Temat: Popular Music - Katalog OPAC zbiorów

Skocz do pozycji: 1.

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

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Skocz do pozycji: 2.

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

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Skocz do pozycji: 3.

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

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Skocz do pozycji: 4.

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

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Skocz do pozycji: 5.

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

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Skocz do pozycji: 6.

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

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Skocz do pozycji: 7.

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

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Skocz do pozycji: 8.

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

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Skocz do pozycji: 9.

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

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Skocz do pozycji: 10.

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

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Skocz do pozycji: 11.

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

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Skocz do pozycji: 12.

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

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Skocz do pozycji: 13.

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

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Skocz do pozycji: 14.

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

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Skocz do pozycji: 15.

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

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Skocz do pozycji: 16.

Tytuł:: Estrada i liryka. Szlagier w poezji międzywojennej
Popular music and lyric poetry. A hit single in the poetry between the wars
Autorzy:: Łuszczykiewicz, Piotr
Powiązania:: https://bibliotekanauki.pl/articles/649413.pdf
Data publikacji:: 2012
Wydawca:: Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:: polish literature
between wars period
music
popular songs
popular music
high art
Opis:: In the essay the author enquires into the references to popular song in the lyric poetry of the first decades of 20th century, treating the birth of the popular music as the beginning of perceiving a hit single as the integral piece meant to be shown to the public. The re-searcher asks about acceptability and, eventually, the consequences of the artistic flirt of highbrow literature with egalitarian word-music tradition. Moreover, the author shows various scenario of treating hit song impulses, beginning with total ignorance shown by Young Poland artists (Jan Kasprowicz, Bolesław Leśmian, Leopold Staff), through the separation of serious creativity from stage gainful employment, as in the case of Skamander members fearing being given the label of cabaret entertainers (Julian Tuwim, Antoni Słonimski or Marian Hemar), until the liquidation of barriers between serious and jocular muse domains, as in Konstanty Ildefons Gałczyński’s lyric poetry. In this article, there are dozens of allusion, quotations, paraphrases, all invoking not only the most popular hit singles of the Interbellum, but also songs which were less known and therefore nowadays seem to be more difficult to identify. The list of the poets is extended by such personages as Bruno Jasieński, Maria Pawlikowska, and finally Czesław Miłosz.
Źródło:: Acta Universitatis Lodziensis. Folia Litteraria Polonica; 2012, 15, 1; 105-113
1505-9057
2353-1908
Pojawia się w:: Acta Universitatis Lodziensis. Folia Litteraria Polonica
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 17.

Tytuł:: Fryderyk Chopin in popular instrumental music
Autorzy:: Kasperski, Jakub
Powiązania:: https://bibliotekanauki.pl/articles/780379.pdf
Data publikacji:: 2010
Wydawca:: Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:: Fryderyk Chopin
popular culture
popular music
instrumental music
rock music
electronic music
inspiration
reception
Opis:: The author considers whether Fryderyk Chopin and his oeuvre may be regarded as part of popular culture - and if so, to what extent. However, the text is mostly taken up with analysis of popular instrumental music inspired by Chopin’s works in various ways: from simple quotation, adaptation and transcription to more sophisticated instrumentation and arrangement, free improvisation or even the creation of a completely new work derived from a single motif or sample from Chopin. Consequently, the author deals with the problem of reception, but also with the issue of transculturation and the relationship between high and popular culture. The article shows and describes the variety of Chopin inspiration in a wide range of styles and genres of popular music, such as rock music, easy-listening, electronic music, dance music and disco.
Źródło:: Interdisciplinary Studies in Musicology; 2010, 9; 357-370
1734-2406
Pojawia się w:: Interdisciplinary Studies in Musicology
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 18.

