POPULAR MUSIC AND SOCIETY最新文献

{"title":"“Filipino Seekers of Fortune”: Jazz as Labor in 1920s Colonial Asia","authors":"F. Schenker","doi":"10.1080/03007766.2022.2123476","DOIUrl":"https://doi.org/10.1080/03007766.2022.2123476","url":null,"abstract":"ABSTRACT Filipino musicians were critical for the spread of jazz throughout Asia yet their place in histories of the music remains peripheral. I argue that the emergence of the Filipino jazz musician was based on contradictions central to a new imperial jazz economy: the possibilities of jazz as a form of labor in colonial Asia have to be paired with the devastating impact of U.S. imperial policies. Furthermore, the Filipino semimonopoly on musical labor in Asia that brought many Filipinos a sense of political pride was made possible by racialized hierarchies of work that served to undermine claims for Philippine independence.","PeriodicalId":46155,"journal":{"name":"POPULAR MUSIC AND SOCIETY","volume":"45 1","pages":"405 - 424"},"PeriodicalIF":0.5,"publicationDate":"2022-08-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43468733","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":"Rocking the Closet: How Little Richard, Johnnie Ray, Liberace, and Johnny Mathis Queered Pop Music","authors":"Lisette Gallaher","doi":"10.1080/03007766.2022.2110679","DOIUrl":"https://doi.org/10.1080/03007766.2022.2110679","url":null,"abstract":"","PeriodicalId":46155,"journal":{"name":"POPULAR MUSIC AND SOCIETY","volume":"45 1","pages":"654 - 656"},"PeriodicalIF":0.5,"publicationDate":"2022-08-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41812710","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":"Cherokee Missed: Indigenous Influence and Natural Metaphysics in the Music of Jimi Hendrix","authors":"M. Crawford","doi":"10.1080/03007766.2022.2099196","DOIUrl":"https://doi.org/10.1080/03007766.2022.2099196","url":null,"abstract":"ABSTRACT This paper shows that native culture and mythology is a more pervasive influence in the music of Jimi Hendrix than has been hitherto appreciated, and also fully explores the extent to which natural imagery features in both Hendrix’s song writing and in his instrumental innovations. It argues that indigenous influences and natural metaphysics are crucial to understanding the meaning and effectiveness of Hendrix’s songs; his transcendence of the black-white binary and the rigid musical categories that confined so many of his contemporaries; and his contributions to the evolution of music.","PeriodicalId":46155,"journal":{"name":"POPULAR MUSIC AND SOCIETY","volume":"45 1","pages":"568 - 583"},"PeriodicalIF":0.5,"publicationDate":"2022-08-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44354409","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":"Presenting the Studio on Record Covers: Changing the Understanding of Swedish Jazz Records","authors":"Mischa van Kan","doi":"10.1080/03007766.2022.2123495","DOIUrl":"https://doi.org/10.1080/03007766.2022.2123495","url":null,"abstract":"ABSTRACT This article analyzes early Swedish jazz record covers to understand how producers and users comprehended the jazz record as a medium. It employs Jonathan Sterne’s definition of a medium as a social agreement about use. The article shows how, following the transition from shellac to vinyl records in Sweden in the 1950s, record covers reinterpreted the understanding of the jazz record. From seeing a record as a mediation of live music, users and producers started to see the record as an artifact that resulted from artistic work that had taken place in a recording studio.","PeriodicalId":46155,"journal":{"name":"POPULAR MUSIC AND SOCIETY","volume":"45 1","pages":"446 - 466"},"PeriodicalIF":0.5,"publicationDate":"2022-08-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42739230","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":"“Big Map Idea”: Diasporic Currents in South African Music","authors":"Marc Duby","doi":"10.1080/03007766.2022.2123516","DOIUrl":"https://doi.org/10.1080/03007766.2022.2123516","url":null,"abstract":"ABSTRACT South African jazz historiography has tended to regard Cape Town and Johannesburg as the principal axes of musical practice within the country’s borders. This discourse tends to marginalize such practice in Durban as the most obviously “British colonial” of South Africa’s big cities. While Durban’s history has shaped its unique population, its unique demographic makeup has in turn influenced local musicking practices. This essay examines notions of diaspora under three broad headings: diasporic currents within the country, diasporic flows from “outside” (indentured labor from India for Natal’s sugar plantations), and phenomenological reflections on the interwovenness of place and culture.","PeriodicalId":46155,"journal":{"name":"POPULAR MUSIC AND SOCIETY","volume":"45 1","pages":"504 - 519"},"PeriodicalIF":0.5,"publicationDate":"2022-08-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46097515","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":"The Birth of Porto’s Jazz Scene: Culture, Spaces, and Networks","authors":"Pedro Cravinho","doi":"10.1080/03007766.2022.2123482","DOIUrl":"https://doi.org/10.1080/03007766.2022.2123482","url":null,"abstract":"ABSTRACT In recent years, a growing amount of attention has been paid to the jazz diaspora within specific historical, social, and political contexts. Nevertheless, activities that took place outside of capital cities are often ignored, despite many local scenes within their own larger diasporic environment playing a significant role in the development of jazz – and Portugal is a case in point. In Porto, an urban center in northern Portugal, in the late 1950s, in the context of the New State regime under Dr. Oliveira Salazar, a group of jazz enthusiasts created a space in which this music could be listened to, discussed, and celebrated. This space could be described as a kind of “DIY” jazz club and was notable for disseminating