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Journal of Popular Music Studies最新文献

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Philippine J-Pop Covers 菲律宾流行音乐封面
IF 0.2 3区 艺术学
Journal of Popular Music Studies Pub Date : 2022-09-01 DOI: 10.1525/jpms.2022.34.3.80
Herbeth L. Fondevilla
{"title":"Philippine J-Pop Covers","authors":"Herbeth L. Fondevilla","doi":"10.1525/jpms.2022.34.3.80","DOIUrl":"https://doi.org/10.1525/jpms.2022.34.3.80","url":null,"abstract":"From the 1980s to the 2000s, Philippine television and radio were filled with the sounds of J-Pop. The majority of Filipino listeners, however, were not aware of their Japanese origins as they were all performed in the vernacular by local artists. This paper demonstrates how local cultures are produced within the context of hybridization and cultural indigenization through J-Pop cover songs. By comparing and exploring the history of J-Pop, OPM (Original Pilipino Music), P-Pop, and idol groups, this work reflects on the globalized trend of forming new distinctions, connections, and authenticity through the varying processes of covering songs. It looks at popular music’s power in shaping local influence and development, as well as how international cultural elements can become part of collective memory and cultural milieu in a new territory, thereby gaining authenticity.","PeriodicalId":43525,"journal":{"name":"Journal of Popular Music Studies","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47940778","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
The Absence of Texas-Mexican Musics at the South by Southwest Festival 西南偏南音乐节缺席德州-墨西哥音乐
IF 0.2 3区 艺术学
Journal of Popular Music Studies Pub Date : 2022-09-01 DOI: 10.1525/jpms.2022.34.3.30
Erin E. Bauer
{"title":"The Absence of Texas-Mexican Musics at the South by Southwest Festival","authors":"Erin E. Bauer","doi":"10.1525/jpms.2022.34.3.30","DOIUrl":"https://doi.org/10.1525/jpms.2022.34.3.30","url":null,"abstract":"Following the conclusion of the Mexican-American War and continuing through the first half of the twentieth century, the ethnically Mexican population in Texas suffered discrimination and ethno-racial segregation from the dominant, Anglo-Texan community. This systemic structure induced the Texas-Mexican community to create separate, Spanish-speaking social spaces. Tejano and conjunto music were influenced by these inequitable policies. Separate performance outlets, with distinct priorities and procedures, maintained a musical community outside of mainstream recording practices. This Texas-Mexican musical community—separate and distinctive from the hegemonic industry—has been maintained in contemporary practices, as demonstrated by the absence of Texas-Mexican artists at the annual South by Southwest Festival (SXSW) in Austin, Texas. From its beginnings in 1987, SXSW has drawn a diverse assortment of record labels, booking agents, promoters, managers, artists, and audiences. Although the festival started with a regional focus, billed as a means to bring together Texas music and the rest of the world, Tejanx participation is sparse, indicating a continuing separation between these two communities. Yet, SXSW has strategically attracted international artists and historically Black American genres. This paper uses statistical and ethnographic evidence to examine this selective absence of Tejano musics at SXSW.","PeriodicalId":43525,"journal":{"name":"Journal of Popular Music Studies","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43824024","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
Review: She’s at the Controls: Sound Engineering, Production and Gender Ventriloquism in the 21st Century, by Helen Reddington 书评:海伦·雷丁顿的《她在控制:21世纪的声音工程、制作和性别腹语术》
IF 0.2 3区 艺术学
Journal of Popular Music Studies Pub Date : 2022-09-01 DOI: 10.1525/jpms.2022.34.3.155
Maren Hancock
{"title":"Review: She’s at the Controls: Sound Engineering, Production and Gender Ventriloquism in the 21st Century, by Helen Reddington","authors":"Maren Hancock","doi":"10.1525/jpms.2022.34.3.155","DOIUrl":"https://doi.org/10.1525/jpms.2022.34.3.155","url":null,"abstract":"","PeriodicalId":43525,"journal":{"name":"Journal of Popular Music Studies","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49180951","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
Searching for Similarity 搜索相似度
IF 0.2 3区 艺术学
Journal of Popular Music Studies Pub Date : 2022-06-01 DOI: 10.1525/jpms.2022.34.2.91
D. Devlieger
