DOCSLIB.ORG

My Song Is My Power: Postcolonial South Korean Popular

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
My Song Is My Power: Postcolonial South Korean Popular MY SONG IS MY POWER: POSTCOLONIAL SOUTH KOREAN POPULAR MUSIC by JARRYN HA Submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy Department of Music CASE WESTERN RESERVE UNIVERSITY May 2018 ii CASE WESTERN RESERVE UNIVERSITY SCHOOL OF GRADUATE STUDIES We hereby approve the dissertation of Jarryn Ha candidate for the degree of Doctor of Philosophy.* Committee Chair Robert Walser Committee Member Francesca Brittan Committee Member William Deal Committee Member Susan McClary Date of Defense March 26, 2018 * We also certify that written approval has been obtained for any proprietary material contained therein. iii Table of Contents • List of Tables iv • List of Figures v • Acknowledgments vii • Abstract ix • Introduction 1 1. “Love, Goodbyes, and Tears, All in Four Beats”: The Birth and Develop- ment of Tŭrotŭ, a Twentieth-Century Korean Popular Song Genre 13 2. Decadent Ruckus, Celebratory Anthems: A History of Korean Rock Bands and Their Music 50 3. “My Song”: Korean Singer-Songwriter Music, the Veneration of Originality, and Musical Assertions of Sociopolitical Agency 89 4. Girls’ Generation: Idol Vocal Groups’ Performance of Adolescent Femininities and “Broken Virtuosity” 128 5. Riding the Airwaves in the Age of the Korean Wave: South Korean Popular Music in the Context of Television 166 • Bibliography 204 iv List of Tables • Table 1.1: The event schedule for the first annual Gwangjingyo Bridge Festival, 26 August 2017 46 • Table 5.1: A summary of artists featured in Sketchbook and Music Bank (both KBS-2TV), aired during the week of 15 June 2015 170 v List of Figures • Fig. 1.1: Lee Nanyoung, “Mokpoŭi Nunmul” (1935) 19 • Fig. 1.2: Nam Insu, “Ibyŏrŭi Pusan Chŏnggŏjang” (1954), beginning of verse 19 • Fig. 1.3: Baeho, “Toraganŭn Samgakji” (1967), mm. 11–41 23 • Fig. 1.4: Nam Jin, “Pin Chan” (1982), mm. 5–25 24 • Fig. 1.5: Park Wangyu, “Chŏnnyŏnŭi Sarang” (1999), excerpt 40 • Fig. 2.1: Shin Jung-hyeon’s 1959 compilation album Hiky Shin Keetah Melodui (Hiky Shin’s Guitar Melodies) 55 • Fig. 2.2: The teaser poster image for PSY’s single “Paektŭpokhaeng” 61 • Fig. 2.3: Poster image for Pumhaeng Chero (Geun-shik Jo, dir., 2002) 62 • Fig. 2.4: Boohwal, “Heeya” (1986), mm. 1–8 68 • Fig. 2.5: YB, “O pilsŭng koria,” hook (mm. 1–8) 82 • Fig. 3.1: An Chi-hwan, “Sarami kkotboda arŭmdawŏ,” opening riff 110 • Fig. 4.1: The syncopated drum pattern from the SNSD remake of “Sonyŏsidae” (2009) 156 • Fig. 4.2: Sonyŏsidae, “Sonyŏsidae” (2009), mm. 9–16 (verse) 158 vi • Fig. 5.1: A still image from Muhan Tojŏn (30 April 2005, MBC-TV) 182 • Fig. 5.2: Still images from the inaugural Muhan Tojŏn music festival 183 • Fig. 5.3: A still image from Hidden Singer (12 October 2013, JTBC) 196 • Fig. 5.4: A still image from Misŭtŏri Ŭmaksho Pokmyŏn Kawang (27 March 2016, MBC-TV) 198 vii Acknowledgments “He lives in the basement and does nothing,” writes English professor and writer Roger Rosenblatt in an essay in The New York Times, quoting his granddaughter’s introduction of him to her fourth-grade class.1 The pursuit of intensive, specialized knowledge often renders the pursuer a “misfit,” to borrow Rosenblatt’s word, as the child’s introduction brilliantly captures. In my case, the intellectual adventure and scholarly training that culminated in this writing represent my first major step as an academic, and I owe many thanks to my professors and mentors who have guided me along the way (thus jump-starting my “basement residency”) as well as those whose love and care have helped me through the process. I am grateful first and foremost for words of guidance and encouragement from Dr. Robert Walser, my advisor and defense committee chair. The members of the committee, Drs. Francesca Brittan, William Deal, and Susan McClary, provided not only advice and direction for the research and writing for this project, but also insights and encouragement that helped me grow as a writer, teacher, and scholar at times when graduate school seemed an endless and futile struggle. I extend my warm thanks to my army of knowledgeable and inquiring readers. My colleagues at Case Western Reserve University spent many hours reading and critiquing portions of this project, and the members of the Southwest Popular/American Culture Association (SWPACA) heard an early version of Chapter 3 at their annual meeting in February 2017. I am grateful for their warm reception and insightful feedback. 