Showing papers on "Popular music published in 2000"

Music in Everyday Life

Abstract: The power of music to influence mood, create scenes, routines and occasions is widely recognised and this is reflected in a strand of social theory from Plato to Adorno that portrays music as an influence on character, social structure and action. There have, however, been few attempts to specify this power empirically and to provide theoretically grounded accounts of music's structuring properties in everyday experience. Music in Everyday Life uses a series of ethnographic studies - an aerobics class, karaoke evenings, music therapy sessions and the use of background music in the retail sector - as well as in-depth interviews to show how music is a constitutive feature of human agency. Drawing together concepts from psychology, sociology and socio-linguistics it develops a theory of music's active role in the construction of personal and social life and highlights the aesthetic dimension of social order and organisation in late modern societies.

The importance of music to adolescents

Abstract: Aims. The study aims to determine the importance of music to adolescents in England, and investigates why they listen to and perform music. Sample. A total of 2465 adolescents (1149 males; 1266 females; 50 participants did not state their sex) between 13 and 14 years of age who were attending Year 9 at one of 22 secondary schools in the North Staffordshire region of England. Method. A questionnaire asked participants (a) about their degree of involvement with musical activities; (b) to rate the importance of music relative to other activities; and (c) to rate the importance of several factors that might determine why they and other people of their age and sex might listen to/perform pop and classical music. Results. Responses indicated that i) over 50% of respondents either played an instrument currently or had played regularly before giving up, and the sample listened to music for an average of 2.45 hours per day; ii) listening to music was preferred to other indoor activities but not to outdoor activities; iii) listening to/playing pop music has different perceived benefits to listening to/ playing classical music; iv) responses to suggested reasons for listening to music could be grouped into three factors; and v) responses to suggested reasons for playing music could be grouped into four factors. Conclusions. These results indicate that music is important to adolescents, and that this is because it allows them to (a) portray an ‘ image’ to the outside world and (b) satisfy their emotional needs.

Popular Music and Youth Culture: Music, Identity and Place

Abstract: PART 1 THEORIES OF YOUTH CULTURE AND POPULAR MUSIC.- The Sociology of Youth Culture.- Youth Culture and Popular Music.- The Significance of Locality.- PART 2: LOCAL REPRESENTATIONS: CASE STUDIES.- Dance Music, Local Identity and Urban Space.- Bhangra and Asian Music: The Role of Local Knowledge.- Hip Hop am Main, Rappin' on the Tyne: Hip Hop Culture as a Local Construct in Two European Cities.- The Benwell Floyd: Local Live Music, Sociality and the Politics of Musical Taste.- Conclusion: Youth, Music, Locality and Identity.- Bibliography.- Index.

Rap music and the poetics of identity

Abstract: Introduction: music theory, musical poetics, rap music 1. Analyzing rap music 2. A genre system for rap music 3. The musical poetics of a 'revolutionary' identity 4. Rap geography and soul food 5. Two cases of localized (and globalized) musical poetics Bibliography Discography.

Making Popular Music: Musicians, Creativity and Institutions

Abstract: Market - the selling of souls making up and showing off - what musicians do technology - the instrumental instrument genre culture dance music - business as usual or heaven on earth.

Nationalists, Cosmopolitans, and Popular Music in Zimbabwe

Abstract: Hailed as a national hero and musical revolutionary, Thomas Mapfumo, along with other Zimbabwean artists, burst onto the music scene in the 1980s with a unique style that combined electric guitar with indigenous Shona music and instruments. The development of this music from its roots in the early Rhodesian era to the present and the ways this and other styles ariculated with Zimbabwean nationalism is the focus of Thomas Turino's new study. Turino examines the emergence of cosmopolitan culture among the black middle class and how this gave rise to a variety of urban-popular styles modelled on influences ranging from the Mills Brothers to Elvis. He also shows how cosmopolitanism gave rise to the nationalist movement itself, explaining the combination of "foreign" and indigenous elements that so often define nationalist art and cultural projects. The first book-length look at the role of music in African nationalism, Turino's work delves deeper than most books about popular music and challenges the reader to think about the lives and struggles of the people behind the surface appeal of world music.