{"title":"Searching for Similarity","authors":"D. Devlieger","doi":"10.1525/jpms.2022.34.2.91","DOIUrl":"https://doi.org/10.1525/jpms.2022.34.2.91","url":null,"abstract":"Throughout the twentieth and twenty-first centuries regulations on expert testimony have sought to minimize the impact of disagreeing experts. Yet, disagreements between forensic musicologists still play a large role in contemporary music copyright decisions. This paper suggests that the disagreement between partisan experts is due, in part, to confirmation bias rather than ethical or financial allegiance. An expert hired by a plaintiff, or the party alleging copyright infringement, may start their analysis by searching for similarities between two works. On the other hand, an expert retained by the defendant, or the party denying infringement, may start their analysis by searching for differences. Given the multiple musical components present in even the “simplest” musical work, both starting points will lead to valid observations about the work, allowing for expert disagreement. This article uses a hypothetical case study to demonstrate the risk of confirmation bias in forensic musicology and concludes by proposing that appointing a panel of third-party musicologists to conduct forensic analyses from a neutral starting point could minimize the effect of confirmation bias in such cases.","PeriodicalId":43525,"journal":{"name":"Journal of Popular Music Studies","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48243657","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: 1
Lucha Reyes 战斗之王
IF 0.2 3区 艺术学
Journal of Popular Music Studies Pub Date : 2022-06-01 DOI: 10.1525/jpms.2022.34.2.69
Lorena Alvarado
{"title":"Lucha Reyes","authors":"Lorena Alvarado","doi":"10.1525/jpms.2022.34.2.69","DOIUrl":"https://doi.org/10.1525/jpms.2022.34.2.69","url":null,"abstract":"This article apprehends the namesake coincidence between two cultural icons of the Américas, Lucha Reyes Aceves (1906-1944) and Lucha Sarcines Reyes (1936-1973). Both twentieth century popular singers emerge from spaces of radical difference and affinity (across temporally distinct gendered, racial, class subjectivity). The author contemplates their singing and its significations in tandem, locating their genealogies and/or legacies not within country, say, but in a dynamic of correlation. In doing so, the author proposes a tocaya (namesake) technique as a method to hear how one Lucha may resonate in another Lucha, a gesture that derives from an ethics of interrelation articulated in Chicana feminist inquiry. Tocaya, a colloquial term of endearment, here participates as epistemology alongside a motley methodology including cultural-historical, literary and biomythographical interpretation. The provocative semiotics of their name (Lucha signifying “struggle”) further catalyzes another analytic, la voz que hace la lucha, that speaks to singing histories from subalternity. Hearing through refraction and tangency, via a transhistorical pairing, yields an extraordinary detail that repeats with them and within others: a singing of self-making and self-consciousness, where voices can be seen, and mirrors heard.","PeriodicalId":43525,"journal":{"name":"Journal of Popular Music Studies","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46528109","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
Review: Fictional Blues: Narrative Self-Invention from Bessie Smith to Jack White, by Kimberly Mack 书评:《虚构的布鲁斯:从贝西·史密斯到杰克·怀特的叙事自我发明》，金伯利·麦克著
IF 0.2 3区 艺术学
Journal of Popular Music Studies Pub Date : 2022-06-01 DOI: 10.1525/jpms.2022.34.2.146
Paige Mcginley
{"title":"Review: Fictional Blues: Narrative Self-Invention from Bessie Smith to Jack White, by Kimberly Mack","authors":"Paige Mcginley","doi":"10.1525/jpms.2022.34.2.146","DOIUrl":"https://doi.org/10.1525/jpms.2022.34.2.146","url":null,"abstract":"","PeriodicalId":43525,"journal":{"name":"Journal of Popular Music Studies","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43186971","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
Review: Why Bushwick Bill Matters, by Charles L. Hughes 《评论：为什么布什威克法案很重要》，查尔斯·L·休斯著
IF 0.2 3区 艺术学
Journal of Popular Music Studies Pub Date : 2022-06-01 DOI: 10.1525/jpms.2022.34.2.149
A. Randolph
{"title":"Review: Why Bushwick Bill Matters, by Charles L. Hughes","authors":"A. Randolph","doi":"10.1525/jpms.2022.34.2.149","DOIUrl":"https://doi.org/10.1525/jpms.2022.34.2.149","url":null,"abstract":"","PeriodicalId":43525,"journal":{"name":"Journal of Popular Music Studies","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42516490","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