1 Roger Rosenblatt, “The Writer in the Family,” The New York Times, 13 May 2012, p. BR43. viii The time and attention I devoted to research and writing meant I inevitably have had to divert the same from other aspects of life, most often at the expense of my family and friends. Many of them showed seemingly endless patience and grace when my hours were odd and my company may have been less than wholly present, and I am deeply grateful. Most importantly, this project would have not been possible without the unwavering support of my parents, who saw and encouraged the scholar in me before I saw him. I extend my deepest love and gratitude to them. ix My Song is My Power: Postcolonial South Korean Popular Music Abstract by JARRYN HA Ever since South Korea’s popular entertainment industry began to produce musical talents that appeared less than organic and self-made, questions about the legitimacy of those musicians have plagued the products, as they were, of the industry. Those questions concern less the mechanics of what constitutes a musician—a person who engages in music-making—and more the moral judgment that underlies music production, performance, and consumption, regarding what one should expect from a worthwhile musical act. The increasing exposure and popularity of a growing subset of Korean popular music branded as “K-pop” in the West invite the question: what drives so many musicians from South Korea to have constructed a musical tradition that so closely mirrors its Western counterpart yet seems different enough from the latter to attract curious foreign listeners? Questions like this are worth asking because the structure of the post-1990s popular entertainment industry of South Korea, conglomeratized and micromanaged, x effectively ensures that it produces nothing without first vetting and strategically crafting it. The outward-looking, arguably passive mode of reception and standard-setting, I theorize, largely stems from the country’s modern history of having foreign powers determine its political position and fate as a nation: first the Japanese during the colonial occupation that lasted from 1905 to 1945, then the American with their postwar military and cultural influx. This political and cultural climate forms a backdrop to the construction of Korean modernity as well as a Korean sonic national identity that musicians I discuss in this project construct. In this project, I present ways in which different historical and stylistic moments in Korean popular music—the love song (tŭrotŭ), rock of the 1970s onward, folk, and turn-of-the-century idol pop—exhibited what I call the foreign vogue, as well as how the television as the preferred medium for musical consumption reinforces its prevalence. Each instance shows musicians proactively engaging with expressive vocabulary available to them to construct a stylistic compendium and patchwork of meanings. 1 Introduction “But are they even real musicians?” One student in the back of the room scoffed in dismissal, following a presentation on the construction of gender ideals in K-pop. Far from uncommon in discourses about contemporary Korean popular music, the question implies not only scrutiny about musical authenticity but also a hierarchy present in popular culture: the notion that there is a class division (and, by extension, a moral one) of sorts, between music that one finds worthwhile and music that is cheap, inferior, or unworthy of attention and time. The construction of such ideals and institutions does not happen in a vacuum. In the case of contemporary popular music of South Korea, the postcolonial construction of the nation’s modernity following the Japanese occupation and the Korean War shapes the underlying values