Tytuł:: China in the Geopolitical Imaginations of the Polish Pop Music after 1989
Autorzy:: Macała, Jarosław
Powiązania:: https://bibliotekanauki.pl/articles/2015809.pdf
Data publikacji:: 2020-12-31
Wydawca:: Wydawnictwo Adam Marszałek
Tematy:: geopolitical imaginations
critical geopolitics
popular geopolitics
Polska
China
popular music
Opis:: This paper focuses on the issue of geopolitics in the pop culture interpretation as illustrated by the Polish pop music after the year 1989. Songs selected from various trends of the Polish popular music made the source material of the text. The primary study method involved the analysis of the lyrics discourse. The Polish geopolitical imaginations used to revolve around the basis axis of better West and worse East, symbolized mainly by Russia, but its image was transferred over entire Asia. Asia, including China, was scarcely present in the geopolitical imaginations contained in the pop music, which, at the same time, reflected the irrelevant interest of Polish elites in global problems. The discourses in the musical texts about China frequently adopted the West’s perspective, where Poland made part of as seen by our elites. The rhetoric strategy concerning China in popular music featured two essential views, which references Orientalism as specified by E. Said. It explains the frequent use of the postcolonial discourse by the Polish elites, also the music ones, which promoted the supremacy of the West over the rest of the world and the universal nature of the Western world values which were meant to be implemented into other civilizations and nations for their own sake. China was presented as a growing threat for the dominance of the West, the USA in the first place, as an alternative model of globalization and international deal putting offthe world by its cultural and geopolitical alienation, as well as indicating negative effects for Poland.
Źródło:: Polish Political Science Yearbook; 2020, 4 (49); 37-47
0208-7375
Pojawia się w:: Polish Political Science Yearbook
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 19.

Tytuł:: Muzyka w marketingu politycznym na przykładzie polskich kampanii prezydenckich (1995–2015)1
Music in the Political Marketing on the Example of Polish Presidential Campaigns (1995–2015)
Autorzy:: Piecuch, Anna
Powiązania:: https://bibliotekanauki.pl/articles/514018.pdf
Data publikacji:: 2018-12-19
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); 79-104
2956-4107
2353-7094
Pojawia się w:: Kwartalnik Młodych Muzykologów UJ
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 20.

Tytuł:: Co jest grane we Wrocławiu? Współczesna scena muzyki popularnej w stolicy Dolnego Śląska – przyczynek do badań
Autorzy:: Kopaniecki, Jakub
Powiązania:: https://bibliotekanauki.pl/articles/2095884.pdf
Data publikacji:: 2020
Wydawca:: Poznańskie Towarzystwo Przyjaciół Nauk
Tematy:: popular music
local scene
city
live performance
soundscape
Opis:: Despite numerous publications on the soundscape of Wroclaw and the history of major music festivals like Jazz nad Odrą, not enough attention has been devoted to the local, independent activity of popular music artists. This article is a contribution to contemporary research into the popular music scene in Wroclaw. The author has carried out his own research in the summer and autumn of 2019, focusing on rock music and jazz. This is because, according to surveys, these types of music are most often indicated as specific to Wroclaw. The author’s goal is to indicate the reasons for the popularity of specific popular types of music and to determine the features specific to the popular music scene in Wroclaw. Into account is taken the history of the city and the repertoire of contemporary concerts as well as the reception of the events and the soundscape of places and the entire city. The author presents the methodology (sound walks, participant observation, surveys, interviews) using literature on the subject of popular music studies, soundscape studies and performance studies.
Źródło:: Our Europe. Ethnography – Ethnology – Anthropology of Culture; 2020, 9; 45-53
2299-4645
Pojawia się w:: Our Europe. Ethnography – Ethnology – Anthropology of Culture
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 21.

Tytuł:: Starting Points of ‘Popular Music Studies’ in Czechoslovakia
Autorzy:: Blüml, Jan
Powiązania:: https://bibliotekanauki.pl/articles/1186467.pdf
Data publikacji:: 2020
Wydawca:: Uniwersytet Kardynała Stefana Wyszyńskiego w Warszawie
Tematy:: Czechoslovakia
communism
musicology
popular music research
pop music
jazz
rock
IASPM
Opis:: The story of the emergence of the field of Popular Music Studies is usually associated with the activities of Western researchers and historically set in the 1980s. Although the research conducted by academics from the Eastern communist countries – due to the tradition of Marxist scholarship – preceded that of their Western counterparts in certain respects, by years or even decades, it is rarely mentioned. This article examines the origins of the musicology of popular music as it was officially established in the early 1960s in communist Czechoslovakia.
Źródło:: Załącznik Kulturoznawczy; 2020, 7; 237-258
2392-2338
Pojawia się w:: Załącznik Kulturoznawczy
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 22.