Feminism, femininity and popular culture

Abstract: 1. Introduction 2. Feminism, cultural studies and popular culture 3. Film studies and the woman's film 4. Reading romantic fiction 5. Soap operas and their audiences 6. Consumption and material culture 7. Fashion and beuaty practices 8. Youth cultures and popular music 9. Conclusions

Music and the racial imagination

Abstract: "A spectre lurks in the house of music, and it goes by the name of race", write Ronald Radano and Philip Bohlman in their introduction. Yet the intimate relationship between race and music has rarely been examined by contemporary scholars, most of whom have abandoned it for more enlightened notions of ethnicity and culture. Here, a distinguished group of contributors confront the issue head on. Representing an unusually broad range of academic disciplines and geographic regions, they critically examine how the imagination of race has influenced musical production, reception and scholarly analysis, even as they reject the objectivity of the concept itself. Each essay follows the lead of the substantial introduction, which reviews the history of race in European and American, non-Western and global musics, placing it within the contexts of the colonial experience and the more recent formation of "world music". Offering a bold, new revisionist agenda for musicology in a postmodern, postcolonial world, this book should appeal to students of culture and race across the humanities and social sciences.

Literacy and Popular Culture: Using Children′s Culture in the Classroom

Abstract: Exploring the Concept of Culture Challenging Racism, Sexism, Violence and Consumerism Play and Popular Culture Environmental Print Encouraging the Reading Habit Comics Computer Games Television and Film Popular Music and Literacy

Women and Popular Music: Sexuality, Identity and Subjectivity

Abstract: Acknowledgements Introduction 1. Wonderful World, Beautiful People 2. Repressive Representations 3. The Personal is Political 4. Try, Just a Little Bit Harder 5. The Times, They are A'Changing 6. The Lonely Road 7. Daughters of Chaos 8. Challenging the Feminine 9. Madonna, Autoeroticism and Desire 10. k.d. lang, a Different Kind of Woman 11. Talkin' About a Revolution 12. Authenticity, Truthfulness and Community 13. Artifice and the Imperatives of Commercial Success

Instruments of Desire: The Electric Guitar and the Shaping of Musical Experience

Abstract: Around 1930, a group of guitar designers in southern California fitted instruments with an electromagnetic device called a pickup - and forever changed the face of popular music. taken up by musicians as diverse as Les Paul, Muddy Waters, Jimi Hendrix, and the MC5, the electric guitar would become not just a conduit of electrifying new sounds but also a symbol of energy, innovation, and desire in the music of the day. This volume is the first full account of the historical and cultural significance of the electric guitar, a wide-ranging exploration of how and why the instrument has had such broad musical and cultural impact. This book ranges across the history of the electric guitar by focusing on key performers who have shaped the use and meaning of the instrument: Charlie Christian, Les Paul, Chet Atkins, Muddy Waters, Chuck Berry, Jimi Hendrix, the MC5, and Led Zeppelin. It traces two competing ideals for the sound of the instrument: one, focusing on tonal purity, has been favoured by musicians seeking to integrate the electric guitar into the existing conventions of pop music; the other, centering on timbral distortion, has been used to challenge popular notions of "acceptable" and "unacceptable" noise. "Instrument of Desire" reveals how these different approaches to sound also entail different ideas about the place of the body in musical performance, the ways in which music articulates racialized and gendered identities, and the position of popular music in American social and political life.

Critique of Exotica: Music, Politics and the Culture Industry

Abstract: In this book John Hutnyk questions the meaning of cultural hybridity. Using the growing popularity of Asian culture in the West as a case study, he looks at just who benefits from this intermingling of culture. Focusing on music, race and politics, Hutnyk offers a cogently theorised critique of the culture industry. He looks at artists such as Asian Dub Foundation, FunDaMental and Apache Indian to see how their music is both produced and received. He analyses ‘world’ music festivals, racist policing and the power of corporate pop stars to market exotica across the globe. Throughout, Hutnyk provides a searing critique of a world that sells exotica as race relations and visibility as redress.

Mande Music: Traditional and Modern Music of the Maninka and Mandinka of Western Africa

Abstract: With "Mande Music", Eric Charry offers the most comprehensive source available on one of Africa's richest and most sophisticated music cultures. Using resources as disparate as early Arabic travel accounts, oral histories and archival research as well as his own extensive music lessons and interviews, Charry traces this music culture from its origins in the 13th-century Mali empire to the recording studios of Paris and New York. He focuses on the four major spheres of Mande music - hunter's music, music of the jelis or griots, jembe and other drumming, and guitar-based modern music - exploring how each evolved, the types of instruments used, the major artists, and how each sphere relates to the others. With its maps, illustrations and musical transcriptions, as well as an exhaustive bibliography, discography and videography, this book is useful reading for those seeking an in-depth look at one of the most exciting, innovative and deep-rooted phenomena on the world music scene. A compact disc is available separately.