and ideals, and the structure of the entertainment industry gives rise to the institutional conventions and practices. Scholarly literature on postcolonial musics routinely points to the role of modern historical developments and the history of modernization in shaping the construction of cultural ideals as manifested in aesthetic and musical phenomena of many postcolonial cultures today.1 However, the increasing presence and relevance of South Korean popular music in soundscapes abroad notwithstanding—particularly the popularity of K-pop among young Western listeners—the scholarly literature on the music’s development that does exist rarely covers the musical and cultural choices that musicians make in various 1 See, for example, Moses Chikowero, “‘Our People Father, They Haven’t Learned Yet’: Music and Postcolonial Identities in Zimbabwe, 1980–2000,” Journal of Southern African Studies, vol. 34, no. 1 (March 2008): 145–60; Tariq Jazeel, “Postcolonial Spaces and Identities,” Geography, vol. 97, no. 2 (Summer 2012): 60–67; Godwin Sadoh, “Modern Nigerian Music: The Postcolonial Experience,” The Musical Times, vol. 150, no. 1908 (Autumn 2009): 79–84; Imani Sanga, “Postcolonial Cosmopolitan Music in Dar es Salaam: Dr. Remmy Ongala and the Traveling Sounds,” African Studies Review, vol. 53, no. 3 (December 2010): 61–76. 2 genres within Korea’s popular music as well as their implications. However, the upbeat idol pop that constitutes most of K-pop introduced to foreign listeners is only a small subset of the nation’s popular music output, and musicians employ vastly different sonic, compositional, performative, media-presentational, and commercial strategies according to what cultural capitals and affordances they deem desirable for their musical genre and style.
Load more

Recommended publications
  • Adult Contemporary Radio at the End of the Twentieth Century
    University of Kentucky UKnowledge Theses and Dissertations--Music Music 2019 Gender, Politics, Market Segmentation, and Taste: Adult Contemporary Radio at the End of the Twentieth Century Saesha Senger University of Kentucky, [email protected] Digital Object Identifier: https://doi.org/10.13023/etd.2020.011 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Senger, Saesha, "Gender, Politics, Market Segmentation, and Taste: Adult Contemporary Radio at the End of the Twentieth Century" (2019). Theses and Dissertations--Music. 150. https://uknowledge.uky.edu/music_etds/150 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known.
    [Show full text]
  • Read the Full Nov. 1, 2018 Issue Here
    LOCAL POSTAL CUSTOMER Presort Std. U.S. Postage Orange’s Most Read Newspaper | Circulation 12,000+ | Delivered to Orange and Milford Homes and Businesses PAID Permit #729 Shelton, CT The OrangeWhen there’s Times better writing, there’s better reading. Vol. 7 / Issue 13 www.TheOrangeTimes.com November 1, 2018 Orange Rotary Helps Upgrade Drone Camera The Orange Rotary Club donated funds to upgrade the camera on the Fire Marshal’s drone. Photo by Steve Cooper. The Orange Rotary Club recently donated funding to the town’s Fire Marshal’s The drone that the Fire Marshal’s Office purchased came with an “entry-level” camera unit that Office so it could acquire an upgraded camera for its department drone unit. The Fire had more limitations. The funding provided by Rotary allowed the department to purchase a more Marshal’s Office has been using a drone in its operations for tasks such as fire scene advanced camera unit that has significant clarity and zoom capabilities so more of a scene could be investigation, pre-emergency planning and fire inspections. captured, all while operating at a safe distance and height. By using a drone, scenes and building layouts can be better documented with still and The Fire Marshal’s Office drone has been requested by other area departments for emergency and video imagery at heights of up to 400 feet, covering a much larger area than could be fire investigation scenes, and this upgraded camera will provide more capability for neighboring done otherwise. At this altitude, areas can surveyed quickly and with significant detail.
