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Wyświetlanie 1-15 z 69
Tytuł:
Popular Music Studies in Italy: A Historical/Political Overview
Autorzy:
Fabbri, Franco
Powiązania:
https://bibliotekanauki.pl/articles/1186464.pdf
Data publikacji:
2020
Wydawca:
Uniwersytet Kardynała Stefana Wyszyńskiego w Warszawie
Tematy:
Italian popular music
Popular music studies
history of popular
music research
Opis:
Courses on popular music were sparsely introduced in Italian universities in the late 1900s – early 2000s, and are still included under the umbrellas of other disciplines (ethnomusicology, media and communication studies, sociology). An official disciplinary sector including popular music does not exist. However, research on popular music has existed in Italy at least since the 1960s, two important international conferences took place in Italy (as early as in 1983, and in 2005), and Italian popular music scholars are known internationally and have been members of associations, editorial boards, scientific committees. To explain this contradiction, a long historical period has to be overviewed. It’s a very specific Italian story. Or maybe not.
Źródło:
Załącznik Kulturoznawczy; 2020, 7; 225-236
2392-2338
Pojawia się w:
Załącznik Kulturoznawczy
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
U źródeł sporu o wartości edukacyjne muzyki popularnej
The Sources of Dispute over the Educational Values of Popular Music
Autorzy:
Michalak, Marcin
Powiązania:
https://bibliotekanauki.pl/articles/418619.pdf
Data publikacji:
2014
Wydawca:
Akademia Marynarki Wojennej. Wydział Nauk Humanistycznych i Społecznych
Tematy:
popular music
popular culture
values
education
Opis:
The aim of the article is to present theoretical sources of the dispute concerning the educational values of popular music that has been going on since the sixties of the 20th century in the sphere of American as well as European pedagogy. Despite the essential role that popular musical genres such as rock, hip-hop and techno, have played (and have been still playing) in the process of shaping the cultural identity of many generations of youth, they have long been pushed outside school premises, or, at best, they have been placed on the margin of educational influences. The reasons for that were partially embedded in the exclusively aesthetic look on the part of pedagogues at popular pieces, deprived of references to their wider functions which they fulfill in the sphere of recipients` everyday lives. The author does not present the course of the very dispute. While outlining the main stands (aesthetic and sociocultural ones), he seeks roots of the mutually clashing convictions from philosophical, aesthetic, anthropological, sociological and psychosocial perspectives of the mass/popular culture which have been providing arguments for and against the presence of the up-to-date youth music in school curricula. The somewhat superficial (on account of the complexity of problematic aspects) overview of theories and outlooks, on the basis of which the controversy about educational values of popular music originated, opens up new areas of pedagogical activities, addressing various aspects of the contemporary complex and multidimensional culture.
Źródło:
Colloquium; 2014, 6, 1; 89-112
2081-3813
2658-0365
Pojawia się w:
Colloquium
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Zaangażowanie, bierność i skandal. „Piosenkowe strategie” w konfliktach międzypokoleniowych
Commitment, passivity and scandal. „Song strategies in intergenerational conflicts
Autorzy:
Łukowicz, Michał
Powiązania:
https://bibliotekanauki.pl/articles/2029520.pdf
Data publikacji:
2021
Wydawca:
Ośrodek Badawczy Facta Ficta
Tematy:
song
popular music
generations
conflict
Opis:
The article aims to present the analysis of three Polish songs that are treated in the social space as important statements by „voices of their generation”. Jacek Kaczmarski in Our Class [Nasza klasa], Zygmunt „Muniek” Staszczyk in the song This nurture [To wychowanie] and Michał „Mata” Matczak in Pathointeligency [Patointeligencja], expressing the problems of their peers, occupy a specific place towards the older generation, which is symbolized by the educational system. Using a different music genre and functioning in different socio-political realities, each of the artists also proposes a different strategy of „fighting” in a generational conflict, which ranges from (apparent) passivity, through commitment, to rebellion. The interpretation of the aforementioned cultural texts (the song is understood as a multi-code message with a solid performative potential) considers their verbal and musical content and the historical and performance context, and the dynamically changing reception. The analysis of the differences and common points of the mentioned texts is intended to capture the phenomenon of popularity of these three completely different songs, which confirm that the most fortuitous statements of specificity and generational distinctiveness in the art use the mechanism of dispute.