Apollo's Lyre: Greek Music and Music Theory in Antiquity and the Middle Ages

Abstract: Ancient Greek music and music theory has fascinated scholars for centuries not only because of its intrinsic interest as a part of ancient Greek culture but also because the Greeks' grand concept of music has continued to stimulate musical imaginations to the present day. Unlike earlier treatments of the subject, "Apollo's lyre" is aimed principally at the reader interested in the musical typologies, the musical instruments, and especially the historical development of music theory and its transmission through the Middle Ages. The basic method and scope of the study are set out in a preliminary chapter, followed by two chapters concentrating on the role of music in Greek society, musical typology, organology, and performance practice. The next chapters are devoted to the music theory itself, as it developed in three stages: in the treatises of Aristoxenus and the Sectio canonis; during the period of revival in the second century C.E.; and in late antiquity. Each theorist and treatise is considered separately but always within the context of the emerging traditions. The theory provides a remarkably complete and coherent system for explaining and analyzing musical phenomena, and a great deal of its conceptual framework, as well as much of its terminology, was borrowed and adapted by medieval Latin, Byzantine, and Arabic music theorists, a legacy reviewed in the final chapter. Transcriptions and analyses of some of the more complete pieces of Greek music preserved on papyrus or stone, or in manuscript, are integrated with a consideration of the musicopoetic types themselves. The book concludes with a comprehensive bibliography for the field, updating and expanding the author's earlier "Bibliography of Sources for the Study of Ancient Greek Music". Thomas J. Mathiesen is David H. Jacobs Distinguished Professor of Music and director of the Center for the History of Music Theory and Literature at Indiana University.

Lost in music? Subjective personal introspection and popular music consumption

Abstract: Reports on the use of subjective personal introspection. Offers a brief overview of subjective personal introspection and then describes the technique used to inform an ongoing piece of research that is being conducted into popular music consumption. Concludes by assessing the usefulness of the technique and highlights how it may be of use to practitioners.

Are popular and classical music listeners the same people

Abstract: In this paper we propose a method for analysing the differences between theconsumption of popular and classical music, that we apply to Spain. Using theinformation contained in the Survey of Structure, Conscience and Biography ofClass, we estimate a bivariate probit model to characterise the audience foreach kind of music, we quantify the influence exerted by various socioeconomicfeatures on the demand for these goods and we describe the average profile ofconsumers.

Popular Music Analysis and Musicology: Bridging the Gap

Abstract: Since their beginnings, popular music studies have conducted an implicit (sometimes explicit) dialogue with musicology. To be sure, the musicological side of this conversation has more often than not been marked by insult, incomprehension or silence; and popular music scholars for their part have tended to concentrate on musicology's deficiencies. But musicology is changing (more about this later); at the same time, recent work on popular music suggests a new confidence, manifesting itself in part in a willingness to engage with and adapt mainstream methods. I believe each needs the other.

Music and the Internet

Abstract: The fact is, if you want to make a difference in music, you have to change the machine. (Christie 1998)In my book Rock Formation I borrowed from Walter Ong and Jacques Attali when I noted that, ‘The ability to record sound is power over sound.’ (Jones 1992, p. 51) I continue to believe that statement to be true. Arguments that I then made about the increasing role computers would play in the production of music have been borne out. They were not hard forecasts to make: one only had to imagine that the processing power of computer chips would continue to increase according to Moore's Law and then extrapolate the possibilities such increases would create for sound recording and reproduction. Even comments I made, vaguely tongue-in-cheek, expecting that we would have, in addition to the ability to record high-quality digital audio in the home, the ability to press CDs at home, and print colour inserts for CD jewel boxes, thus creating not only home studios but home pressing plants, have become a reality. However, with but a few years' hindsight, I want to append to these an argument that recording sound matters less and less, and distributing it matters more and more, or, in other words, the ability to record and transport sound is power over sound. Consequently, technology is an even more important element to which popular music scholars must attend.

From Rhythm and Blues to Broadway: Using Music To Teach Economics.

