POPULAR MUSIC AND SOCIETY最新文献

{"title":"This City Needs Street Music: Practices, Experiences and Meanings in the Busking Scene of Hong Kong","authors":"Vicky Ho","doi":"10.1080/03007766.2023.2224143","DOIUrl":"https://doi.org/10.1080/03007766.2023.2224143","url":null,"abstract":"ABSTRACT Based on an ethnographic study of the Hong Kong busking scene, this article explores how buskers navigate and negotiate their practices and experiences in the scene. Within the contested socio-political and institutional context in Hong Kong, buskers’ collective efforts have brought the promise of street music to life by bringing people together and fostering a sense of belonging, connection, and solidarity with their music. The statement, “This city needs street music,” not only captures street musicians’ deep conviction in the significance of their practice, but also calls for a wider recognition of the value of street music.","PeriodicalId":46155,"journal":{"name":"POPULAR MUSIC AND SOCIETY","volume":" ","pages":""},"PeriodicalIF":0.5,"publicationDate":"2023-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47932850","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}

{"title":"DIY House Shows and Music Venues in the US: Ethnographic Explorations of Place and Community","authors":"A. Bajakian","doi":"10.1080/03007766.2023.2228564","DOIUrl":"https://doi.org/10.1080/03007766.2023.2228564","url":null,"abstract":"","PeriodicalId":46155,"journal":{"name":"POPULAR MUSIC AND SOCIETY","volume":" ","pages":""},"PeriodicalIF":0.5,"publicationDate":"2023-06-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43232228","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}

{"title":"Rock and Roll, Desegregation Movements, and Racism in the Post-Civil Rights Era: An “Integrated Effort”","authors":"Grant Wong","doi":"10.1080/03007766.2023.2224610","DOIUrl":"https://doi.org/10.1080/03007766.2023.2224610","url":null,"abstract":"","PeriodicalId":46155,"journal":{"name":"POPULAR MUSIC AND SOCIETY","volume":"1 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2023-06-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42033889","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}

{"title":"Pharoah Sanders (1940-2022)","authors":"Garth Alper","doi":"10.1080/03007766.2023.2217553","DOIUrl":"https://doi.org/10.1080/03007766.2023.2217553","url":null,"abstract":"","PeriodicalId":46155,"journal":{"name":"POPULAR MUSIC AND SOCIETY","volume":" ","pages":""},"PeriodicalIF":0.5,"publicationDate":"2023-05-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43900816","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}

{"title":"Judith Durham (1943-2022)","authors":"Bruce Johnson","doi":"10.1080/03007766.2023.2221575","DOIUrl":"https://doi.org/10.1080/03007766.2023.2221575","url":null,"abstract":"","PeriodicalId":46155,"journal":{"name":"POPULAR MUSIC AND SOCIETY","volume":"46 1","pages":"320 - 321"},"PeriodicalIF":0.5,"publicationDate":"2023-05-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49407035","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}

{"title":"R. Serge Denisoff Award","authors":"","doi":"10.1080/03007766.2023.2217388","DOIUrl":"https://doi.org/10.1080/03007766.2023.2217388","url":null,"abstract":"","PeriodicalId":46155,"journal":{"name":"POPULAR MUSIC AND SOCIETY","volume":"46 1","pages":"333 - 333"},"PeriodicalIF":0.5,"publicationDate":"2023-05-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46934539","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}

{"title":"Ton Steine Scherben: A Unique Hybrid of Psychedelic Rock and Battle Song","authors":"David Robb","doi":"10.1080/03007766.2023.2206783","DOIUrl":"https://doi.org/10.1080/03007766.2023.2206783","url":null,"abstract":"ABSTRACT This article will examine the relationship of the anarchist rock group Ton Steine Scherben to the tradition of the German battle song. After setting the group in the context of the countercultural scene of West Berlin of the 1970s, the article will identify a key battle song trait in the group's militant lyrics that, combined with the music, are geared towards inspiring direct political action rather than mere critical contemplation. In this respect parallels will be drawn with approaches to radical political song from the 1848 Revolution and the Weimar Republic.","PeriodicalId":46155,"journal":{"name":"POPULAR MUSIC AND SOCIETY","volume":"46 1","pages":"265 - 281"},"PeriodicalIF":0.5,"publicationDate":"2023-05-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"59788963","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}