Źródło:
Facta Ficta. Journal of Theory, Narrative & Media; 2021, 8, 2; 319-332
2719-8278
Pojawia się w:
Facta Ficta. Journal of Theory, Narrative & Media
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Musemes in affect. Philip Tagg’s model of music analysis
Autorzy:
Zielonka, Stefania
Powiązania:
https://bibliotekanauki.pl/articles/1797347.pdf
Data publikacji:
2020-12-28
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
popular music
musical analysis
semiology of music
Opis:
The paper is an attempt to synthesize the most important aspects of a model of popular and film music analysis proposed by British musicologist Philip Tagg. Tagg, using the category of musemes – universal meaning units, isolated from the musical structure of the composition on the basis of criteria established for every given case – examines selected pieces using multi-level semiotic analysis. In his model Tagg takes into account both the importance of the broadly understood cultural context and the intertextuality of the piece. He also emphasizes the role of affect in musical communication, which is necessary to fully understand the meaning of a musical work.
Źródło:
Interdisciplinary Studies in Musicology; 2020, 20; 97-105
1734-2406
Pojawia się w:
Interdisciplinary Studies in Musicology
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Simpatías por el Mal: El discurso persuasivo en “Sympathy for the Devil” de los Rolling Stones y “Jesucristo García” de Extremoduro
Attractions of Evil: The persuasive discourse in Rolling Stones’ Sympathy for the Devil and Extremoduro’s Jesucristo García.
Autorzy:
Gregori i Gomis, Alfons
Powiązania:
https://bibliotekanauki.pl/articles/1051629.pdf
Data publikacji:
2010-01-01
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Contemporary Popular Music
lyrics
devil
metonymy
Opis:
Dealing with discourses produced in Contemporary Popular Music, it is usual in contemporary youth’s imaginary to find rock considered as metonymic with authenticity, remaining as a movement an outstanding extension of Romanticism. Then, when drawing out its motifs from Satanism, successful rock lyrics need a rhetorical stylization in order to construct persuading songs beyond traditional morals. The main goal of this article is to analyze and compare this kind of stylization in Rolling Stones’s Sympathy for the Devil and Jesucristo García, written by the Spanish band Extremoduro, taking them both as examples of popularized dramatic monologues that present the topic of attraction of Evil performed by devilish figures.
Źródło:
Studia Romanica Posnaniensia; 2010, 37, 1; 99-115
0137-2475
2084-4158
Pojawia się w:
Studia Romanica Posnaniensia
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Marlene Dietrich i "The Millionaire Waltz" Queen. Językowo-muzyczne konstrukcje persony w muzyce popularnej
Autorzy:
Gradowski, Mariusz
Konert-Panek, Monika
Powiązania:
https://bibliotekanauki.pl/articles/1186474.pdf
Data publikacji:
2020
Wydawca:
Uniwersytet Kardynała Stefana Wyszyńskiego w Warszawie
Tematy:
musicology
persona
popular music
sociophonetics
stylization
Opis:
The paper adopts an interdisciplinary research perspective on popular music on the basis of the song The Millionaire Waltz by Queen. The main focus is placed on the key part of the song: the fragment in which the vocalist, Freddie Mercury, adopts German accent. This fragment is analyzed with reference to the concept of persona, both musical (A.F. Moore) and linguistic – as emphasized in the theory of style-shifting (A. Bell) and the third wave in sociolinguistics (P. Eckert). The analysis concentrates on the problem of the split between the performer, persona and protagonist in the song, as well as the artistic tension between projection and originality. The applied research tools and methods (Praat and Sonic Visualiser programs, as well as formal and auditive analises) lead to the conclusion confirming the popular impression according to which Freddie Mercury imitates Marlene Dietrich in the analyzed song. His performance may be theorized as an example of Referee Design. Yet, some linguistic and musical aspects of this stylization suggest that this interpretation is not unambiguous. The complex character of the persona created by Mercury may be seen as an asset which gives rise to a wide spectrum of meanings (Marlene – German diva – diva), corresponding with Queen’s artistic tropes (stylization, cabaret, operetta, contrast, humor, nostalgia, queer) and maintaining the balance between reproduction and innovation.