the genre across the region. However, as with so many diasporic locations, Portugal’s historical accounts of its jazz heritage, both local and national, largely fail to acknowledge activity outside the nation’s capital. This essay examines the inception of the Porto jazz scene in the post-World War II period and focuses on the connections between the local, the national, and the global.","PeriodicalId":46155,"journal":{"name":"POPULAR MUSIC AND SOCIETY","volume":"45 1","pages":"425 - 445"},"PeriodicalIF":0.5,"publicationDate":"2022-08-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48350677","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":"The Invention and Reinvention of Big Bill Broonzy","authors":"John Littlejohn","doi":"10.1080/03007766.2022.2099509","DOIUrl":"https://doi.org/10.1080/03007766.2022.2099509","url":null,"abstract":"ing down Perry’s version of “Pop Goes the Weasel” with the bass, high in the mix – a trademark of dub – and a counter melody on the sax playing the familiar melody of the tune. “The bass line guides the track, but the guitar and sax punch through the song to set the framework and give the dub life” (50). In Chapter 5, under Rhythmic Interplay, Abbey observes how King Tubby in “Young Generation Dub,” strips the guitar and piano from the mix while increasing the volume of the horns, which “are used on the upbeats in between the main melody line” (83), allowing the bass to drive the song. Such a consistent structure runs the risk of growing predicable and tedious, but I found that it helped me to focus on the subtleties of the songs, particularly if I listened to the track as I read. In this way, the book serves as a primer to dub, in general, and these important albums, in particular. I do have a quibble with the book. In one way or another, Abbey repeats that “the end goal [of dub] was to make money” (xviii), or, put another way, a dub album “was an attempt to make money off the reuse of tracks” (42). The problem is not just with the repetition, but Abbey never develops this theme. What were the economics of dub, at least in Jamaica? What were the recording costs? How much did the producers/engineers earn from releases? I wonder, too, how much could have been profited from an album like Java, Java, Java, Java with only 1,000 initial pressings? Though dub found audiences around the world, it has never been more than a niche genre. I found these constant reminders, with no development, distracting and irrelevant to a book largely focused on sound and social context. However, the strengths of the book outweigh this relatively minor weakness. Distillation of Sound is well thought out and well researched. Abbey draws from established cultural and music theorists (e.g., Raymond Williams, Simon Frith); Jamaican music scholars (Marvin Sterling, Michael Veal); published interviews (with Erroll Thompson, Dennis Bovell); and his own interviews with producers (Lee “Scratch” Perry, Adrian Sherwood, among others), sound system operators (Tony Myers), and Jamaican cultural and music scholars (Donna Hope, Sonjah Stanley Niaah). In short, Distillation of Sound serves as a reader’s guide to a genre that has been incredibly influential despite its relatively small following. Anyone interested in dub would do well to seek it out.","PeriodicalId":46155,"journal":{"name":"POPULAR MUSIC AND SOCIETY","volume":"46 1","pages":"91 - 93"},"PeriodicalIF":0.5,"publicationDate":"2022-07-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46521003","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":"From Innocence to Experience, and Other Transitions in Selected Lyrics of John Prine","authors":"P. Jenkins","doi":"10.1080/03007766.2022.2096290","DOIUrl":"https://doi.org/10.1080/03007766.2022.2096290","url":null,"abstract":"ABSTRACT This essay examines thirteen songs written by award-winning singer-songwriter John Prine. Though Prine is perhaps best known for his humorous material, it is his more serious compositions that will likely stand the test of time. Many of these songs display variations on the theme of transition, especially the difficult human journey from innocence to experience.","PeriodicalId":46155,"journal":{"name":"POPULAR MUSIC AND SOCIETY","volume":"45 1","pages":"553 - 567"},"PeriodicalIF":0.5,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46201229","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":"10.1080/03007766.2022.2065788","DOIUrl":"https://doi.org/10.1080/03007766.2022.2065788","url":null,"abstract":"(2022). R. Serge Denisoff Award. Popular Music and Society: Vol. 45, No. 3, pp. 370-370.","PeriodicalId":46155,"journal":{"name":"POPULAR MUSIC AND SOCIETY","volume":"23 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2022-05-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139094368","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":"Norteño Corporeality: Body, Gender, Sound, and Economy in Commercialized Norteño Music Videos","authors":"S. Hutchinson","doi":"10.1080/03007766.2022.2043427","DOIUrl":"https://doi.org/10.1080/03007766.2022.2043427","url":null,"abstract":"ABSTRACT This article analyzes norteño corporeality, or how bodies physically engage with norteño music and visually display norteño identities. Through a comparison of more than 75 mainstream videos, it explains how current norteño corporeality differs from earlier corporealities, why it differs from tejano ones, and why it strongly resembles those of gangsta rap. Using an interdisciplinary approach, the article focuses on the banal and the ordinary in musical performance; in so doing it shows how gender and race interact with and are affected by neoliberalism in the US-Mexico border area.","PeriodicalId":46155,"journal":{"name":"POPULAR MUSIC AND SOCIETY","volume":"45 1","pages":"317 - 340"},"PeriodicalIF":0.5,"publicationDate":"2022-04-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44074371","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}