Abstract: In an attempt to make the learning of economics more interesting and memorable, economic educators have used a variety of materials to convey economic knowledge. This material includes novels and other forms of literature, the popular press, motion pictures and videos, computer simulations, board games, experiments, the Internet, and other nontraditional vehicles (Becker and Watts 1998, 1995). Two noteworthy interdisciplinary efforts include Watts and Smith's (1989) use of literature and drama to teach economics and, more recently, KishGoodling's (1998) success using Shakespeare's Merchant of Venice as a vehicle to develop the economic concepts of interest, investment, loan defaults, and usury laws in her monetary economics course. Little if anything has been written about the use of music in the teaching of economics. Few economists have actually attempted to harness the power of music to support their teaching because (we suspect) its use as a pedagogical tool has, up to this point, not been carefully examined.' Although there is little evidence of the use of music in the teaching of economics, music certainly is an important influence in the life of young people. The advent of the internet is likely to contribute to this interest as music companies devise new ways to induce customers into listening to and buying music via the internet (Bayne 1998). "Radio is a medium ... that becomes increasingly important to young listeners as they grow older, particularly for the popular music that describes the life that awaits them" (Carroll et al. 1993, 162, citing Christenson and DeBenedittis 1986). What's more, racial and social class origins of rock and roll music continue to be reflected in today's music (Lipsitz 1982, ch. 10). Clearly, the act of listening to a piece of music evokes a sensorial and emotional response (Lacher 1989, Lacher and Mizerski 1994). A number of recent studies in psychology explore whether music makes people smarter and more intelligent. "Music stimulates thought processes and enhances spatial reasoning, which are essential for academic achievement" (Rauscher 1995). Sarnthein et al. (1994) tested the effects of music on spatial task performance and demonstrated that musical training has long-term positive effects on cognitive abilities. Despite overwhelming evidence that music has significant effects on cognitive

‘I'd sell you suicide’: pop music and moral panic in the age of Marilyn Manson

Abstract: Music makes mutations audible. (Attali 1977) In his opening remarks as host of the 1998 Grammy Award Show, sitcom actor, substance abuser and convicted drunk driver Kelsey Grammer promised that Marilyn Manson's 'skinny white ass' would not be appearing on the show. It was a truly extraordinary moment. Referring explicitly to his own teenage daughter, Spencer, Grammer couched this slur in the form of an inside joke for the baby boomer parents of children with seemingly inexplicable musical tastes. In so doing, he affirmed not only the intractable conservatism of the Academy of Recording Arts and Sciences but also the arrogant hegemony of his own generation within mainstream musical culture. The show proceeded to reward Bob Dylan with Album of the Year, James Taylor with Best Pop Album and Elton John with Best Male Pop Vocal Performance, while lavishing unbridled approbation upon the newest crop of corporate hit-makers, including Babyface, LeAnn Rimes, Hanson and the ubiquitous Spice Girls. Mitch Miller could not have orchestrated a more thoroughgoing tribute to the pop music status quo in America.2 It has been twenty years since the French economist Jacques Attali wrote Noise, his seminal study of the political economy of music, but it remains one of my favourite texts. Attali was interested in the relationship of music to power. His radical approach was centred on two critical observations - firstly, that 'listening to music is listening to all noise, realizing that its appropriation and control is a reflection of power, that it is essentially political'; and secondly, that 'music is prophecy . . . It makes audible the new world that will gradually become visible.' From these premises he articulated his influential - and prescient - thesis on the uniquely subversive potential of the musician:

Deleuzism: A Metacommentary

Abstract: Deleuze was a philosopher who offered sharp critiques of - as well as radical alternatives to -psychoanalysis, semiotics, all forms of structuralism and all forms of expressionism. While Deleuze was not a dialectician, as readers of him we must be. The conviction that Deleuze was doing something radically new in his work has accompanied a corresponding anxiety as to how to read it. In this work, Ian Buchanan takes up the challenge of answering the questions: how should we read Deleuze? And, how should we read with Deleuze? He shows us how Deleuze's philosophy works. He offers a clear delineation of Deleuze's way of thought, one that is inseparable from a conception of philosophy as a way of living. Buchanan ranges over the entire Deleuzian corpus engaging with elemental concepts in Deleuze -"the dark precursor", "desire", "flow", "nomad". "the image", "betrayal", becoming-woman" - and shows that despite Deluge's self-declared moratorium against dialectics he was a number of important respects a dialectician. Offering concrete Deleuzian readings of literary works such as "Wuthering Heights", films such as "Blade Runner", architectural structures such as the Bonaventure Hotel and popular cultural practices, including 80s pop music, Buchanan demonstrates the effectiveness of Deluzian analysis for interdisciplinary cultural critique. Deluzism is a work that should engage all those with an interest in the 20th century's most radical and original philosopher.