Źródło:
Załącznik Kulturoznawczy; 2020, 7; 301-326
2392-2338
Pojawia się w:
Załącznik Kulturoznawczy
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Co począć z Beatlesami? Metodologia muzykologii wobec muzyki rockowej
What shall we do with The Beatles? Methodology of musicology and rock music
Autorzy:
Mamczur, Patryk
Powiązania:
https://bibliotekanauki.pl/articles/513918.pdf
Data publikacji:
2016
Wydawca:
Uniwersytet Jagielloński. Koło Naukowe Studentów Muzykologii UJ
Tematy:
rock music
popular music
methodology
musicology
The Beatles
Opis:
The article presents the possible input of musicologists in terms of popular music studies. It describes basic differences between rock and classical music, being still in the centre of attention of traditional musicology, and underlines the necessity of analysing musical recordings instead of relying on score music. New terminology is proposed – both original and based on Western scholars’ experiences – especially relating to formal structure. The author also analyses different approaches to rhythmics (advocating that scholar himself needs to divide a song into bars), harmonics and melodics (presenting popular models), and instrumentation (underlining the importance of sound processing methods).
Źródło:
Kwartalnik Młodych Muzykologów UJ; 2016, 4(31); 136-164
2956-4107
2353-7094
Pojawia się w:
Kwartalnik Młodych Muzykologów UJ
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Istnienia poszczególne. Emigracja polskich muzyków jazzowych i rozrywkowych
Single entities. Emigration of Polish jazz and pop musicians
Autorzy:
Piotrowski, Grzegorz
Powiązania:
https://bibliotekanauki.pl/articles/1852678.pdf
Data publikacji:
2018
Wydawca:
Narodowe Centrum Kultury
Tematy:
emigracja
muzyka popularna
jazz
emigrafion
popular music
Opis:
Jazz and pop music representatives are a particularly mobile group of musicians. This is mainly due to the fact of pop music market being dependent on financial factors, channels of distributions and technology. The hybridization of popular music faces it with the migrating, creative human element, and the migration itself undergoes numerous changes in the reality of global, digital world. The author focuses on the tendency of Polish jazz and pop musicians to emigrate. The phenomenon is analysed in the changing cultural, social and political contexts. By interpreting the different fates of musicians representing various generations (B. Kaper, H. Wars, Z. Seifert, M. Urbaniak, T. Stańko), the author distinguishes different waves of emigration and individual motivations, as well as more universal reasons for emigration.
Źródło:
Kultura Współczesna. Teoria. Interpretacje. Praktyka; 2018, 99, 1; 168-175
1230-4808
Pojawia się w:
Kultura Współczesna. Teoria. Interpretacje. Praktyka
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Nostalgia za dawnymi laty. Przypadek muzyki popularnej
Autorzy:
Jeziński, Marek
Powiązania:
https://bibliotekanauki.pl/articles/2050234.pdf
Data publikacji:
2014-06-30
Wydawca:
Wydawnictwo Adam Marszałek
Tematy:
Nostalgia
popular culture
popular music
mass media
cultural studies
Opis:
The category of nostalgia is the element of artistic message frequently used in popular music, which influences the reception of a particular song. In their activity musicians refer to the musical past by employing cultural references and utilise fashions present in a certain environment for their own benefit. This category is present in lyrics and music, in the stage shows (performing live, festivals, TV shows) and promotional activities (interviews, promotional video clips for the songs). Such referring to tradition became a constant element of artistic communication, anchoring the music in the past and taking into account the cultural specificities. Definitional capturing of nostalgia is not entirely possible: research into this category require approaches which take into account the aspects of context important for decoding the cultural content. Interpretive tools used by semiology or cultural studies allow to depict the elements included in the form and content of music and lyrics. They indicate the presence of nostalgia as a category determining the reception of artistic work.
Źródło:
Kultura i Edukacja; 2014, 3(103); 248-262
1230-266X
Pojawia się w:
Kultura i Edukacja
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Crazy Bout a Mercury
Autorzy:
McGoun, Elton G.