    [Show full text]
  • The Globalization of K-Pop: the Interplay of External and Internal Forces
    THE GLOBALIZATION OF K-POP: THE INTERPLAY OF EXTERNAL AND INTERNAL FORCES Master Thesis presented by Hiu Yan Kong Furtwangen University MBA WS14/16 Matriculation Number 249536 May, 2016 Sworn Statement I hereby solemnly declare on my oath that the work presented has been carried out by me alone without any form of illicit assistance. All sources used have been fully quoted. (Signature, Date) Abstract This thesis aims to provide a comprehensive and systematic analysis about the growing popularity of Korean pop music (K-pop) worldwide in recent years. On one hand, the international expansion of K-pop can be understood as a result of the strategic planning and business execution that are created and carried out by the entertainment agencies. On the other hand, external circumstances such as the rise of social media also create a wide array of opportunities for K-pop to broaden its global appeal. The research explores the ways how the interplay between external circumstances and organizational strategies has jointly contributed to the global circulation of K-pop. The research starts with providing a general descriptive overview of K-pop. Following that, quantitative methods are applied to measure and assess the international recognition and global spread of K-pop. Next, a systematic approach is used to identify and analyze factors and forces that have important influences and implications on K-pop’s globalization. The analysis is carried out based on three levels of business environment which are macro, operating, and internal level. PEST analysis is applied to identify critical macro-environmental factors including political, economic, socio-cultural, and technological.
    [Show full text]
  • Art to Commerce: the Trajectory of Popular Music Criticism
    Art to Commerce: The Trajectory of Popular Music Criticism Thomas Conner and Steve Jones University of Illinois at Chicago [email protected] / [email protected] Abstract This article reports the results of a content and textual analysis of popular music criticism from the 1960s to the 2000s to discern the extent to which criticism has shifted focus from matters of music to matters of business. In part, we believe such a shift to be due likely to increased awareness among journalists and fans of the industrial nature of popular music production, distribution and consumption, and to the disruption of the music industry that began in the late 1990s with the widespread use of the Internet for file sharing. Searching and sorting the Rock’s Backpages database of over 22,000 pieces of music journalism for keywords associated with the business, economics and commercial aspects of popular music, we found several periods during which popular music criticism’s focus on business-related concerns seemed to have increased. The article discusses possible reasons for the increases as well as methods for analyzing a large corpus of popular music criticism texts. Keywords: music journalism, popular music criticism, rock criticism, Rock’s Backpages Though scant scholarship directly addresses this subject, music journalists and bloggers have identified a trend in recent years toward commerce-specific framing when writing about artists, recording and performance. Most music journalists, according to Willoughby (2011), “are writing quasi shareholder reports that chart the movements of artists’ commercial careers” instead of artistic criticism. While there may be many reasons for such a trend, such as the Internet’s rise to prominence not only as a medium for distribution of music but also as a medium for distribution of information about music, might it be possible to discern such a trend? Our goal with the research reported here was an attempt to empirically determine whether such a trend exists and, if so, the extent to which it does.
    [Show full text]
  • Audio OTT Economy in India – Inflection Point February 2019 for Private Circulation Only
    Audio OTT economy in India – Inflection point February 2019 For Private circulation only Audio OTT Economy in India – Inflection Point Contents Foreword by IMI 4 Foreword by Deloitte 5 Overview - Global recorded music industry 6 Overview - Indian recorded music industry 8 Flow of rights and revenue within the value chain 10 Overview of the audio OTT industry 16 Drivers of the audio OTT industry in India 20 Business models within the audio OTT industry 22 Audio OTT pie within digital revenues in India 26 Key trends emerging from the global recorded music market and their implications for the Indian recorded music market 28 US case study: Transition from physical to downloading to streaming 29 Latin America case study: Local artists going global 32 Diminishing boundaries of language and region 33 Parallels with K-pop 33 China case study: Curbing piracy to create large audio OTT entities 36 Investments & Valuations in audio OTT 40 Way forward for the Indian recorded music industry 42 Restricting Piracy 42 Audio OTT boosts the regional industry 43 Audio OTT audience moves towards paid streaming 44 Unlocking social media and blogs for music 45 Challenges faced by the Indian recorded music industry 46 Curbing piracy 46 Creating a free market 47 Glossary 48 Special Thanks 49 Acknowledgements 49 03 Audio OTT Economy in India – Inflection Point Foreword by IMI “All the world's a stage”– Shakespeare, • Global practices via free market also referenced in a song by Elvis Presley, economics, revenue distribution, then sounded like a utopian dream monitoring, and reducing the value gap until 'Despacito' took the world by with owners of content getting a fair storm.
