Showing papers on "Popular music published in 1986"
190 citations
Book•
01 Jan 1986
TL;DR: In this paper, the authors look at the many meanings of pop today, whether in terms of propaganda, protest or palliative, and trace the roots of pop much further back.
Abstract: John Street's analysis ranges over Britain, Europe, America and the Soviet Union. It covers the period from the 1950s to the present day, while tracing the roots of pop much further back. From soul, folk, jazz and rock to flower power, punk and reggae, he looks at the many meanings of pop today, whether in terms of propaganda, protest or palliative.
89 citations
Book•
01 Jan 1986
TL;DR: Avant-Garde Composition in France and Russia is discussed in this paper, with a focus on music from 1900 to 1945, and the Revival of the Avantgarde in America.
Abstract: Repertory. Introduction. PART ONE: STRUCTURAL PRINCIPLES AND COMPOSITIONAL MATERIALS OF TWENTIETH-CENTURY MUSIC. 1. Tonality in Transition. 2. Harmonic and Motivic Associations and the "Emancipation of Dissonance". 3. Triadic Harmony, Diatonic Collections, and Tonality. 4. Serialism. 5. Rhythm and Meter. 6. Orchestration, Tone Color, and Texture. PART TWO: MUSIC FROM 1900 TO 1945. 7. Avant-Garde Composition in Germany and Austria. 8. Avant-Garde Composition in France and Russia. 9. Musical Nationalism. 10. Neoclassicism in France, Germany, and England. 11. Neoclassicism and Populism in American Music. 12. Experimental Music in America. PART 3: MUSIC FROM 1945 TO THE PRESENT. 13. The Revival of the Avant-Garde. 14. Indeterminacy. 15. Electronic Music. 16. Ecleticism. 17. Recent Music in Europe and America. Index.
77 citations
Book•
01 Jan 1986
TL;DR: A comparison of the four most popular music education methods used in North America can be found in this paper, including the Kodaly Method, the Orff Approach, the Comprehensive Musicianship, and the Approach of Jacques-Dalcroze.
Abstract: Unique in both content and approach this book offers a single-volume authoritative comparison of the four most popular music education methods used in North America -- Jacques-Dalcroze, Kodaly, Orff, and Comprehensive Musicianship. Its in-depth examination of the methods and underlying philosophies of each method -- and its suggested lessons for each method at each grade level -- will help readers make knowledgeable curricular choices among methods. Both the New National Standards (MENC) and the use of technology in the study of music are described and discussed in relation to all four methods. Method in North American Music Teaching -- The Beginning. Influences on Methods, Approaches, and Philosophies of Teaching Music. Technology and Music Education. The Approach of Jacques-Dalcroze. The Kodaly Method. The Orff Approach. Comprehensive Musicianship: An American Technique and Philosophy for Teaching Music. Achieving Goals and Objectives in School Music Programs Via the Principles of Jacques-Dalcroze, Kodaly, Orff, and Comprehensive Musicianship. Grades K-12. Grades 3-4-5. Grades 6-7-8. Method in Music for Older Students. Which Method?
66 citations
Book•
01 Jan 1986
TL;DR: Denisoff's "Tarnished Gold: The Popular Record Industry" as mentioned in this paper traces the life cycle of a record, beginning with the artist in the studio and following the record until its purchase.
Abstract: The great depression in the popular recording industry that began in 1979 still continues. There are signs, however, that the industry is adjusting to new technologies and may soon revive. R. Serge Denisoff documents the decline and possible revival of this comprehensive study of the recording business, a sequel to his widely acclaimed "Solid Gold: The Popular Record Industry." Denisoff offers a brief history of popular music and then, in detail, traces the life cycle of a record, beginning with the artist in the studio and following the record until its purchase. He explains the relationships between artist, manager, producer, company, distributor, merchandiser, and media. They all play roles in the scenario of a hit record. He also discusses the new technologies and how they may affect record sales, especially round-the-clock rock and roll on cable television. "Tarnished Gold" joins "Solid Gold" as a staple in the popular culture literature.