Powiązania:
https://bibliotekanauki.pl/articles/2076927.pdf
Data publikacji:
2021-12-19
Wydawca:
Wydawnictwo Uniwersytetu Śląskiego
Tematy:
Automobile
Popular Music
Blues
Brand Image
popular culture
Mercury
Opis:
When we purchase an automobile, we are also acquiring an amorphous but very real image, that is, the statement which the automobile makes about its owner to the public. Such images are forged in popular culture, and Mercury is an automobile brand that had an auspicious post-WWII popular culture debut. In 1948, K.C. Douglas recorded “Mercury Boogie” on a 10-inch 78-RPM, with its memorable line in the chorus “I’m crazy ‘bout a Mercury.” Five years later in 1953, George and Sam Barris transformed a 1951 Mercury Club Coupe into the Hirohata Merc, creating a classic of customization that has been described as “the most famous custom of all time” (Taylor 2006: 56). Ford occasionally attempted to take advantage of these strong roots in popular culture formed in the make’s earliest days, but the company’s efforts were not notably successful. In spite of Mercury’s promising beginnings in media, it has had only a slight presence in music and film. Mercury’s image never influenced the automobile market beyond the first few years, and it was unable to prevent the brand’s 2011 demise.
Źródło:
Review of International American Studies; 2021, 14, 2; 57-74
1991-2773
Pojawia się w:
Review of International American Studies
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Muzyka soul – geneza, historia, uwarunkowania społeczno-kulturowe oraz rodzaje inspiracji tym stylem w twórczości rodzimej
Soul music – the origins, history, socio-cultural base and the kinds of soul inspiration in the Polish music
Autorzy:
Jaczyński, Michał
Powiązania:
https://bibliotekanauki.pl/articles/513904.pdf
Data publikacji:
2015-01-01
Wydawca:
Uniwersytet Jagielloński. Koło Naukowe Studentów Muzykologii UJ
Tematy:
soul music
popular music
American culture
Polish music
Czesław Niemen
Opis:
The theme of this study is a historical reconnaissance of soul music, taking into account the global context, with all the social and historical conditions that accompanied the development of the style. The main aim that the author set himself is to find sources of Polish musicians’ inspirations that can be found in American music from the 60s of the twentieth century. The main section of this paper is an attempt to define soul music and the characteristic of the style in a variety of shots – strictly musical, social, political, historical, racial and the general-culture one. The final chapter undertakes the task of showing the results of analysis of native music in terms of its membership to the style. In this section, a very broad meaning of the term ’soul’ has been assumed, which in this context is merely a reflection of the original phenomenon. The author hopes that this study will contribute to the dissemination of knowledge that soul music – both worldwide and in Poland – is an original and valuable style.
Źródło:
Kwartalnik Młodych Muzykologów UJ; 2015, 1(24); 46-69
2956-4107
2353-7094
Pojawia się w:
Kwartalnik Młodych Muzykologów UJ
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Why does a creative city need its local music? A study of the contemporary Wroclaw jazz scene
Autorzy:
Kopaniecki, Jakub
Powiązania:
https://bibliotekanauki.pl/articles/2122171.pdf
Data publikacji:
2021-11-21
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Music scene
place
cultural space
popular music
creative class
Opis:
The aim of the article is to look at serious musical leisure activities in selected places in Wroclaw, in order to explain their significant contribution to making the capital of lower Silesia a creative city. Taking the perspective of research on music scenes and leisure studies, the author tries to demonstrate that the music scene in Wroclaw, although it didn’t develop its original sound, functions in a very effective way, providing a space for personal development, shaping the identity of individuals and the entire city. The discussed places not only serve as a physical space for a performance but primarily are communities based on internal and external cooperation. They are real “meeting places,” as the promotional slogan of Wroclaw says, for audiences and performers, amateurs, and professionals alike. The article is based on research on the Wroclaw music scene conducted since 2019. live performances that took place before the COvID-19 pandemic and between subsequent lockdowns were taken into account.