{"title":"Digital Man or Jocko Homo: Rush, Devo, and competing visions of the technofuture","authors":"J. Eller","doi":"10.1080/03007766.2023.2217342","DOIUrl":"https://doi.org/10.1080/03007766.2023.2217342","url":null,"abstract":"ABSTRACT This article explores the lyrics of Rush and Devo – and in the case of Devo, their embodied performance – during their key overlapping creative periods from the late-1970s to the mid-1980s. Both imagined technology becoming a greater force – and threat – for humanity, although Rush championed constant opposition to and despair at the alienation of humanity while Devo reveled in an ambiguous postmodern fashion about humanity’s devolved cyborg future. Several decades of hindsight suggest that Rush represented the futile struggle of the (modern) Last Human whereas Devo more accurately captured the contemporary capitulation to the Post Human.","PeriodicalId":46155,"journal":{"name":"POPULAR MUSIC AND SOCIETY","volume":"46 1","pages":"304 - 319"},"PeriodicalIF":0.5,"publicationDate":"2023-05-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43515096","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}

{"title":"Ramsey Lewis (1935-2022)","authors":"Garth Alper","doi":"10.1080/03007766.2023.2221576","DOIUrl":"https://doi.org/10.1080/03007766.2023.2221576","url":null,"abstract":"Ramsey Lewis (27 May 1935–12 September 2022) was a marvelous jazz pianist who seamlessly infused gospel, rhythm and blues, and rock and roll into his playing. Yet his contributions to the jazz art form were often met by critics and “jazz purists” unenthusiastically. This cool reception was largely due to these hybridizations, which often maintained a gospel/blues feel no matter what the source material was. In contrast with the mainstream jazz practice in which many recorded and performed songs came from musicals from earlier decades, Lewis’s interpretations of contemporary pop songs hurt him in the eyes of many jazz gatekeepers, although not with the album-buying public. Rock and roll and rhythm and blues were often blamed for the so-called demise of jazz in the 1960s, but the truth was much more complex. It wasn’t until Lewis’s recognition as a Jazz Master by the National Endowment for the Arts in 2007 that a reassessment began of his place in the jazz world. Ramsey Lewis began studying classical piano music in Chicago at the age of four and studied gospel organ, also at a young age. The Ramsey Lewis Trio was an extension of his first band, the Clefs, which he joined in high school. This began a life of musical contributions in which Lewis recorded 80 albums, three of which earned him Grammy Awards and five of which became gold records. Lewis honed his craft as a jazz musician in the bars and lounges of Chicago. He recalled, “It was great because it gave musicians coming up [in the ranks] the chance to get their act together, get their performance chops. It gave them the chance to try this musical style, that musical style” (Di Nunzio). What is often described as a splintering of jazz styles in the 1960s occurred at the same time that jazz was being combined with a variety of other musical styles. Even though his particular brand of fusion wasn’t often labeled as such at the time, Lewis was a leading figure in the movement. It wasn’t until his 1965 recording of “The ‘In’ Crowd” broke into the Billboard top 10 that he gained a level of fame rarely bestowed upon a jazz musician of the time. In 1966, Lewis followed with another hit – a jazz/gospel rendition of the antebellum spiritual “Wade in the Water.” Lewis and similar artists were often criticized by the jazz press for eschewing some of the more complex harmonic progressions usually heard in jazz standards. “Wade in the Water,” a song that found a middle ground between gospel, blues, jazz, and Motown, relied on two chords for much of the cut. But what was lost on many of the critics was that Lewis was taking century-old art forms (gospel music and the blues) that comprised an important part of the root system of jazz and reuniting them with their offspring. That his music resonated so strongly with such a large segment of the public helped created an important cultural moment. These and other crossover hits in the mid-1960s helped launch and sustain Lewis’s music-making career for more than f","PeriodicalId":46155,"journal":{"name":"POPULAR MUSIC AND SOCIETY","volume":"46 1","pages":"322 - 323"},"PeriodicalIF":0.5,"publicationDate":"2023-05-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48317943","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}

{"title":"Holographic ABBA: Examining Fan Responses to ABBA’s Virtual “Live” Concert","authors":"Justin L. Matthews, Angelique Nairn","doi":"10.1080/03007766.2023.2208048","DOIUrl":"https://doi.org/10.1080/03007766.2023.2208048","url":null,"abstract":"ABSTRACT In 2021, ABBA reunited, released a new album, Voyage, and announced holographic concerts featuring their digital avatars or “ABBAtars.” Using visual effects and motion capture technology, these performances create a realistic illusion without physical presence. This study analyzed reactions to these virtual musicians, highlighting concerns of ageism, undermining live music, and profit-driven motives. While the public was excited to “experience” ABBA again, there was speculation about the nature of a virtual concert.","PeriodicalId":46155,"journal":{"name":"POPULAR MUSIC AND SOCIETY","volume":"46 1","pages":"282 - 303"},"PeriodicalIF":0.5,"publicationDate":"2023-05-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48970150","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}