalk of Louisiana two classic Bostonians - George W Chadwick and Amy Beach Edward MacDowell and musical nationalism "Travel in the Winds" - Indian music from 1820 "Make a Noise!" - slave songs and other Black music to the 1880s songs of the later 19th century stars, stripes, and cylinders - Sousa and the phonograph "After the Ball" - the rise of Tin Pan Alley Part 3 The twentieth century: "To Stretch Our Ears" - the music of Charles Ives come on and hear - the early 20th century blues, jazz, and a rhapsody - the Jazz Age dawns "The Birthright of All of Us" - popular music, mass media, and the depression "All that Is Native and Fine" - American folk song and its collectors from New Orleans to Chicago - jazz goes national "Crescendo in Blue" Ellington, Basie, and the Swing Band the golden age of the American musical classical music in the postwar years "Rock around the Clock" - the rise of rock and roll songs of loneliness and praise - postwar popular trends jazz, Broadway, and musical permanence melting pot or pluralism? - popular music and ethnicity the Beatles, rock, and popular music trouble girls, minimalists, and the gap - the 1960s to the 1980s Black music and American identity

Music and Poetry in the Early Tudor Court

Abstract: Preface Introduction Part I. Music and Poetry: 1. The problem - assumptions and distinctions 2. The tradition and the divorce 3. Popular songs 4. Ideas and theories, medieval and humanist 5. The Reformation 6. Music and the early Tudor lyric, I: song-books and musical settings 7. Music and the early Tudor lyric, II: the 'literary' lyric and its tunes Part II. Courtly Love and the Courtly Lyric: 8. Introductory: 'a new company of courtly makers'? 9. The 'game of love' 10. The courtly makers from Chaucer to Wyatt Part III. Music at Court: 11. Music in ceremonies, entertainments and plays 12. Domestic and amateur music 13. Professional musicians Epilogue Appendices Index.

Readings in the history of music in performance

Abstract: "...extremely useful...In MacClintock's selections, even when the source is primarily theoretical, she chooses passages that give a lively insight into actual music-making."-Continuo Readings on the performance of Western music from the late middle ages to the early nineteenth century describe the accepted conventions and actual practices of former times.

Country music and American values

Abstract: (1979). Country music and American values. Popular Music and Society: Vol. 6, No. 4, pp. 293-301.

Ethnomusicology: a discipline defined

Abstract: "comparative musicology," invented the new term "ethno-musicology." In so doing he placed the prefix or combining term "ethno" in front of the word "musicology" to indicate that the study was of the music of the races of man (1950:7). However, his definition was restrictive in that the study of Western art and popular music was excluded. In a later redefinition of the term, he indicated that the study also included the sociological aspects of music (1959:1). Since that time that field of study known as ethnomusicology has expanded so rapidly that it now encompasses almost any type of human activity that conceivably can be related in some manner to what may be termed music. The data and methods used are derived from many disciplines found in the arts, the humanities, the social sciences, and the physical sciences. The variety of philosophies, approaches, and methods utilized is enormous. It is impossible to encompass them all within one definition. In my opinion, ethnomusicology cannot be adequately defined as an interdisciplinary activity. It is too diffuse, too amorphous. Ethnomusicology can only be defined when we consider what the ethnomusicologist is better equipped to accomplish than the anthropologist, the folklorist, the historian, the linguist, the so-called historical musicologist, the psychologist, or the sociologist. If we focus upon this, that activity which is uniquely ethnomusicological, we are then in a position to define ethnomusicology. However, in this process ethnomusicology becomes a discipline in its own right and, like

The concept of death in popular music: A social psychological perspective∗

Abstract: (1979). The concept of death in popular music: A social psychological perspective. Popular Music and Society: Vol. 6, No. 3, pp. 219-228.

Pop Music: Mobiliser or Opiate?

Abstract: It is generally agreed that song is the most powerful emotional force of all, capable of stirring people into violent action or dulling them into a state of stupefied numbness. ‘La Carmagnole’ is supposed to have played a crucial part in winning the French Revolution. The ferocious hymn-singing of the Hussites reportedly caused the Crusa­ders to flee in terror. Songs have given fight to the Kentucky miners in the 1930s and heart to the civil rights demonstrators in the 1960s. Songs have been proscribed as dangerous and kept from the ears of the common people by such exalted authorities as Queen Elizabeth I and the Controller of Radio One.