Źródło:
Interdisciplinary Studies in Musicology; 2021, 21; 23-38
1734-2406
Pojawia się w:
Interdisciplinary Studies in Musicology
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Popular Music Analysis and Semiotics: Applications and Perspectives
Autorzy:
Conti, Jacopo
Powiązania:
https://bibliotekanauki.pl/articles/1186448.pdf
Data publikacji:
2020
Wydawca:
Uniwersytet Kardynała Stefana Wyszyńskiego w Warszawie
Tematy:
music analysis
popular music
music semiotics
song analysis
sound-box
Opis:
The aim of this paper is to introduce just a few of the characteristics of popular music analysis that can assist further development of the discipline even for non-musicologists. After an introduction on why music analysis and popular music analysis – considering music as ‘humanly organized sound’ – are not popular in popular music studies and why contemporary popular music scholars tend to concentrate more on paramusical and extramusical issues, this presentation will concentrate on: song structures – or, as Philip Tagg calls it, the diataxis – comparing the structures most used by the Beatles; the sound of voices; the sound-box and the aural staging; the musical synecdoche. The final aim of this paper is to state the importance of music in music studies: paramusical and extramusical aspects are essential to understand how music works and communicates, but music is important as well.
Źródło:
Załącznik Kulturoznawczy; 2020, 7; 211-224
2392-2338
Pojawia się w:
Załącznik Kulturoznawczy
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
A critical (and interdisciplinary) survey of popular music genre theories
Autorzy:
Merlini, Mattia
Powiązania:
https://bibliotekanauki.pl/articles/1797348.pdf
Data publikacji:
2020-12-31
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
genre
theory
style
popular music
discourse
interdisciplinarity
community
Opis:
Genres are among the most discussed topics in popular music studies. The attempt to explain issues as complex and layered as how musical genres are born, how they work and what they ontologically are cannot avoid opening a box full of theoretical problems, questions and tools that need to be understood and used in order to say something significant on genre today. Despite the long story of this theoretical debate (roots of which can be traced back to ancient Greece) and the variety of disciplines involved (e.g. literature, music and film studies, but also philosophy, sociology, cultural studies and semiotics), it is difficult to find survey papers that can give an overview of such a rich research environment. This paper attempts to fill that void by trying to systematize the main (contemporary) perspectives on musical genre, in particular non-essentialist theories coming from the overlapping fields of musicology and sociology. Most importantly, its overview stresses the necessity of an interdisciplinary study of musical genre, which – as an exemplum of extraordinarily layered phenomenon of the human production of culture – intertwines technical, social, discursive, commercial, historical and other elements, thus requiring an approach capable of accounting for as much of its many layers of meaning as possible.
Źródło:
Interdisciplinary Studies in Musicology; 2020, 20; 79-94
1734-2406
Pojawia się w:
Interdisciplinary Studies in Musicology
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Music in the Political Marketing on the Example of Polish Presidential Campaigns (1995–2015)1
Autorzy:
Piecuch, Anna
Powiązania:
https://bibliotekanauki.pl/articles/514142.pdf
Data publikacji:
2018
Wydawca:
Uniwersytet Jagielloński. Koło Naukowe Studentów Muzykologii UJ
Tematy:
Political marketing
popular music
presidential campaign
election song
Opis:
The purpose of this article is to present a broad spectrum of relations between music and politics on the example of Polish presidential campaigns (1995–2015). The first part will show a current state of research signalised by many researchers from different scientific disciplines: from musicologists to political scientists and sociologists, as well as explain the topicality of the described problem. The next part will introduce a short overview of ways of using music with political aims, mentioned, for example, by Iwona Massaka in her dissertation Music as an Instrument of Political Impact. In this context, the author will characterise the most distinctive form of existence of music in a so-called “election song”—also in relation to Adorno’s theory of popular music. The conclusion is that the most important role in presidential campaigns is played by popular music, especially in a form of song. In that case, music tends to advertise political candidates in a way, as it can emphasize their intended image and influence a growth of support for a politician in a campaign.
Źródło:
Kwartalnik Młodych Muzykologów UJ; 2018, 4(39) Eng; 87-113
2956-4107
2353-7094
Pojawia się w:
Kwartalnik Młodych Muzykologów UJ
Dostawca treści:
Biblioteka Nauki
Artykuł
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