1,721,040 research outputs found
When personal becomes collective: Taqwacore’s audiovisual authenticity between imagined and real communities
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Tracking Relational Spaces on Record: A Multipart Perspective on the Analysis of Recorded Popular Music
No full textOne of the divides between traditional and popular music is the diff erent status of the performance in the two. In the former, it is generally understood as a live event, an extemporary composition realized in the here and now, whereas in popular music the recorded performance is an object based on per-
formative materials (the recording), which in turn can infl uence subsequent live performances. Despite this difference, the concept of multipart music may nevertheless be fruitful in both domains of music studies in approaching both actual and mediatized performances. After a theoretical discussion of issues related to mediation and production processes, including the temporal aspects of collaboration through recording and the spatial dimension constructed by the stereophonic mix, the paper will apply the concept of multipart music to an analysis of the main theme from Shaft by Isaac Hayes. Here the perspective provided by this conceptual tool will provide the key to unpacking its meanings and cultural significance, starting from a consideration of its structural details and subsequently revealing the connections between text and context
Is Not That We Don't Need Popular Music, but Rather How. Reflections on Disciplinary Spaces and Intestices, in Lieu of an Introduction
No full textThe Gig That Never Was: The Construction of Authenticity in Pink Floyd‟s Live at Pompeii
No full textIn che modo abbiamo bisogno della popular music? Riflessioni su interstizi e spazi disciplinari, in luogo di un’introduzione
Get PDFL’obiettivo di questo numero monografico è esaminare l’area di significati evocata dall’espressione "popular music", mostrandone i risvolti e i sottintesi negli studi musicali attuali. Si tratta di un’esigenza particolarmente urgente in un momento come quello presente, nel quale i cambiamenti nelle modalità di produzione e circolazione della musica causate dalla diffusione delle tecnologie digitali hanno accelerato il processo di convergenza tra istanze originariamente autonome. Per illustrare il taglio e presentare i contributi proposti nel volume, in questo testo introduttivo vorrei delineare le linee di sviluppo della discussione riguardante due questioni tra loro correlate: da un lato lo statuto interdisciplinare degli studi sulla popular music, e dall’altro lato la possibilità che questi possano definire un’unità disciplinare identificabile come popular music studies, separata dagli altri ambiti degli studi musicali. Se infatti la locuzione "popular music", intesa come «terzo tipo di musica» [Scott 2009, 4], è una formazione discorsiva storicamente determinata, e conseguente alle mutate condizioni di produzione alla fine del XIX secolo, non si vede ragione per non provare a definire quali pratiche musicali siano incluse al suo interno dopo le trasformazioni radicali avvenute tra la fine del XX e l’inizio del XXI secolo, e quali strumenti concettuali e metodologici siano più appropriati per affrontarle
Industry and Craftsmanship in Popular Cinema: An Initial Exploration of Vassil Kojucharov’s Archive
No full textBorn in Sofia in 1937, Vassil Kojucharov studied Composition in Moscow with Aram Khachaturian during the late 1950s. At the end of the decade, he moved to Italy where he spent the rest of his professional life as a composer, director and teacher. Even though Kojucharov was not a “big name” in Italian film music production, surveying his personal collection allows us to catch a glimpse of his work on more than fifty films in different popular genres (spaghetti-western, crime, horror, spy, commedia sexy). Scores, notebooks and tapes provide the starting point to explore his approach to film music, in a negotiation between aesthetic, cultural and industrial issues. These documents provide a fresh perspective on the fragmented, often artisanal, production processes of Italian popular cinema during those decades in which industrial and technological modes of production, such as the modular conception of the soundtrack as a set of independent and reusable elements, self-borrowing, and editing of pre-recorded sounds served the representational conventions of each cinematic genre
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