AMERICAN MUSIC最新文献_第10页

Musicking Fan Culture and Circulating the Materiality of Taylor Swift Musical Greeting Cards on YouTube 音乐化粉丝文化，在YouTube上传播泰勒·斯威夫特音乐贺卡的物质性

IF 0.2 3区艺术学

AMERICAN MUSIC Pub Date : 2020-08-28 DOI: 10.5406/americanmusic.38.2.0240

Kate Galloway

{"title":"Musicking Fan Culture and Circulating the Materiality of Taylor Swift Musical Greeting Cards on YouTube","authors":"Kate Galloway","doi":"10.5406/americanmusic.38.2.0240","DOIUrl":"https://doi.org/10.5406/americanmusic.38.2.0240","url":null,"abstract":"In the opening scenes of the 2010 film Easy A, Emma Stone’s Olive arrives home from school to find an envelope with a card that just arrived in the mail from her grandmother. The cover of the card reads “To My Granddaughter. You’re My . . .” and on the inside, “Pocket Full of Sunshine!” completes the greeting. A five-dollar bill falls loose, and overly cheerful “Pocket Full of Sunshine” plays without warning. Closing the card quickly in disgust prompted by the song selection, Olive exclaims, “Worst song ever.” Olive gives the card a second chance, and her feelings toward the song shift as she spends an intimate weekend at home playing (and replaying) musical greeting card karaoke. Upon repeat replay, Olive performs along to the card while painting her nails, grooming her dog, dancing along to the track in her room, and even singing along in the shower. “Pocket Full of Sunshine” soundtracks her weekend until the limited-run battery is drained late Sunday night midway through her final power-ballad-styled bedroom performance.1 Musical greeting cards are performative, they function musically through their instrumentality, and they invite participatory responses from their recipient. When you receive a greeting card that has the ability to play a sound effect or a snippet of music, each time you open the card, you are a participant in a performance. The card doesn’t play until the recipient opens it. While some musical greeting cards are thicker in order","PeriodicalId":43462,"journal":{"name":"AMERICAN MUSIC","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2020-08-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42306606","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 6

Receiving, Remixing, Recuperating "Rebecca Black—Friday" 接收、混音、调侃《丽贝卡·布莱克——星期五》

IF 0.2 3区艺术学

AMERICAN MUSIC Pub Date : 2020-08-28 DOI: 10.5406/americanmusic.38.2.0217

Paula Harper

{"title":"Receiving, Remixing, Recuperating \"Rebecca Black—Friday\"","authors":"Paula Harper","doi":"10.5406/americanmusic.38.2.0217","DOIUrl":"https://doi.org/10.5406/americanmusic.38.2.0217","url":null,"abstract":"On March 11, 2011, popular internet humor blog the Daily What published a post containing a single YouTube video. The video’s static thumbnail evoked placid suburban domesticity: a medium close-up of a white adolescent girl smiling widely, framed against a background of green foliage. This post, with its innocuous image—seemingly suitable for advertising home insurance or back-to-school supplies—was inexplicably and provocatively captioned “Where Is Your God Now of the Day: I am no longer looking forward to the weekend.”1 Prior to the Daily What posting, the video had received relatively little online viewership. But just a few weeks later, on March 30, it had edged out the music video to Justin Bieber’s “Baby” to achieve the dubious distinction of the most “disliked” video on the YouTube platform.2 The video in question was “Rebecca Black—Friday,” one of the most infamous viral videos of the early 2010s.3 In the video, over the course of three minutes and forty-seven seconds, singer and central figure Rebecca Black narrates and moves through believably mundane situations— a schoolgirl eagerly anticipating the weekend as she completes her morning routine and commute, to a Friday night party full of friends.","PeriodicalId":43462,"journal":{"name":"AMERICAN MUSIC","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2020-08-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45524434","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 4

The Long History of the 2017 Spotify "Fake Music" Scandal 2017年Spotify“假音乐”丑闻的漫长历史

IF 0.2 3区艺术学

AMERICAN MUSIC Pub Date : 2020-08-28 DOI: 10.5406/americanmusic.38.2.0131

K. Goldschmitt

{"title":"The Long History of the 2017 Spotify \"Fake Music\" Scandal","authors":"K. Goldschmitt","doi":"10.5406/americanmusic.38.2.0131","DOIUrl":"https://doi.org/10.5406/americanmusic.38.2.0131","url":null,"abstract":"In July 2017 The Verge reported that popular streaming music service Spotify was employing a handful of musicians to produce over fifty tracks to fill out the company’s “Peaceful Piano,” “Calm Vibes,” and “Music for Concentration” in-house playlists.1 Other news outlets soon followed suit with articles such as “Are Spotify’s ‘Fake Artists’ Any Good?” and “Spotify Is Accused of Creating Fake Artists—but What Is a Fake Artist?”2 Since 2013 Spotify has featured playlists that the company curates for users throughout the platform as part of the company’s branding. They are often the first thing that a user sees when opening the app and also appear in searches and in recommendations based on search results. They range widely from influential lists based on genre (e.g., “Rap Caviar”) to innocuous lists based on time of day, season, or mood (e.g., “Throwback Thursday” and “Late Night Vibes”). These playlists are so popular, in fact, that many in the record industry view placement on them as the equivalent of being featured on a top terrestrial radio show in the late twentieth century.3 Like prominent placement on a top radio station, placement on a popular playlist translates to immediate income via increased exposure and listening royalties, especially important factors for middle-class and struggling musicians. The artists named as “fake” by various music news outlets had no internet presence apart from Spotify, with vague, abstract artist logos","PeriodicalId":43462,"journal":{"name":"AMERICAN MUSIC","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2020-08-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47868763","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 3