    [Show full text]
  • Barbara Allen
    120 Charles Seeger Versions and Variants of the Tunes of "Barbara Allen" As sung in traditional singing styles in the United States and recorded by field collectors who have deposited their discs and tapes in the Archive of American Folk Song in the Library of Congress, Washington, D.C. AFS L 54 Edited by Charles Seeger PROBABLY IT IS safe to say that most English-speaking people in the United States know at least one ballad-tune or a derivative of one. If it is not "The Two Sisters, " it will surely be "When Johnny Comes Marching Home"; or if not "The Derby Ram, " then the old Broadway hit "Oh Didn't He Ramble." If. the title is given or the song sung to them, they will say "Oh yes, I know tllat tune." And probably that tune, more or less as they know it, is to them, the tune of the song. If they hear it sung differently, as may be the case, they are as likely to protest as to ignore or even not notice the difference. Afterward, in their recognition or singing of it, they are as likely to incor­ porate some of the differences as not to do so. If they do, they are as likely to be aware as to be entirely unconscious of having done ·so. But if they ad­ mit the difference yet grant that both singings are of "that" tune, they have taken the first step toward the study of the ballad-tune. They have acknow­ ledged that there are enough resemblances between the two to allow both to be called by the same name.
    [Show full text]
  • The Effect of Hedonic Motivation and Consumer Attitudes Towards Purchase Decision on K-Pop CD Albums (Study on KPOPSURABAYA Community)
    The Effect of Hedonic Motivation and Consumer Attitudes Towards Purchase Decision on K-Pop CD Albums (Study on KPOPSURABAYA Community) Devita Anggraini Lestari1, Monika Tiarawati2 State University of Surabaya [email protected], [email protected] Abstract: The rapid enthusiasm of Korean pop music or K-Pop is very high among the millennial generation. The mushrooming of online music streaming like Joox, Spotify, Apple music has made the CD album sales threatened. However, K-Pop fans apparently are still enthusiastic about buying a CD album even though the price is quite expensive. This study discusses the hedomic motivations and consumers attitudes towards purchasing decisions. This type of research used in this study is a combination of purposive sampling techniques. Data collection is done by using an online questionnaire using Google forms. The statistical analysis used in this study uses SPSS and data analysis techniques in this study use the classic assumption test, multiple linear regression analysis, and hypothesis testing. It can be explained that the results of the analysis show that hedonic motivations and consumer attitudes has significant influential on purchasing decisions. Keywords: Consumer Attitudes, Hedonic Motivation, Purchase Decision INTRODUCTION The mushrooming of boyband’s or girlband’s concert tours in Indonesia shows that how much Korean music is more interested in this country compared to other countries' musicians marked by a Super Junior concert titled Super Show 4 on April 2012 in Indonesia that makes Indonesian music fans love them. Indonesia became a stop on their concert tour, such as BIGBANG, 2NE1, 2PM, to BTS. According to Franki Raden (2014) in (Zaini, 2017), the development of K-pop due to the availability of infrastructure and mechanisms, Korea has succeeded in instilling awareness of the importance of music in people's daily lives.
