Effect of Pop Music on Students' Attitudes to Music Lessons
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A Short History of Pop ‘Pop’ Is Short for Popular Music
Read the text. A short history of pop ‘Pop’ is short for popular music. There are different styles of pop music, but they all appeal to the general public. But when did ‘modern’ pop music begin? There were two significant moments. First of all Leo Fender invented the electric guitar in 1950. Then, in 1954, Sony introduced the transistor radio and after that, music was accessible to people in their homes and cars. In 1954 Elvis Presley released That’s All Right. He fused country music with black rhythm and blues to create rock and roll. At that time this was an innovation, and Elvis, who was young, attractive and exciting, became the first teen idol and made pop music a youth culture. The 1960s was the decade of The Beatles, who dominated pop music from 1961 to 1970 with a new folk-rock sound. The Beatles were the first band to play in a stadium: Shea Stadium in New York in 1965. In June 1969 they had their seventeenth number one hit – two more than Elvis. The 60s also saw the first outdoor music festivals and popular music began to have a social and political message, for example, Bob Dylan. This was also the beginning of Motown and soul music with artists like Ray Charles, The Supremes and Marvin Gaye. Think English Elementary • Unit 9 p.107 © Oxford University Press PHOTOCOPIABLE Next came the 1970s and several new genres of music appeared, like reggae (Bob Marley), glam rock (David Bowie), punk (the Sex Pistols) and heavy metal (Iron Maiden). -
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. -
A Brief History of Aranjman Translations: the Earliest Examples of Turkish Pop Music
VOLUME 5, ISSUE 1 June 2019 79 eISSN: 2444-1961 https://doi.org/10.14201/clina201951 CLINA Vol. 5-1, 79-93 June 2019 eISSN: 2444-1961 DOI: https://doi.org/10.14201/clina2019517993 A Brief History of Aranjman Translations: the Earliest Examples of Turkish Pop Music Una breve historia de las traducciones aranjman: los primeros ejemplos de la música pop turca Alaz PESEN Boğaziçi University Recibido febrero-2019. Revisado: marzo-2019. Aceptado: mayo-2019. Abstract: Aranjman in Turkish is a loanword borrowed from French. When used in the context of music, it refers to the 1960s, a formative stage in introducing foreign pop music with Turkish lyrics into the Turkish cultural repertoire. The present study views the aranjman era, which has so far constituted a blank space, from the perspective of translation studies. It first sketches out a theoretical framework fusing Even-Zohar’s «invention», «import» and «cultural repertoire» with André Lefevere’s notions of «rewritings» and «patrons». Briefly reviewing the latest approaches in song translation studies, the study proposes subcategories to the term «rewriting» to refer to instrumentation, voice and lyrics levels as «reperforming», «resinging» and «relyricizing» respectively, which altogether enable the song to be rewritten in another language. These acts cannot be achieved in the absence of music producers, who are the «patrons» initiating the recording or «rerecording» of a song in any given music industry. From a general perspective, it was the collaboration of these patrons and rewriters that introduced first the inventions and then the imports into the Turkish pop music cultural repertoire. CLINA Alaz PESEN vol. -
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. -
OF AFRICAN-AMERICANS African-American Experience
LISTEN UP: AFRICAN-AMERICAN CONSUMERS AND MUSIC DIVERSE INTELLIGENCE SERIES AFRICAN- AMERICAN CONSUMERS AND MUSIC 53% For centuries, music has played a central role in the OF AFRICAN-AMERICANS African-American experience. Black musical traditions ARE UNDER THE AGE OF 35, have evolved over time into such quintessentially COMPARED TO 47% OF THE American music as gospel and the blues to jazz and hip TOTAL POPULATION hop. While the influence and artistic works of African- Americans have shaped the vast musical landscape enjoyed today, music for most African-Americans continues to have a powerful social significance. Totaling 44 million people and growing, the African- American community represents a significant audience 14% for the music industry. Blacks make up 14 percent of the total U.S. population and are proportionally younger than the rest of America.1 More than half of the BLACKS MAKE UP 14% Black population – 53 percent -- is under the age of 35, OF THE TOTAL U.S. compared the 47 percent of the total population. As a POPULATION AND ARE younger audience, African-Americans have an influence PROPORTIONALLY on music that is outsize to their share of the overall YOUNGER THAN THE REST OF AMERICA.1 population; and as early adopters of technology, this engaged and connected group has the power to inspire musical trends. 