Tytuł:: On Authenticity and Popular Culture
O autentyczności i kulturze popularnej
Autorzy:: Bego, Fabio
Powiązania:: https://bibliotekanauki.pl/articles/27761261.pdf
Data publikacji:: 2021
Wydawca:: Polska Akademia Nauk. Instytut Sztuki PAN
Tematy:: kultura popularna
autentyczność
muzyka popularna
subkultury
popular culture
authenticity
popular music
subcultures
Opis:: In the review the author analyses Ewa Mazierska’s book Polish Popular Music on Screen (2020), which investigates the mutually entangled histories of Polish politics, cinema, TV, and music. Although it focuses on the Polish context, the general and theoretical observations that emerge from Mazierska’s analysis relate also to the broader former socialist Europe. Departing from Mazierska’s work, the author tackles the question of “(in)authenticity” in relation to popular culture. The word “authenticity” often appears in the text to express the critics’ opinions of cultural products, but it is not clearly defined. The review of Mazierska’s research starts with a preliminary analysis of the concept, which enables a transversal discussion of the data presented in the text. Then the author draws some conclusions about the current state of research on Eastern European culture by highlighting the limits and the potentials of the field.
Autor recenzuje książkę Polish Popular Music on Screen (2020) Ewy Mazierskiej, która w swej pracy śledzi wzajemne uwikłania historyczne polskiej polityki, kina, telewizji i muzyki. Mimo że autorka skupia się na kontekście polskim, pojawiające się w jej analizie obserwacje ogólnoteoretyczne dotyczą również szerzej rozumianej dawnej Europy socjalistycznej. Wychodząc od książki Ewy Mazierskiej, recenzent stawia pytanie o „(nie)autentyczność” w odniesieniu do kultury popularnej. Słowo „autentyczność” jest przez autorkę często stosowane dla wyrażenia opinii krytyki o produktach kultury, ale samo w sobie nie zostało przez nią jasno zdefiniowane. Recenzję otwiera wstępna analiza tych konceptów, co z kolei pozwala autorowi poddać namysłowi dane prezentowane w książce. W podsumowaniu recenzent przedstawia konkluzje dotyczące obecnego stanu badań nad kulturą Europy Wschodniej, podkreślając ograniczenia oraz możliwe ścieżki rozwoju w tym zakresie.
Źródło:: Kwartalnik Filmowy; 2021, 116; 242-250
0452-9502
2719-2725
Pojawia się w:: Kwartalnik Filmowy
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 23.

Tytuł:: Creative Commons Licensing and Relations of Production in the Sound Industry
Autorzy:: Miszczyński, Miłosz
Powiązania:: https://bibliotekanauki.pl/articles/1790243.pdf
Data publikacji:: 2021-09-20
Wydawca:: Polskie Towarzystwo Socjologiczne
Tematy:: Creative Commons
creative labor
intellectual protection
creative industries
popular music
Opis:: This article describes current production practices taking place in the sound industry, concentrating on the process of implementation and popularization of Creative Commons. Existing studies have considered the role of classical copyright in the creative industries, pointing at its functions in regulating the creative process, but so far have not extensively examined its relationship to alternative intellectual property frameworks. This paper uses the empirical example of the largest sound repository to describe the change occurring in cultural production. The article posits that mass popularization of Creative Commons provokes transformation within three key and intersecting areas of production, including the subjects of property (creators), objects of property (creations) and articulation of usage (source information). The paper theoretically frames and expands our understanding of change provoked by open licensing and its relationship to the creative production process.
Źródło:: Polish Sociological Review; 2021, 215, 3; 253-368
1231-1413
2657-4276
Pojawia się w:: Polish Sociological Review
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 24.