    [Show full text]
  • K-Pop in Latin America: Transcultural Fandom and Digital Mediation
    International Journal of Communication 11(2017), 2250–2269 1932–8036/20170005 K-Pop in Latin America: Transcultural Fandom and Digital Mediation BENJAMIN HAN Concordia University Wisconsin, USA This article examines the transnational popularity of K-pop in Latin America. It argues K- pop as a subculture that transforms into transcultural fandom via digital mediation, further resulting in its accommodation into Latin American mass culture. The article further engages in a critical analysis of K-pop fan activism in Latin America to explore the transcultural dynamics of K-pop fandom. In doing so, the article provides a more holistic approach to the study of the Korean Wave in Latin America within the different “scapes” of globalization. Keywords: K-pop, fandom, Latin America, digital culture, Korean Wave The popularity of K-pop around the globe has garnered mass media publicity as Psy’s “Gangnam Style” reached number two on the Billboard Charts and became the most watched video on YouTube in 2012. Although newspapers, trade journals, and scholars have examined the growing transnational popularity of K-pop in East Asia, the reception and consumption of K-pop in Latin America have begun to receive serious scholarly consideration only in the last few years. Numerous reasons have been explicated for the international appeal and success of K-pop, but it also is important to understand that the transnational and transcultural fandom of K-pop cannot be confined solely to its metavisual aesthetics that creatively syncretize various genres of global popular music such as Black soul and J-pop. K-pop as hybrid music accentuated with powerful choreography is a form of visual spectacle but also promotes a particular kind of lifestyle represented by everyday modernity in which social mobility in the form of stardom becomes an important facet of the modernization process in Latin America.
    [Show full text]
  • The Oxford Democrat
    The Oxford Democrat. 1898. NUMBER 48. ΥΟΙ.ΓΜΚ 65. SOUTH PARIS, MAINE, TUESDAY, NOVEMBER 29, Witt toe Μία sir? Doe· It If iu nue un- "Ah," cried be, "I hare no money!" CHAPTER IV. βmets," uyrano. * or to ad- ford ml. kin* a! dieguat you? ν VTKARNS. «Ill confer far by writing I Ragneneau, paatry I■ here assembled." wholesome to or It· too Blubbing, s be pot All tbe coûtent» of Bat eye· aw all the My ootnpany AMONG THE FARMERS. vance the amount and kind of exhibit· cook·, patron of poati and playwright·, you proportions thoagh Cyrano'· at hi· «id Carbon de Cutei Jaloux. "Cy- «rill communica- De Ur^e?" tbe buffet bis aervice. soene. bat am thought filled mind Attorney & Counselor, they make. All such had circnlated among them, telling them to the if you Bergerac nut take them from never rano, pre«-tit ooant, 91 be addreaaed to J. J. Cryano "No, no!" tbe bore, "it is "I could yon, —Knxam· Would she con»·* MAINS. tion· should Fry, from Um play by Hmd lottHd. them of Um bargain of Cyrano de Ber- gasped " NORWAY, exhibit cf io (act. Heaven obild," he Mid, "no keen la our Uaaoou Woo Id tbe «low minutes never dis* pieaae. Portland, Main·. A large waa ■nail, quite minute^ de Bergerac bon gerac. _ _ >;n!nir- (Un k Bull'lln# U ex· 8avinieu-Gyrano But fear of out- lb* CumstKifetoac* oa tiMtui ιο|>ι· a poultry food· and other a of me!" pride. hurting you themselves by? He wbiled away ajjrtcuitara. «applies (a Perigord in Um year 1620 and died "He haa got bat· Montflenry, belp (To be couUeu*l.j to aottrltad.