1Source: U.S. Census Bureau: State and County QuickFacts. Data derived from Population Estimates, American Community Survey 2 MUSIC AND THE MULTICULTURAL CONSUMER: AFRICAN-AMERICAN MUSICAL PREFERENCES African-Americans have a long history of creating definitive American pop music styles with global appeal. -
Contribution of Translations and Adaptations to the Birth of Turkish Pop Music
Asian Journal of Humanities and Social Studies (ISSN: 2321 – 2799) Volume 04 – Issue 03, June 2016 Contribution of Translations and Adaptations to the Birth of Turkish Pop Music Ayşe Şirin Okyayuz Bilkent University Ankara, Turkey Email: yener [AT] bilkent.edu.tr _________________________________________________________________________________ ABSTRACT— Popular songs are important multimodal mass media products through which cultures are communicated to people of different backgrounds, and these are widely translated. But, the study of the translations of popular songs has been partially neglected in translation studies. In an effort to contribute to filling this gap, the article aims to underline the importance of the translation and adaptation of songs; to explain how songs were translated and adapted to give birth to Turkish pop music; and to provide an example of an instance where socio- political and cultural realities and aspirations, aided by different translational strategies, helped shape a new music culture. Keywords— song translation, adaptation, replacement text, transfer postulate, relationship postulate _______________________________________________________________________________________________ 1. INTRODUCTION: SONGS, CULTURES AND SONG TRANSLATION Songs not only reflect a society, in some cases, they create social conditions including facilitation of social change. Songs are valuable resources for telling us what concerned people, how they saw issues and how they expressed their hopes, aspirations and frustrations. Songs do not consist of just the lyrics and the tune, but also of all the contexts in which they are created, experienced, produced, and consumed (Spitzer & Walters 2015, 1). S. Hallam (2008) refers to a song being, “powerful at the level of social group, because it facilitates communication which goes beyond words, enables meanings to be shared, and promotes the development and maintenance of individual, group, cultural and national identities.” Some translation scholars also acknowledge this. -
Download Internet Service Channel Lineup
INTERNET CHANNEL GUIDE DJ AND INTERRUPTION-FREE CHANNELS Exclusive to SiriusXM Music for Business Customers 02 Top 40 Hits Top 40 Hits 28 Adult Alternative Adult Alternative 66 Smooth Jazz Smooth & Contemporary Jazz 06 ’60s Pop Hits ’60s Pop Hits 30 Eclectic Rock Eclectic Rock 67 Classic Jazz Classic Jazz 07 ’70s Pop Hits Classic ’70s Hits/Oldies 32 Mellow Rock Mellow Rock 68 New Age New Age 08 ’80s Pop Hits Pop Hits of the ’80s 34 ’90s Alternative Grunge and ’90s Alternative Rock 70 Love Songs Favorite Adult Love Songs 09 ’90s Pop Hits ’90s Pop Hits 36 Alt Rock Alt Rock 703 Oldies Party Party Songs from the ’50s & ’60s 10 Pop 2000 Hits Pop 2000 Hits 48 R&B Hits R&B Hits from the ’80s, ’90s & Today 704 ’70s/’80s Pop ’70s & ’80s Super Party Hits 14 Acoustic Rock Acoustic Rock 49 Classic Soul & Motown Classic Soul & Motown 705 ’80s/’90s Pop ’80s & ’90s Party Hits 15 Pop Mix Modern Pop Mix Modern 51 Modern Dance Hits Current Dance Seasonal/Holiday 16 Pop Mix Bright Pop Mix Bright 53 Smooth Electronic Smooth Electronic 709 Seasonal/Holiday Music Channel 25 Rock Hits ’70s & ’80s ’70s & ’80s Classic Rock 56 New Country Today’s New Country 763 Latin Pop Hits Contemporary Latin Pop and Ballads 26 Classic Rock Hits ’60s & ’70s Classic Rock 58 Country Hits ’80s & ’90s ’80s & ’90s Country Hits 789 A Taste of Italy Italian Blend POP HIP-HOP 750 Cinemagic Movie Soundtracks & More 751 Krishna Das Yoga Radio Chant/Sacred/Spiritual Music 03 Venus Pop Music You Can Move to 43 Backspin Classic Hip-Hop XL 782 Holiday Traditions Traditional Holiday Music -