Popular Music: An Untapped Resource for Teaching Contemporary Black History

Abstract: Black author James Baldwin has observed, "People are trapped in history and history is trapped in them."' This perceptive comment invites teachers to explore the experiences of their students as the content of classroom instruction. Unfortunately, most history instructors have ignored this approach. This omission is particularly lamentable in regard to black students. The ability of a teacher to stimulate reflection by young blacks on issues of historical significance is clearly dependent upon his or her skill in identifying the universal concerns of the Afro-American community. One instructional resource that might help a history instructor accomplish this goal is contemporary music. Traditionally, however, the lyrics of black singers are rarely introduced in academic classrooms. One critic has capsuled the shortsightedness of this instructional omission by noting, "Black music has been the vanguard reflection of black feeling and the continuous repository of black consciousness."2 His words warrant serious consideration by history teachers.

ASCAP, BMI and the democratization of American popular music

Abstract: (1979). ASCAP, BMI and the democratization of American popular music. Popular Music and Society: Vol. 7, No. 1, pp. 8-17.

Strategies for using popular music to teach form to intermediate instrumentalists

Abstract: The purpose of this study was to develop and evaluate three instructional strategies using popular music and selected band literature to teach concepts of music form to intermediate instrumentalists. The strategies included in-class instruction, programmed instruction, and a combination of these techniques. All strategies were constructed with identical objectives, sequence, time frame, and music examples. A criterion test was designed to measure knowledge of formal concepts. This test was employed as a pretest/posttest instrument with the seventh and eighth grade instrumentalists who represented four middle school bands, and who served as subjects in the final stage of the study. Statistical analysis confirmed that all strategies could be used successfully to teach formal concepts, that subjects could apply these concepts to unfamiliar band literature, and that grade level of the subjects had no significant effect on concept understanding.

Performance Variables: Some Versions of Dylan's "It Ain't Me, Babe"

Abstract: A central problem with the critical literature on popular music is the general tendency to ignore the impact of performance on the meaning and significance of popular songs. Paul Nelson, for example, describes Dylan's music as "the music of illusion and delusion, of men deluded by women, of men and women deluded by surface appearance, a music of the tramp as explorer and the clown as happy victim, where the greatest crimes are lifelessness and the inability to see oneself as circus performer in the show of life."' But music qua music cannot be paraphrased in this manner. Nelson subsumes music under the heading of song and effectively ignores music in his discussion of Dylan's lyrics. The tendency is understandable. Certainly song/poets like Bob Dylan stand out precisely because their lyrics demand attention; and it is therefore reasonable to examine in great detail the poetic/philosophic visions embodied in their lyrics. Furthermore, most of the critics who concern themselves with popular music are best equipped by personal inclination, and are required by the necessities of popular journalism, to discourse at the level of semantic/poetic generalities: they cannot rely on the ability of their readers to comprehend detailed musicological explanations. By the same token, professional musicologists and folklorists, people who are equipped to carry on critical dialogue at the level of musical (as opposed to linguistic) significance, are too busy recording and cataloguing endangered cultural/musical artifacts to

Present-day Music of the Aboriginal Student: A Challenge for the Educator

Abstract: Most Aboriginal children who are away from tribal areas know nothing about the ancient tradition of their music At the Centre for Aboriginal Studies in Music (CASM) in the University of Adelaide an attempt is made to provide bridge mechanisms within music to allow free movement from one culture to another, to understand the music of other groups and to appreciate and re-evaluate the music of one's own culture in the light of direct musical experience in another person's culture

Personality factors and preference for rock and country lyrics

Abstract: (1979). Personality factors and preference for rock and country lyrics. Popular Music and Society: Vol. 6, No. 4, pp. 302-306.

Aesthetic Alliances in Poetry and Music: T. S. Eliot's Four Quartets and String Quartets by Bela Bartok

Abstract: music. Symmetries offset asymmetries. The four string voices and the arrangement of motifs within movements illustrate symmetrical balance in the music. The references to the four elements (air, earth, water, and fire), the four seasons, and the four geographical settings do the same in the poetry. These symmetries offset the asymmetrical five movements, the placement of intense musical or philosophical materials in the third movements at the Golden Section of each quartet, and the division of all movements into positive and negative sections, a division based on an application of the Golden Section. The symmetries and asymmetries of rhymes in the poetry and of harmonies in the music; of rhythms, motif development, and formal organization in both poetry and music paradoxically produce both dissonance and coherence in Bart6k's and Eliot's works. Eliot's title for his work, Four Quartets, invites comparison between the poetry and musical quartets, but the relationship between this musical form and Quartets is complex. Certainly, the poetry is not an explicit analogue for music, nor is it a verbal transcription of any quartet. Nevertheless, critics often attempt to establish some general connections