Chance the Rapper, Spotify, and Musical Categorization in the 2010s Chance the Rapper、Spotify和2010年代的音乐分类

IF 0.2 3区艺术学

AMERICAN MUSIC Pub Date : 2020-08-28 DOI: 10.5406/americanmusic.38.2.0176

T. Johnson

{"title":"Chance the Rapper, Spotify, and Musical Categorization in the 2010s","authors":"T. Johnson","doi":"10.5406/americanmusic.38.2.0176","DOIUrl":"https://doi.org/10.5406/americanmusic.38.2.0176","url":null,"abstract":"In early 2017 Chance the Rapper was on top of the world. He won three Grammy Awards, including Best New Artist, Best Rap Album, and Best Rap Performance, all for his freely distributed, independently released, stylistically eclectic mixtape, Coloring Book. Driven entirely by social media, touring, and streaming services, his wins seemed to embody the utopian potential of the music industry’s ever-increasing reliance on streaming to mediate popular music consumption. The Grammy website lauded Chance as the first “streaming-exclusive” artist to win an award, and his successes appeared to benefit from the liberational, decentralizing potential of novel digital distribution practices.1 This utopian vision was recently rearticulated by Daniel Ek, cofounder of Spotify, in an open letter accompanying the company’s official registration for public offering on the New York Stock Exchange. Filed with Spotify’s SEC registration documents on February 28, 2018, Ek’s letter extols his company’s purported boundary-erasing capabilities for both listeners and musicians. “In this new world,” he proudly proclaims, “music has no borders. . . . We’re working to democratize the industry and connect all of us, across the world, in a shared culture that expands our horizons.”2 Concurrent public and critical discourses similarly note a dissolution of popular music’s generic borders, often reaching the seemingly logical conclusion that, in a time when so many musicians create","PeriodicalId":43462,"journal":{"name":"AMERICAN MUSIC","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2020-08-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45820473","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Circulatory Maintenance: CThe Entailments of Participation in Digital Music Platforms 循环维护：参与数字音乐平台的核心

IF 0.2 3区艺术学

AMERICAN MUSIC Pub Date : 2020-08-28 DOI: 10.5406/americanmusic.38.2.0197

Blake Durham

引用次数: 0

Guest Editors' Introduction: Platforms, Labor, and Community in Online Listening 特邀编辑导论:网络聆听中的平台、劳动与社群

IF 0.2 3区艺术学

AMERICAN MUSIC Pub Date : 2020-08-28 DOI: 10.5406/americanmusic.38.2.0125

Kate Galloway, K. Goldschmitt, Paula Harper

引用次数: 1

Fake Streams, Listening Bots, and Click Farms: Counterfeiting Attention in the Streaming Music Economy 虚假流媒体、收听机器人和点击农场：流媒体音乐经济中的假冒注意力

IF 0.2 3区艺术学

AMERICAN MUSIC Pub Date : 2020-08-28 DOI: 10.5406/americanmusic.38.2.0153

Eric Drott

{"title":"Fake Streams, Listening Bots, and Click Farms: Counterfeiting Attention in the Streaming Music Economy","authors":"Eric Drott","doi":"10.5406/americanmusic.38.2.0153","DOIUrl":"https://doi.org/10.5406/americanmusic.38.2.0153","url":null,"abstract":"SEOClerks is a microlabor platform. Like other, better-known sites, such as Amazon’s Mechanical Turk, Crowdflower, and Fiverr, the platform acts as a virtual labor market, bringing together buyers and sellers of services. Those seeking to have tasks done can publish job descriptions, detailing, among other things, the prices they are willing to pay, while those looking for work can advertise the services they offer and the fees they charge, as well as make bids on jobs posted to the platforms. Where microlabor platforms like SEOClerks differ from other, more traditional labor markets is in the scale, distribution, and digital mediation of the services being traded: generally speaking, microwork consists of small data-processing tasks distributed among a large group of individuals working remotely via the internet (examples include labeling images and video online, transcribing audio, and classifying the sentiment expressed in a review or comment posted to a website). And where SEOClerks differs from other microlabor platforms is in the precise nature of the digitally mediated services being bought and sold. As its name suggests, the platform specializes in search engine optimization, the ethically murky practice whereby individuals and companies game search engines and recommendation algorithms in order to gain a competitive advantage over rivals in capturing the attention of potential clients and audiences. But even the phrase “search engine optimization” is perhaps too much of a euphemism to accurately describe the kinds of transactions the site","PeriodicalId":43462,"journal":{"name":"AMERICAN MUSIC","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2020-08-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44294380","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 4

Space Is the Place 空间就是地方

IF 0.2 3区艺术学

AMERICAN MUSIC Pub Date : 2020-04-30 DOI: 10.1515/9781478012054

J. Szwed

引用次数: 10

From “the Chord Was King” to “a Dynamic Journey”: Changes in the Barbershop Quartet Style in Contests Since the 1950s 从“和弦为王”到“动态之旅”:20世纪50年代以来理发店四重奏比赛风格的变化

IF 0.2 3区艺术学

AMERICAN MUSIC Pub Date : 2020-04-03 DOI: 10.5406/americanmusic.38.1.0078

R. Hopkins

引用次数: 1

Editor’s Introduction 编辑器的介绍

IF 0.2 3区艺术学

AMERICAN MUSIC Pub Date : 2020-04-03 DOI: 10.5406/americanmusic.38.1.0001

Todd Decker

引用次数: 0