11.1 Nomadic Singularities, Experimentalism and Musical Post-Genre
3 4 Keep it Simple, Make it Fast! An approach to underground music scenes (vol. 4) Paula Guerra and Thiago Pereira Alberto (eds.) First Published July 2019 by Universidade do Porto. Faculdade de Letras [University of Porto. Faculty of Arts and Humanities] Via Panorâmica, s/n, 4150-564, Porto, PORTUGAL www.letras.up.pt Design: Wasted Rita and Marcelo Baptista Credits illustrations of book’s parts: Esgar Acelerado ISBN 978-989-54179-1-9 All the content presented in texts are solely the responsibility of the authors. The ideas presented do not necessarily represent the opinion of the editors. Attribution CC BY 4.0. International This book is Licensed under a Creative Commons Attribution 4.0. International License (CC BY 4.0). It is allowed to share, redistribute, adapt, remix, transform and build upon the content of this book. The appropriate credit must be given to the authors and editors. More informations: https://creativecommons.org/ licenses/by/4.0 541 11.1 Nomadic singularities, experimentalism and musical post-genre Nilton F. de Carvalho258 Abstract The experimentalism in art, since the vanguards, overcomes semantic regimes. From this idea, this article aims to understand the confronts of the experimentalism in pop music, analyzing artists as DJ Tudo, Mashrou’ Leila, Tetine and Aíla, which propose communicational experiences different from the semantic stability of phonographic genres and also inscribe emerging debates, surpassing the regimes that capture social life in western societies. The theoretical and methodological approach uses semiotic analysis to study the dynamics of cultural texts (Lotman, 2004), considering the music materialities, and concepts of nomadism (Deleuze & Guattari, 1995) to understand an experimental praxis that claims differences beyond the western logos, which may indicate a post-genre moment in pop music. -
One Direction Infection: Media Representations of Boy Bands and Their Fans
One Direction Infection: Media Representations of Boy Bands and their Fans Annie Lyons TC 660H Plan II Honors Program The University of Texas at Austin December 2020 __________________________________________ Renita Coleman Department of Journalism Supervising Professor __________________________________________ Hannah Lewis Department of Musicology Second Reader 2 ABSTRACT Author: Annie Lyons Title: One Direction Infection: Media Representations of Boy Bands and their Fans Supervising Professors: Renita Coleman, Ph.D. Hannah Lewis, Ph.D. Boy bands have long been disparaged in music journalism settings, largely in part to their close association with hordes of screaming teenage and prepubescent girls. As rock journalism evolved in the 1960s and 1970s, so did two dismissive and misogynistic stereotypes about female fans: groupies and teenyboppers (Coates, 2003). While groupies were scorned in rock circles for their perceived hypersexuality, teenyboppers, who we can consider an umbrella term including boy band fanbases, were defined by a lack of sexuality and viewed as shallow, immature and prone to hysteria, and ridiculed as hall markers of bad taste, despite being driving forces in commercial markets (Ewens, 2020; Sherman, 2020). Similarly, boy bands have been disdained for their perceived femininity and viewed as inauthentic compared to “real” artists— namely, hypermasculine male rock artists. While the boy band genre has evolved and experienced different eras, depictions of both the bands and their fans have stagnated in media, relying on these old stereotypes (Duffett, 2012). This paper aimed to investigate to what extent modern boy bands are portrayed differently from non-boy bands in music journalism through a quantitative content analysis coding articles for certain tropes and themes. -
French Pop Music Remakes in Turkey