#1plus1plus1is3 #1加1加1 3
IF 0.2 3区 艺术学
Journal of Popular Music Studies Pub Date : 2022-06-01 DOI: 10.1525/jpms.2022.34.2.5
D. L. Duff, Zachary Hoskins, Kamilah Cummings, R. Loss
{"title":"#1plus1plus1is3","authors":"D. L. Duff, Zachary Hoskins, Kamilah Cummings, R. Loss","doi":"10.1525/jpms.2022.34.2.5","DOIUrl":"https://doi.org/10.1525/jpms.2022.34.2.5","url":null,"abstract":"","PeriodicalId":43525,"journal":{"name":"Journal of Popular Music Studies","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49454076","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
The Borrowings of Bob Miller, Hillbilly Music’s Premier Event Songwriter 鲍勃·米勒的借款，Hillbilly Music的首席活动词曲作者
IF 0.2 3区 艺术学
Journal of Popular Music Studies Pub Date : 2022-06-01 DOI: 10.1525/jpms.2022.34.2.28
Joel Roberts
{"title":"The Borrowings of Bob Miller, Hillbilly Music’s Premier Event Songwriter","authors":"Joel Roberts","doi":"10.1525/jpms.2022.34.2.28","DOIUrl":"https://doi.org/10.1525/jpms.2022.34.2.28","url":null,"abstract":"Bob Miller is known as one of the most prolific early country songwriters, but it is not as widely known that he was a blues composer in the 1920s whose songs were recorded by several of the classic female blues singers from the early part of that decade—Clara Smith, Viola McCoy, Lizzie Miles, and others. He is also thought to have written leftist political material, but these political songs spoke more to common sentiments during the Great Depression than any true political position. Miller’s diverse songwriting career resulted from his creative output being influenced by the direction of commercial music. His first “hillbilly” song, “Eleven Cent Cotton, Forty Cent Meat,” became a Depression-era hit that was recorded by multiple artists, including himself. While he did not write more than seven thousand songs as he claimed, he did write a high number. Part of what contributed to his large catalog was that he was adept at tweaking preexisting songs, and much of his output was modeled after other songs. This study analyzes and discusses the commercially influenced direction of his career as well as his possibly misascribed political leanings.","PeriodicalId":43525,"journal":{"name":"Journal of Popular Music Studies","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47682612","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
“Let’s Get Loud” “让我们大声点”
IF 0.2 3区 艺术学
Journal of Popular Music Studies Pub Date : 2022-06-01 DOI: 10.1525/jpms.2022.34.2.112
Johanna Love
{"title":"“Let’s Get Loud”","authors":"Johanna Love","doi":"10.1525/jpms.2022.34.2.112","DOIUrl":"https://doi.org/10.1525/jpms.2022.34.2.112","url":null,"abstract":"In 2020, Latina superstars Jennifer Lopez and Shakira headlined the NFL’s Super Bowl halftime show. Their multicultural and politically charged performance was met with 1,300 FCC complaints, adding to the growing list of Super Bowl controversies—notably, all by top female MTV veterans. This essay historicizes and analyzes the reception of the most controversial halftime shows—performed by Janet Jackson, Madonna, Beyoncé, Shakira, and Jennifer Lopez—to theorize why they became so contentious. Situating these performances within the NFL’s history and its economic incentives for inviting pop stars into the annual championship event, I combine theories of branding with studies on music’s role in creating spectacle and nationalism at the Super Bowl to demonstrate how the game and its halftime shows operate within their own “branded spectacles.” I argue that it is when the often polarizing values of these branded spectacles overlap that they become incendiary—i.e., controversy ensues when the NFL’s displays of violent, hard-bodied, hetero-masculinity, and nationalist and capitalist messaging are juxtaposed within the same mediated space as the oppositional politics of musical performances featuring marginalized bodies otherwise unwelcome into the sport itself. This research engages with important conversations about the roles of branding and music in sporting events, demonstrating that it is not merely the sights but the sounds of these artists’ bodies that has grated most obviously against the “politically neutral” image that the NFL brand and U.S. media culture more broadly, has (until recently) claimed to maintain.","PeriodicalId":43525,"journal":{"name":"Journal of Popular Music Studies","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45260936","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
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