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Author: Theodore Gracyk
Publisher: University of Michigan Press
ISBN: 9780472069835
Category : Music
Languages : en
Pages : 272
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Book Description
Publisher description
Author: Theodore Gracyk
Publisher: University of Michigan Press
ISBN: 9780472069835
Category : Music
Languages : en
Pages : 272
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Book Description
Publisher description
Author: Crystal S. Anderson
Publisher: Univ. Press of Mississippi
ISBN: 1496830113
Category : Music
Languages : en
Pages : 184
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Book Description
K-pop (Korean popular music) reigns as one of the most popular music genres in the world today, a phenomenon that appeals to listeners of all ages and nationalities. In Soul in Seoul: African American Popular Music and K-pop, Crystal S. Anderson examines the most important and often overlooked aspect of K-pop: the music itself. She demonstrates how contemporary K-pop references and incorporates musical and performative elements of African American popular music culture as well as the ways that fans outside of Korea understand these references. K-pop emerged in the 1990s with immediate global aspirations, combining musical elements from Korean and foreign cultures, particularly rhythm and blues genres of black American popular music. Korean solo artists and groups borrow from and cite instrumentation and vocals of R&B genres, especially hip-hop. They also enhance the R&B tradition by utilizing Korean musical strategies. These musical citational practices are deemed authentic by global fans who function as part of K-pop’s music press and promotional apparatus. K-pop artists also cite elements of African American performance in Korean music videos. These disrupt stereotyped representations of Asian and African American performers. Through this process K-pop has arguably become a branch of a global R&B tradition. Anderson argues that Korean pop groups participate in that tradition through cultural work that enacts a global form of crossover and by maintaining forms of authenticity that cannot be faked, and furthermore propel the R&B tradition beyond the black-white binary.
Author: Marta García Quiñones
Publisher: Routledge
ISBN: 1317005678
Category : Music
Languages : en
Pages : 266
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Book Description
Ubiquitous Musics offers a multidisciplinary approach to the pervasive presence of music in everyday life. The essays address a variety of situations in which music is present alongside other activities and does not demand focused attention from (sometimes involuntary) listeners. The contributors present different theoretical perspectives on the increasing ubiquity of music and its implications for the experience of listening. The collection consists of nine essays divided into three sections: Histories, Technologies, and Spaces. The first section addresses the historical origins of functional music and the debates on how reproduced music, including a wide range of styles and genres, spread so quickly across so many environments. The second section focuses on more contemporary sound technologies, including mobile phones in India, the role of visible playback technology in film, and listening to portable digital players. The final section reflects on settings such as malls, stores, gyms, offices and cars in which ubiquitous musics are often present, but rarely thought about. This last section - and ultimately the whole collection - seeks to foster a wider understanding of listening practices by lending a fresh, critical ear.
Author: Barry Shank
Publisher: Duke University Press
ISBN: 082237675X
Category : Music
Languages : en
Pages : 334
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Book Description
In The Political Force of Musical Beauty, Barry Shank shows how musical acts and performances generate their own aesthetic and political force, creating, however fleetingly, a shared sense of the world among otherwise diverse listeners. Rather than focusing on the ways in which music enables the circulation of political messages, he argues that communities grounded in the act and experience of listening can give rise to new political ideas and expression. Analyzing a wide range of "beautiful music" within popular and avant-garde genres—including the Japanese traditions in the music of Takemitsu Toru and Yoko Ono, the drone of the Velvet Underground, and the insistence of hardcore punk and Riot grrrl post-punk—Shank finds that when it fulfills the promise of combining sonic and lyrical differences into a cohesive whole, musical beauty has the power to reorganize the basis of social relations and produce communities that recognize meaningful difference.
Author: Stephen Graham
Publisher: University of Michigan Press
ISBN: 0472902377
Category : Music
Languages : en
Pages : 305
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Book Description
In basements, dingy backrooms, warehouses, and other neglected places around the world music is being made that doesn't fit neatly into popular or classical categories and genres, whose often extreme sounds and tiny concerts hover on the fringes of these commercial and cultural mainstreams. The term “underground music” as it’s being used here connects various forms of music-making that exist outside or on the fringes of mainstream institutions and culture, such as noise, free improvisation, and extreme metal. This is music that makes little money, that’s noisy and exploratory in sound and that’s largely independent from both the market and from traditional high art institutions. It sometimes exists at the fringes of these commercial and cultural institutions, as for example with experimental metal or improv, but for the most part it’s removed from the mainstream, “underground,” as we see with noise artists such as Werewolf Jerusalem or Ramleh, obscure black metal artists such as Lord Foul, and improvisers such as Maggie Nicols. In response to a lack of previous scholarly discussion, Graham provides a cultural, political, and aesthetic mapping of this broad territory. By outlining the historical background but focusing on the digital age, the underground and its fringes can be seen as based in radical anti-capitalist politics or radical aesthetics while also being tied to the political contexts and structures of late capitalism. The book explores these various ideas of separation and captures, through interviews and analysis, a critical account of both the music and the political and cultural economy of the scene.
Author: Justin A Williams
Publisher: University of Michigan Press
ISBN: 0472118927
Category : Music
Languages : en
Pages : 277
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Book Description
The first book-length study of one of the most essential elements of hip-hop: musical borrowing
Author: Albin Zak
Publisher: University of Michigan Press
ISBN: 0472035126
Category : Music
Languages : en
Pages : 325
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Book Description
A definitive study of the most important decade in post-World War II popular music history
Author: Joshua S Duchan
Publisher: University of Michigan Press
ISBN: 0472118250
Category : Education
Languages : en
Pages : 269
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Book Description
The first scholarly account of the music and culture of collegiate a cappella
Author: Robert McParland
Publisher: McFarland
ISBN: 1476630305
Category : Music
Languages : en
Pages : 209
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Book Description
As technology advances, society retains its mythical roots--a tendency evident in rock music and its enduring relationship with myth and science fiction. This study explores the mythical and fantastic themes of artists from the late 1960s to the mid-1980s, including David Bowie, Pink Floyd, Jefferson Airplane, Blue Oyster Cult, Iron Maiden, Led Zeppelin and Black Sabbath. Drawing on insights from Joseph Campbell, J.G. Frazer, Carl Jung and Mircea Eliade, the author examines how performers have incorporated mythic archetypes and science fiction imagery into songs that illustrate societal concerns and futuristic fantasies.
Author: John J. Sheinbaum
Publisher: University of Chicago Press
ISBN: 022659341X
Category : Music
Languages : en
Pages : 305
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Book Description
Over the past two centuries Western culture has largely valorized a particular kind of “good” music—highly serious, wondrously deep, stylistically authentic, heroically created, and strikingly original—and, at the same time, has marginalized music that does not live up to those ideals. In Good Music, John J. Sheinbaum explores these traditional models for valuing music. By engaging examples such as Handel oratorios, Beethoven and Mahler symphonies, jazz improvisations, Bruce Springsteen, and prog rock, he argues that metaphors of perfection do justice to neither the perceived strengths nor the assumed weaknesses of the music in question. Instead, he proposes an alternative model of appreciation where abstract notions of virtue need not dictate our understanding. Good music can, with pride, be playful rather than serious, diverse rather than unified, engaging to both body and mind, in dialogue with manifold styles and genres, and collaborative to the core. We can widen the scope of what music we value and reconsider the conventional rituals surrounding it, while retaining the joys of making music, listening closely, and caring passionately.
