Slow and Fast Music Media: Comparing Values of Cassettes and Playlists by Jörgen Skågeby
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PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 and 1991 Bradley C. Klypchak a Dissertation Submitted to the Graduate
PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 AND 1991 Bradley C. Klypchak A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2007 Committee: Dr. Jeffrey A. Brown, Advisor Dr. John Makay Graduate Faculty Representative Dr. Ron E. Shields Dr. Don McQuarie © 2007 Bradley C. Klypchak All Rights Reserved iii ABSTRACT Dr. Jeffrey A. Brown, Advisor Between 1984 and 1991, heavy metal became one of the most publicly popular and commercially successful rock music subgenres. The focus of this dissertation is to explore the following research questions: How did the subculture of heavy metal music between 1984 and 1991 evolve and what meanings can be derived from this ongoing process? How did the contextual circumstances surrounding heavy metal music during this period impact the performative choices exhibited by artists, and from a position of retrospection, what lasting significance does this particular era of heavy metal merit today? A textual analysis of metal- related materials fostered the development of themes relating to the selective choices made and performances enacted by metal artists. These themes were then considered in terms of gender, sexuality, race, and age constructions as well as the ongoing negotiations of the metal artist within multiple performative realms. Occurring at the juncture of art and commerce, heavy metal music is a purposeful construction. Metal musicians made performative choices for serving particular aims, be it fame, wealth, or art. These same individuals worked within a greater system of influence. Metal bands were the contracted employees of record labels whose own corporate aims needed to be recognized. -
Experiences of Millennials' Usage of the Cassette Tape As Music Media
Play, Rewind, Play Again: Experiences of Millennials’ Usage of the Cassette Tape as Music Media Waleed Rashidi California State University, Fullerton This paper was presented at the 2018 International Summit of the Music & Entertainment Industry Educators Association March 22-24, 2018 https://doi.org/10.25101/18.23 This project was funded by a MEIEA research grant. Abstract Cassette tape purchases in the United States increased Introduction 35% from 2016 to 2017, with 174,000 units sold in 2017 In 2014, Hollywood Records released one of the most (Caulfield 2018). New titles from contemporary artists and popular cassette-based soundtrack albums within the past reissues of classic albums are currently being released on decade. The tape was a soundtrack for Guardians of the cassette, with teens and young adults as some of the recent Galaxy, a film which grossed approximately $773 million users of the analog technology. worldwide (Box Office Mojo, n.d.). Dubbed Awesome Mix This exploratory qualitative study’s purpose is to de- Vol. 1, the compilation included classic tracks by popular scribe and categorize the experiences of millennials’ recent artists of the 1970s and 1980s, including the Jackson 5, Da- purchases and playing of cassette tapes via a presentation vid Bowie, The Raspberries, The Runaways, and Marvin of themes derived from multiple in-depth interviews. The Gaye. Another cassette compilation from the film, Cosmic study offers insight on how some millennials purchase cas- Mix Vol. 1, was released less than a year later with music settes, where and how they play their cassettes, and the at- from artists of similar eras. -
Tales of the Tape: Cassette Culture, Community Radio, and the Birth Of
Creative Industries Journal, 2015 http://dx.doi.org/10.1080/17510694.2015.1090229 Tales of the tape: cassette culture, community radio, and the birth of rap music in Boston Pacey Fostera* and Wayne Marshallb aManagement and Marketing Department, College of Management, University of Massachusetts-Boston, 100 Morrissey Blvd. Boston, MA 02125, USA; bLiberal Arts Department, Berklee College of Music, 1140 Boylston St. Boston, MA 02215, USA Recent scholarship on peer-oriented production and participatory culture tends to emphasize how the digital turn, especially the Internet and the advent of the so-called ‘social web’, has enabled new forms of bottom-up, networked creative production, much of which takes place outside of the commercial media. While remarkable examples of collaboration and democratized cultural production abound in the online era, a longer view situates such practices in histories of media culture where other convergences of production and distribution technologies enabled peer-level exchanges of various sorts and scales. This essay contributes to this project by examining the emergence of a local rap scene in Boston, Massachusetts in the mid- late 1980s via the most accessible ‘mass’ media of the day: the compact cassette and community radio. Introduction Recent scholarship on peer-oriented production and participatory culture tends to empha- size the special affordances of the digital turn, especially the Internet and the advent of the so-called ‘social web’ (Benkler 2006; Lessig 2008; Shirky 2008). While remarkable examples of collaboration and democratized cultural production abound in the online era, a longer view situates such practices in histories of media culture where other convergen- ces of production and distribution technologies enabled peer-level exchanges of various sorts and scales. -