The effects of the study of popular music on music education

Abstract: In this article we propose that the introduction of popular music into Australian music syllabuses during the 1970s caused a disruption in and subsequent rethinking of music education. This was the result of the realisation among music educators that methods of teaching art music, which formed the content basis of syllabuses prior to the 1970s, were not suitable for teaching popular music. Responses to this realisation have resulted in the development of alternative methods of music education, and these in turn have reshaped not only teaching and learning strategies but also the ways music educators theorise music education and conceptualise its object of study, music.

Religion and popular culture in America

Abstract: Preface to the 2005 Edition Preface to the First Edition Introduction: Finding Religion in Unexpected Places Bruce David Forbes Part I. Religion in Popular Culture 1. The Oriental Monk in American Popular Culture Jane Naomi Iwamura 2. Consecrating Consumer Culture: Christmas Television Specials Robert J. Thompson 3. Re-Mythologizing the Divine Feminine in The Da Vinci Code and The Secret Life of Bees Jennie S. Knight 4. Like a Sermon: Popular Religion in Madonna Videos Mark D. Hulsether Part II. Popular Culture in Religion 5. Evangelicals and Popular Music: The Contemporary Christian Music Industry William D. Romanowski 6. The Internet, Religion and Community Greg Peterson 7. The Cross at Willow Creek: Seeker Religion and the Contemporary Marketplace Stewart M. Hoover Part III. Popular Culture as Religion 8. It's about Faith in our Future: Star Trek Fandom as Cultural Religion Michael Jindra 9. Losing Their Way to Salvation: Women, Weight Loss, and the Salvation Myth of Culture Lite Michelle M. Lelwica 10. An American Apotheosis: Sports as Popular Religion Joseph L. Price 11. The Church of Baseball, the Fetish of Coca-Cola, and the Potlach of Rock 'n' Roll David Chidester Part IV. Religion and Popular Culture in Dialogue 12. The Disguise of Vengeance in Pale Rider Robert Jewett 13. Rap Music and Its Message: On Interpreting the Contact between Religion and Popular Culture Anthony Pinn 14. The Gender Dynamics of the Left Behind Series Amy Johnson Frykholm Conclusion: Establishing a Dialogue about Relgion and Popular Culture Jeffrey H. Mahan Contributors Selected Bibliography Index

Rock Music in American Schools: Positions and Practices Since the 1960s

Abstract: The challenge that rock music has historically faced in achieving widespread acceptance within American music education can be attributed to six common arguments: 1) Rock music is aesthetically inferior; 2) Rock music is damaging to the health of youth; 3) School time cannot be spent on the vernacular; 4) Music teachers are not trained in rock; 5) Rock music encourages rebelliousness and anti-educational behavior; and 6) Rock music curriculum is difficult to acquire. The strengths and weaknesses of each of these six claims is herein analyzed, and the authors’ conclusions discuss the potential benefits of rock music studies.Popular music as such need not, must not be taught in the public classrooms. This music will carry itself. The music educator's job is to perpetuate Western art music and to open doors to its perception in the minds of the children of the nation (Anderson 1968, p. 87).

Loneliness of Adolescents and Their Choice and Enjoyment of Love-Celebrating versus Love-Lamenting Popular Music:

Abstract: Black and White male and female high-school students reported their enjoyment of various love-lamenting and love-celebrating videos of popular romantic music. The student groups were subdivided into high versus low loneliness in terms of romantic deprivation. Loneliness proved inconsequential for the enjoyment of love-lamenting songs. Love-celebrating songs, however, were markedly less enjoyed by highly lonely males than by less lonely males; in contrast, these love-celebrating songs were more enjoyed by highly lonely females than by less lonely females. Reports of music choices in hypothetical situations of romantic success and failure yielded strikingly differed results. Most students indicated that they would make mood-congruent choices; that is, that they would match the music's mood to their own.