49 citations
33 citations
Book•
01 Jan 1986
32 citations
TL;DR: In this article, a preliminary study aimed at introducing the genre to English-speaking readers is presented, in view of the phenomenal popularity of the genre not only in its home, West Java (Sunda), but throughout greater Java.
Abstract: The advent of mass media particularly cassettes and films in Indonesia has led to the flowering of two mass popular music forms, namely, dangdut and jaipongan. Kroncong, an older urban popular form, presents a mixture of Portuguese folksong style and Indonesian features; dangdut style, while in some respects an extension of the orkes melayu tradition, is heavily influenced by Hindi film songs and Western pop; only jaipongan is purely Indonesian or more properly speaking, Sundanese in origin and style. While kroncong and dangdut have rEceived some scholarly attention (Becker 1975, Heins 1975, Frederick 1982), jaipongan has received only passing reference in a few publications. An examination of jaipongan is well overdue, in view of the phenomenal popularity of the genre not only in its home, West Java (Sunda), but throughout greater Java. This article is a preliminary study aimed at introducing the genre to English-speaking readers.
25 citations
23 citations
TL;DR: The Anthology of Romantic Music as discussed by the authors is a compendium of selected works by 24 composers for those who do not have ready access to a music library, and an index to these works in the main volume would have been useful and saved the reader an unnecessary expense.
Abstract: Leon Plantinga’s Romantic Music: A History of Musical Style in Nineteenth–Century Europe will certainly be a boon to music students and lecturers alike in tertiary institutions throughout the English-speaking world. It also purports to be a book for the non–specialist. In this latter guise, it is rather more demanding than perhaps it should be, since few non–specialists would have the requisite knowledge of the intricacies of harmonic analysis (including the Schenkerian variety) or be equipped to fred their way around the numerous quotations from orchestral scores. The accompanying volume Anthology of Romantic Music edited by the same author (Norton, 1984) is a useful compendium of selected works by 24 composers for those who do not have ready access to a music library. For those who do, an index to these works in the main volume would have been useful and saved the reader an unnecessary expense.
TL;DR: In this paper, the authors discuss folk names, folk heroes and jazz musicians, and their relationship to folk music and folk heroes in general, including jazz musicians and their roles in folk music.
Abstract: (1986). Nicknames, folk heroes and Jazz musicians. Popular Music and Society: Vol. 10, No. 4, pp. 51-62.
TL;DR: The relationship between American politics and popular culture has been examined in this paper, where the authors focus on a relatively narrow range of popular culture formats (primarily movies and novels) and use three antinomic pairs, or binary oppositions, concerning the relationship of American lawyers to virtue, money or power, and order.
Abstract: Despite nearly universal recognition of the important relation between American politics and popular culture, the fact that law is an obviously significant part of the political system, and the fact that lawyers are, perhaps, America's preeminently political profession, very little has been written (by lawyers, law professors, or social scientists) on the images that Americans have constructed of law and lawyers as mediated through the institutions of mass culture.' Lawyer (or other law-related) roles have remained among the most powerful and "overrepresented" occupations on prime-time television series,2 and pictures of the legal system have been communicated extensively through the "formats" of popular culture (e.g., movies, best sellers, soap operas, television news, advertising, pop music, jokes and stand-up comedy routines). Yet these vital signs of American attitudes toward the law have been largely ignored by both legal scholars and the bar. This essay, which concentrates on a relatively narrow range of popular culture formats (primarily movies and novels), is designed as a very modest effort to remedy this state of affairs.3 My analysis imposes one possible framework on popular culture's treatment of or "discourses about crime, legality, justice, social order, civilization, private property, civic responsibility and so on."4 I have used three antinomic pairs, or binary oppositions, concerning the relationship of American lawyers to (1) virtue, (2) money or power, and (3) order. Each pair
TL;DR: Andaya and Andaya 1982:299 as mentioned in this paper describe Melaka as "a backwater but was exposed to a continuing progression of ideas from abroad, the most suitable of which were adopted and adapted by the local population to suit their own needs".