Hmong Music in Northern Vietnam: Identity, Tradition and Modernity Qualification: Phd
Access to Electronic Thesis Author: Lonán Ó Briain Thesis title: Hmong Music in Northern Vietnam: Identity, Tradition and Modernity Qualification: PhD This electronic thesis is protected by the Copyright, Designs and Patents Act 1988. No reproduction is permitted without consent of the author. It is also protected by the Creative Commons Licence allowing Attributions-Non-commercial-No derivatives. If this electronic thesis has been edited by the author it will be indicated as such on the title page and in the text. Hmong Music in Northern Vietnam: Identity, Tradition and Modernity Lonán Ó Briain May 2012 Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music University of Sheffield © 2012 Lonán Ó Briain All Rights Reserved Abstract Hmong Music in Northern Vietnam: Identity, Tradition and Modernity Lonán Ó Briain While previous studies of Hmong music in Vietnam have focused solely on traditional music, this thesis aims to counteract those limited representations through an examination of multiple forms of music used by the Vietnamese-Hmong. My research shows that in contemporary Vietnam, the lives and musical activities of the Hmong are constantly changing, and their musical traditions are thoroughly integrated with and impacted by modernity. Presentational performances and high fidelity recordings are becoming more prominent in this cultural sphere, increasing numbers are turning to predominantly foreign- produced Hmong popular music, and elements of Hmong traditional music have been appropriated and reinvented as part of Vietnam’s national musical heritage and tourism industry. Depending on the context, these musics can be used to either support the political ideologies of the Party or enable individuals to resist them. -
Metal for the Masses”: Or, Will Metal Ever Be Mainstream Again? (And Why We Should Want It to Be...)
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by ResearchSPace - Bath Spa University MODERN HEAVY METAL: MARKETS, PRACTICES AND CULTURES International Academic Conference 2015 “METAL FOR THE MASSES”: OR, WILL METAL EVER BE MAINSTREAM AGAIN? (AND WHY WE SHOULD WANT IT TO BE...) Andy R. Brown Bath Spa University, UK Abstract Exploring the model of scene-based innovation and scarcity that characterised the 90s extreme metal underground, as eloquently outlined by Keith Kahn- Harris, this paper seeks to evaluate the extent to which its model of “eclipsed” symbolic capital accumulation is the key not to its success but relative failure to achieve innovation, development and change in metal music. Debating Lena and Peterson’s AgSIT model of genre trajectories, this paper argues such change in metal music have always been tied to the formation and demise of music “mainstreams.” The problem from this perspective is that NWOBHM, doom, power (including symphonic), thrash, grindcore, death and black metal did not mainstream enough (with the exception of some notable bands) to allow the next cycle of musical innovation to commence. Introduction In a striking series of recent posts, published on-line in the net.magazine Sou- ciant (2013; 2014), Keith Kahn-Harris has reflected on the question of Metal After Metal. Recalling the searching intelligence of a younger Lawrence Gross- berg (1990) and his anxious ruminations on whether rock was dead, dying or “going somewhere else” – published over twenty years ago – Kahn-Harris ec- hoes a similar set of fears, not about the break-up of the music-audience rela- tions that sustained the Anglo-American “rock formation” but the scenic- relations that sustained the creative-economy of the extreme metal under- ground. -
The P0litics of S0und / the Culture 0F Exchange