    [Show full text]
  • The Choral Cycle
    THE CHORAL CYCLE: A CONDUCTOR‟S GUIDE TO FOUR REPRESENTATIVE WORKS A DISSERTATION SUBMITTED TO THE GRADUATE SCHOOL IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE DOCTOR OF ARTS BY RUSSELL THORNGATE DISSERTATION ADVISORS: DR. LINDA POHLY AND DR. ANDREW CROW BALL STATE UNIVERSITY MUNCIE, INDIANA MAY 2011 Contents Permissions ……………………………………………………………………… v Introduction What Is a Choral Cycle? .............................................................................1 Statement of Purpose and Need for the Study ............................................4 Definition of Terms and Methodology .......................................................6 Chapter 1: Choral Cycles in Historical Context The Emergence of the Choral Cycle .......................................................... 8 Early Predecessors of the Choral Cycle ....................................................11 Romantic-Era Song Cycles ..................................................................... 15 Choral-like Genres: Vocal Chamber Music ..............................................17 Sacred Cyclical Choral Works of the Romantic Era ................................20 Secular Cyclical Choral Works of the Romantic Era .............................. 22 The Choral Cycle in the Twentieth Century ............................................ 25 Early Twentieth-Century American Cycles ............................................. 25 Twentieth-Century European Cycles ....................................................... 27 Later Twentieth-Century American
    [Show full text]
  • Lefebvre and Maritime Fiction Frank, Søren
    University of Southern Denmark Rhythms at Sea Lefebvre and Maritime Fiction Frank, Søren Published in: Rhythms Now Publication date: 2019 Document version: Final published version Document license: CC BY-NC-ND Citation for pulished version (APA): Frank, S. (2019). Rhythms at Sea: Lefebvre and Maritime Fiction. In S. L. Christiansen, & M. Gebauer (Eds.), Rhythms Now: Henri Lefebvre's Rhythmanalysis Revisited (pp. 159-88). Aalborg Universitetsforlag. Interdisciplinære kulturstudier https://aauforlag.dk/shop/e-boeger/rhythms-now-henri-lefebvres-rhythmanalysis- re.aspx Go to publication entry in University of Southern Denmark's Research Portal Terms of use This work is brought to you by the University of Southern Denmark. Unless otherwise specified it has been shared according to the terms for self-archiving. If no other license is stated, these terms apply: • You may download this work for personal use only. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying this open access version If you believe that this document breaches copyright please contact us providing details and we will investigate your claim. Please direct all enquiries to [email protected] Download date: 24. Sep. 2021 Aalborg Universitet Rhythms Now Henri Lefebvre’s Rhythmanalysis Revisited Christiansen, Steen Ledet; Gebauer, Mirjam Creative Commons License CC BY-NC-ND 4.0 Publication date: 2019 Document Version Publisher's PDF, also known as Version of record Link to publication from Aalborg University Citation for published version (APA): Christiansen, S. L., & Gebauer, M. (Eds.) (2019). Rhythms Now: Henri Lefebvre’s Rhythmanalysis Revisited.
    [Show full text]
  • Carlton Barrett
    ! 2/,!.$ 4$ + 6 02/3%2)%3 f $25-+)4 7 6!,5%$!4 x]Ó -* Ê " /",½-Ê--1 t 4HE7ORLDS$RUM-AGAZINE !UGUST , -Ê Ê," -/ 9 ,""6 - "*Ê/ Ê /-]Ê /Ê/ Ê-"1 -] Ê , Ê "1/Ê/ Ê - "Ê Ê ,1 i>ÌÕÀ} " Ê, 9½-#!2,4/."!22%44 / Ê-// -½,,/9$+.)"" 7 Ê /-½'),3(!2/.% - " ½-Ê0(),,)0h&)3(v&)3(%2 "Ê "1 /½-!$2)!.9/5.' *ÕÃ -ODERN$RUMMERCOM -9Ê 1 , - /Ê 6- 9Ê `ÊÕV ÊÀit Volume 36, Number 8 • Cover photo by Adrian Boot © Fifty-Six Hope Road Music, Ltd CONTENTS 30 CARLTON BARRETT 54 WILLIE STEWART The songs of Bob Marley and the Wailers spoke a passionate mes- He spent decades turning global audiences on to the sage of political and social justice in a world of grinding inequality. magic of Third World’s reggae rhythms. These days his But it took a powerful engine to deliver the message, to help peo- focus is decidedly more grassroots. But his passion is as ple to believe and find hope. That engine was the beat of the infectious as ever. drummer known to his many admirers as “Field Marshal.” 56 STEVE NISBETT 36 JAMAICAN DRUMMING He barely knew what to do with a reggae groove when he THE EVOLUTION OF A STYLE started his climb to the top of the pops with Steel Pulse. He must have been a fast learner, though, because it wouldn’t Jamaican drumming expert and 2012 MD Pro Panelist Gil be long before the man known as Grizzly would become one Sharone schools us on the history and techniques of the of British reggae’s most identifiable figures.
    [Show full text]