Tytuł:: Załamanie kariery artystycznej Miry Kubasińskiej
Mira Kubasińska and a breakdown of her artistic career
Autorzy:: Kwieciński, Wojciech
Powiązania:: https://bibliotekanauki.pl/articles/31340759.pdf
Data publikacji:: 2022
Wydawca:: Uniwersytet Rzeszowski. Wydawnictwo Uniwersytetu Rzeszowskiego
Tematy:: popular music
big beat
Blackout
Breakout
muzyka rozrywkowa
big-beat
Opis:: Mira Kubasińska (1944–2005) to jedna z najbardziej charakterystycznych i zarazem charyzmatycznych wokalistek, jakie pojawiły się na polskiej scenie muzyki rozrywkowej w latach 60. XX w. Jej niekwestionowanymi atutami były naturalizm i swoboda kreacji artystycznej. Dysponowała ciekawym głosem, nienagannym poczuciem rytmu i rzadką umiejętnością kształtowania frazy muzycznej. Wykonywane przez nią utwory przesycone były emocjami i potwierdzały nietuzinkowe umiejętności interpretatorskie. Do najważniejszych dokonań Kubańskiej należą albumy wydane w szczytowym okresie działalności Breakoutu (w latach 1969 –1973), w szczególności płyta Ogień (Muza, 1973). Od jej wydania rozpoczął się jednak gwałtowny proces deprecjacji artystycznej wokalistki aż do całkowitego załamania kariery na progu lat 80. Złożyło się na to wiele czynników, przede wszystkim kryzys i rozpad związku małżeńskiego z Tadeuszem Nalepą, jej kompozytorem, menedżerem i w dużym stopniu kreatorem wizerunku artystycznego. Okoliczności te przywiodły artystkę na skraj uzależnienia od alkoholu, depresji i wpędziły w permanentne problemy materialne. Kubasińska występowała in cydentalnie i na ponad dekadę wzięła rozbrat z estradą. Od 1994 r. wokalistka podjęła dwie próby powrotu na scenę. Od 1994 r. regularnie koncertowała ze szczecińską formacją After Blues, a w 2003 r. zaczęła współpracę z blues-rockową grupą KG Band, która została przerwana przez nagłą śmierć artystki. W aspekcie walorów artystycznych była to jednak działalność dalece odbiegająca od rangi osiągnięć grupy Breakout. Niniejszy tekst, mający charakter przyczynkarskich studiów biograficznych, koncentruje się przed e wszystkim na czynnikach i okolicznościach, które doprowadziły do nagłego załamania się jednej z najbardziej błyskotliwych karier ery polskiego big -beatu.
Mira Kubasińka (1944–2005) was one of the most charismatic vocalists of the Polish pop-music scene in the 1960s and 1970s. She achieved great success with the Breakout group and the status of a big-beat music star in Poland. Kubasińska’s unquestionable assets were naturalness and freedom of artistic expression. She had interesting vocal qualities, an impeccable sense of rhythm and a rare ability to shape the musical phrase. The pieces she performed were emotionally charged and stressed her extraordinary interpretative skills. The most important achievements of Kubasińska are the albums released in the peak period of the Breakout’s activity, that is, in the years 1969–1973, especially the album Fire (Muza Records 1973). After that Kubasińska's career declined sharply, which was caused by various factors, including primarily a severe crisis and finally the breakdown of her marriage with Nalepa, which had fatal consequences in the form of growing alcohol addiction, depression, and permanent material problems. Over the next decade, Kubasińska performed rarely. In 1994, she tried to make a permanent comeback to the stage with the band After Blues. From 2003 she collaborated with the blues-rock group KG Band which was ended by her sudden death in 2005. As far as artistic values are concerned, Kubasińska's later activity was only a shadow of her former achievements with the Breakout. This text, which is a contributory biographical sketch, focuses primarily on the factors and circumstances that led to the collapse of one of the most brilliant careers of the Polish big-beat era.
Źródło:: UR Journal of Humanities and Social Sciences; 2022, 23, 2; 58-72
2543-8379
Pojawia się w:: UR Journal of Humanities and Social Sciences
Dostawca treści:: Biblioteka Nauki