The P0litics of S0und / The Culture 0f Exchange Online Panel Discussion Live from January 31 - March 23 2005 with Kenneth Goldsmith, Douglas Kahn and John Oswald Moderated by Lina Dzuverovic Lina Dzuverovic Subject: The P0litics of S0und / The Culture 0f Exchange Posted: Jan 31, 2005 2:12 PM The practice of cutting-up, appropriating and repurposing existing content in the creation of new artworks was central to 20th century artistic practice. From Marcel Duchamp’s ‘Erratum Musical’ (1913) which spliced together dictionary definitions of the word ‘imprimer’ with a score composed from notes pulled out of a hat, via William Burroughs’s and Brion Gysin’s ‘cut-up’ technique used to allow new meanings to ‘leak in’ by re-cutting existing texts, to John Oswald’s releases which mixed and altered several musical sources, the history of the 20th century avant-garde can be read as the history of appropriation. The availability, immediacy and ease of use of digital networked technologies in the last decade has made the link between the notion of 'the original' and artistic value more tenuous than ever, ushering in a new chapter in the debate around appropriation and the role of the author. The early years of the Internet enabled independent musical and artistic networks to flourish and operate somewhat ‘under the radar’ of commercial production, often establishing their own gift economies and adhering to rules decided by the network participants themselves. But this brief period of ‘making it up as we go along’ when it comes to file sharing, distribution and exchange is coming to an end in the face of endless attempts by the music industry to understand, co-opt, capitalize on and engage with cultures of exchange introduced by online networks and grassroots initiatives. -
Marc-Thesis.Pdf
THE LVN MIXTAPES: USING AUGMENTED AUDIOTAPES FOR STORY SHARING by Marc Exposito Gomez B.Sc., La Salle - Ramon Llull University (2015) Submitted to the Program in Media Arts and Sciences, School of Architecture and Planning, in partial fulfillment of the requirements for the degree of Master of Science in Media Arts and Sciences at the Massachusetts Institute of Technology September 2019 @ Massachusetts Institute of Technology, 2019. All rights reserved Author Signature redacted Program in Media Arts and Sciences August 2nd, 2019 Certified by Signature redacted , Deb Roy Professor, Program in Media Arts and Sciences Accepted by Signature redacted MASSACHU~SJTTS INSTITUTE >TodMachover OF TKWLOG-- A emic Head, Program in Media Arts and Sciences OCT04O19 Ti LIBRARES THE LVN MIXTAPES: USING AUGMENTED AUDIOTAPES FOR STORY SHARING by Marc Exposito Gomez Submitted to the Program in Media Arts and Sciences, School of Architecture and Planning, on August, 2nd, 2019 in partial fulfillment of the requirements for the degree of Master of Science in Media Arts and Sciences Abstract In the course of this thesis, I present a novel listening medium aimed to increase the awareness of the local community through story dissemination. Supported by the growing collection of recorded conversations from the Local Voices Network (LVN), I propose to use augmented audiotapes and the culture of mixtapes to physically embody the stories and views of the community. The use of cassettes provides a medium for self-reflection, generates curiosity for exploration, and ultimately enables face-to-face interactions and social sharing. This thesis describes the process of designing, building, and experimenting with this participatory media. -
31295017082362.Pdf (961.5Kb)
D.I.Y. MUSIC PRODUCfiON: YOUR MUSIC, YOUR WAY- THE HISTORY A.~D PROCESS by Travis N. Nichols A SENIOR THESIS Ill GENERAL STUDIES Submitted to the General Studies Council in the College of Arts and Sciences at Texas Tech University in Partial fulfillment of the Requirements for the Degree in BACHELOR OF GENERAL STUDIES A}}Pfoved DR. ST~VEN1>AA10N Depattment of Music Chairperson of Thesis Committee DR. BRUCE CLARKE Department of English Accepted DR. i1fcHAEL scHOENEC'RE Director of General Studies May2002 ACKNOWLEOOMENTS I would like to thank Dr. Steven Paxton and Dr. Bruce Clarke for their help and consideration in writing this thesis. I would also like to thank Dr. Schoenecke and linda Gregston for their extensive support in my collegiate career. ii TABLE OF CONTENTS ACKNOWLEDGEMENTS .................................................................................. .ii CHAPTER I. INTRODUCTION ..................................................................... t II. Why DIY? THE HISTORY ....................................................... 2 III. THE PROCESS: DOING IT YOURSELF ................................. s IV. ACTION: AN EXAMPLE IN COMPLETION .......................... 9 V. AR1WORK FOR THE ALBUM .............................................. 13 VI. CONCLUSION ........................................................................ 15 BIBLIOGRAPHY ................................................................................................ t6 ... lll CHAPTER I INTRODUCTION It is a battle cry against corporate acquisition and -
Chapter 7 Chapter 7