Abstract: They were noted not only for their flourishing entrepot trade but also their patronage of religion, the medium for many of the intellectual trends in the world beyond the Straits [of Melaka]. This area, then, was never a backwater but was exposed to a continuing progression of ideas from abroad, the most suitable of which were adopted and adapted by the local population to suit their own needs (Andaya and Andaya 1982:299).
TL;DR: In this article, the authors describe the new wave of British rock as a "working class heroes and art school attitudes" in the 1970s and 1980s, and present a survey of these attitudes.
Abstract: (1986). Punk and the new wave of British rock: Working class heroes and art school attitudes. Popular Music and Society: Vol. 10, No. 4, pp. 1-15.
TL;DR: For instance, Tagg estimates that the average Westerner's brain probably spends around twenty-five per cent of its lifetime registering, monitoring and decoding popular music (Tagg, 1982, p. 37) as mentioned in this paper.
Abstract: Philip Tagg estimates that &dquo;the average Westerner’s brain probably spends around twenty-five per cent of its lifetime registering, monitoring and decoding&dquo; popular music (Tagg, 1982, p. 37). Ian Chambers believes that popular music is &dquo;one of the more powerful expressions of the ’culture industry&dquo;’ worldwide (Cambers, 1982, p. 19). Indeed, it is the only truly universal mass medium. Consumption of television, film and print media products is limited by geographical availability and consumer income. But everyone anywhere can listen
TL;DR: In this paper, an aesthetic framework for understanding Canadian rock music by examining the economic/historical conditions in this country's music industry and their relation to the music industry in the United States which largely determines it is presented.
Abstract: This paper theorizes an aesthetic framework for understanding Canadian rock music by examining the economic/historical conditions in this country’s music industry and their relation to the music industry in the United States which largely determines it. A dialectical tension between imitation of American rock forms and playing with their conventions is presented, and examples from the beginning of pop rock in Canada in the 1950s to the present are discussed to show that an essential characteristic of Canadian music is generic subversion. It is chiefly in this way that Canadian rock artists have attempted to make Canadian rock and roll.
TL;DR: This article revisited the changing courtship patterns in the popular song "Horton and Carey revisited" and found that the courtship pattern in the song changed with the popularity of the song.
Abstract: (1986). Changing courtship patterns in the popular song: Horton and Carey revisited. Popular Music and Society: Vol. 10, No. 3, pp. 29-45.
TL;DR: In this paper, a dictionary definition of research is defined as a "diligent and systematic" inquiry into a subject, and there is reason to place special value on black music research done by Afro-Americans themselves.
Abstract: If we accept a simple dictionary definition of research as a "diligent and systematic" inquiry into a subject, then there is reason to place special value on black music research done by Afro-Americans themselves. Black American scholars who study black music can claim a share of common experience with the musicians they study. Both, after all, belong to an ethnic group that in the United States has diligently and systematically been singled out for distinctive social treatment. Experiences shared by many Afro-Americans-W. E. B. DuBois described "this doubleconsciousness, this sense of always looking at one's self through the eyes of others" (Dubois 1903, 3)-link the modern black scholar to the black musician of the past by ties more direct than the customary researcher's wish to know. These ties, when joined with intellectual energy and sound methodology, put black scholars of Afro-American music in a position to illuminate their subject with special insight. Black scholars' relationship to their subject may be said to invite a particular quality of empathy in their work, but the quantity of that work is not large. Afro-American music is so distinctive, its presence and influence so pervasive, and the story of its origins, development, and meaning so fascinating and complex, that countless observers, both black
Book•
01 Jan 1986
TL;DR: In this article, Simms explores the evolution of music from the time of Schoenberg to the work of such current composers as Schnittke and Gorecki, and examines 107 major works in depth as vivid representatives of music in our time.
Abstract: Twentieth-century music is explored from both a historical and a theoretical perspective in this enlightening text. Bryan R. Simms addresses style and structure with equal care as he chronicles the evolution of music from the time of Schoenberg to the work of such current composers as Schnittke and Gorecki. Throughout the book, Simms focuses on a number of influential compositions, examining 107 major works in depth as vivid representatives of music in our time.