French pop music remakes in Turkey A cognitive semiotic inquiry into cultural transfer Azize Güneş Supervisor: Göran Sonesson Centre for Languages and Literature, Lund University MA in Languages and Literature, Cognitive Semiotics SPVR01 Languages and Linguistics: Degree Project – Master’s (Two years) Thesis, 30 credits May 2017 Abstract In this thesis, the importation, transformation and distribution of French popular music in Turkey during the 20th century have been investigated as a case study of cultural transfer. By using theories and methods within a cognitive semiotic framework, this study provides an overview of the phenomenon of French pop music remakes in Turkey by accounting for the initial situation of communication of remade pop music through recorded materials, and by providing an analysis of the changes made to the songs when transformed from French to Turkish, as well as the linguistic meanings that were made available to the Turkish public in this process. Meaning making procedures in connection to pop music have been considered by analyzing components of pop music, the cognitive capacities of human beings to understand pop music, and procedures of cultural communication enabling the integration of new artefacts in a culture. According to the results of this thesis, 160 Turkish language remakes of songs originally performed in French have been produced and distributed in Turkey between 1961- 1991. The most concentrated period of production occurred during a 10-year period between 1967-1977, with a considerable peak in 1968-1969. Of the songs produced during the peak of 1968-1969, 25% account for the original French song lyrics either as “song translations” or “adaptations” of their original French versions, transferring linguistic meanings to the Turkish target culture. -
Liz Phair the Poptimist by Carrie Courogen
Liz Phair the Poptimist By Carrie Courogen HE EARLY AUGHTS WEREN'T exactly a medic}. landscape that Tendeared itself to my parents. It was the heyday of Total Request Live, when Britney became a ~'bad girl" and Christina joined her, when Hilary Duff turned her TV starpower into a music career, and Jessica Simpson turned her music career-into a TV show. Our TV was enforced by parental controls, and once Britney held that snake, my music television access was·limited to VHl, whose programming was heavy on aging seventies rock stars' safe, adult contemporary output and not much else. MTV had to be consumed in bits and pieces, after school a( friends' houses or sleepovers. It was during one of those covert viewings that I heard Liz Phair's "Extraordinary" for the first time. It felt like a revelation. ' . , h d fl t rodamation of Ph airs confidence was infectious; er e an P b · · · essage I'd yet to emg flawed but still spectacular was a nveting m re · c. • d and I consumed as ceive from a song. Toe pop music my inen s . • I5 tw l . 1h closest thing gir e Ve-year-olds lacked this sort of fe~hng. e . 5 Kelly our h . h at the tiOle wa age ad to an empowerment ant em . usic was Clarkso , " " B t Clarkson, whose Ill d ns Miss Independent. u as Iaunche fizzy . Her career w . and fun, was a reality show winner. · ) and call-in in p Of thern rnen art by a panel of three judges (two . -
Chapter 2: Pop-Rock of the 50S and 60S
The Development of Rock & Roll by Dr. Daniel Jacobson © 2016 All Rights Reserved CHAPTER 2 POP-ROCK OF THE 50S AND 60S INTRODUCTION Softer “pop” music styles have played important roles in the development of rock, especially from c1953 to 1966 and in the early 70s. Various pop-related styles in the 50s and early 60s include: • Doo-Wop (1950s and early ‘60s; combined Pop, Gospel and soft R & B elements) • Teen Idol “Crooners” (late ‘50s/early ‘60s; Dick Clark early rock era; soft R & B) • Surf Music (late ‘50s/early ‘60s) • Brill Building/Aldon Music (‘60s pop; extension of “Tin Pan Alley” tradition) • Early Motown (early 1960s; “Soul-pop” music) I. THE CHANGING OF THE GUARD IN 50s ROCK During the years 1957 to 1961, Rock & Roll lost the impact of at least ten of its most prominent trendsetters. • March 1956: While on his way to perform for The Perry Como Show in New York City, Carl Perkins was involved in a car crash in which he suffered a fractured shoulder and skull. Perkins lost his chance for major fame, and was soon overshadowed by the rise of Elvis Presley. • October 1957: Little Richard renounced Rock and Roll for the ministry of the Seventh Day Adventist Church. • November 1957: Jerry Lee Lewis married his 13-year-old third cousin (while “forgetting” to divorce his first wife.) The scandal that followed destroyed his career. • March 1958: Elvis Presley was drafted into the army, serving in Germany until 1960. • February 1959: a small-plane crash near Fargo, North Dakota killed Buddy Holly, J.P.