CHAPTER 7 7 CHAPTER THE FUTURE OF CASSETTE CULTURE At the end of the frst decade of the 2000s, the audiocassette has become the object of a strange anachronous revival in the North American Noise scene. I am handed new cassette releases by Noisicians; tapes are sold at Noise shows, in small stores, and by online distributors; and cassettes are reviewed in fanzines and blogs. Many new Noise recordings are issued on tape only, and several cassette labels have sprung up over the past few years. Dominic Fernow (a.k.a. Prurient) of Hospital Productions argues that cassette tapes are essential to the spirit of Noise: “I can’t imagine ever fully stopping tapes, they are the symbol of the underground. What they represent in terms of availability also ties back into that original Noise ideology. Tapes are precious and sacred items, not disposable. It’s in- credibly personal, it’s not something I want to just have anyone pick up be- cause it’s two dollars and they don’t give a fuck” (Fernow 2006). All of this takes place years after the cassette has vanished from music retail and its playback equipment has become technologically obsolescent.1 Although a very few small independent stores carry newly released cassettes, new Noise tapes are more commonly distributed via mail order or through in- person exchange, most often directly with the artist. Cassettes, too, are everywhere in contemporary visual arts and fashion, both as nostalgic CHAPTER 7 CHAPTER symbols of 1980s pop culture and as iconic forms of new independent de- sign. -
Conference Programme.Pdf
easa EuropeanEuropean Association Association of Social of Anthropologists Social Anthropologists Association EuropéenneAssociation des Européenne Anthropologues des Anthropologues Sociaux Sociaux Timetable Tue 10 July Wed 11 July Thu 12 July Fri 13 July 09.00 – 09.30 Plenary A Plenary B Plenary C 09.30 – 10.00 10.00 – 10.30 10.30 – 11.00 11.00 – 11.30 Break Break Break Pluto reception 11.30 – 12.00 Workshop session 1 Workshop session 4 Workshop session 7 12.00 – 12.30 12.30 – 13.00 Registration 13.00 – 13.30 Lunch Lunch Lunch 13.30 – 14.00 Wenner-Gren Network convenors Grants workshop meeting 14.00 – 14.30 Getting published 14.30 – 15.00 Workshop session 2 Workshop session 5 Workshop session 8 15.00 – 15.30 15.30 – 16.00 16.00 – 16.30 Break Break Break 16.30 – 17.00 Workshop session 3 Workshop session 6 Members forum/ 17.00 – 17.30 Welcome AGM 17.30 – 18.00 Keynote 18.00 – 18.30 lecture Break Break Closing ceremony SA/AS & Wiley Berghahn reception reception 18.30 – 19.00 Welcome Roundtable Network meetings 19.00 – 19.30 reception Cruchi-fiction Applied 19.30 – 20.00 (200 capacity) ethnomusicology: concert/conference (19:00-20:45) (400 capacity) 20.00 – 20.30 Network meetings Conference banquet Bastille Day 20.30 – 21.00 (Starts 19:30) celebrations in Paris (infinite 21.00 – 21.30 capacity) 21.30 – 22.00 22.00 – 22.30 22.30 – 23.00 Cover art: Plateau de divination (Bénin) © Musée du quai Branly, photo : T. Ollivier, M. Urtado Fétiche anthropomorphe kono (Mali) © Musée du quai Branly, photo : C. -
Popular Music in Southeast Asia & Schulte Nordholt Popular Music in Southeast Asia
& Schulte Nordholt Barendregt, Keppy Popular Music in Southeast Asia Banal Beats, Muted Histories Bart Barendregt, Popular Music in Southeast Asia Peter Keppy, and Henk Schulte Nordholt Popular Music in Southeast Asia Popular Music in Southeast Asia Banal Beats, Muted Histories Bart Barendregt, Peter Keppy, and Henk Schulte Nordholt AUP Cover image: Indonesian magazine Selecta, 31 March 1969 KITLV collection. By courtesy of Enteng Tanamal Cover design: Coördesign, Leiden Lay-out: Crius Group, Hulshout Amsterdam University Press English-language titles are distributed in the US and Canada by the University of Chicago Press. isbn 978 94 6298 403 5 e-isbn 978 90 4853 455 5 (pdf) doi 10.5117/9789462984035 nur 660 Creative Commons License CC BY NC ND (http://creativecommons.org/ licenses/by-nc-nd/3.0) All authors / Amsterdam University Press B.V., Amsterdam 2017 Some rights reserved. Without limiting the rights under copyright reserved above, any part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording or otherwise). Table of Contents Introduction 9 Muted sounds, obscured histories 10 Living the modern life 11 Four eras 13 Research project Articulating Modernity 15 1 Oriental Foxtrots and Phonographic Noise, 1910s-1940s 17 New markets 18 The rise of female stars and fandom 24 Jazz, race, and nationalism 28 Box 1.1 Phonographic noise 34 Box 1.2 Dance halls 34 Box 1.3 The modern woman 36 2 Jeans, Rock, and Electric Guitars, -
Mobile Phones and Changing Media Consumption
MOBILE PHONES AND C HA N G IN G M E D IA CONSUMPTION PRACTICE S IN BANGALORE A THESIS TO BE SUBMITTED TO MANIPAL ACADEMY OF HIGHER EDUCATION FOR FULFILLMENT OF T HE REQUIREMENT FOR T HE AWARD OF THE DEGREE OF DOCTOR OF PHILOSOPHY BY RASHMI M. Reg is tra tion Numbe r 149 001 014 UNDER THE GUIDANCE OF PROF. CAROL UPADHYA SCHOOL OF SOCIAL SCIENCES NATIONAL INSTITUTE OF ADVANCED STUDIES BANGALORE, INDIA DECEMBER 2018 Table of Contents List of Figures ........................................................................................................................................ i Acknowledgements .............................................................................................................................. ii INTRODUCTION ............................................................................................................................ .1 Parallel or mainstream digital? ....................................................................................................... 4 Structure of the thesis ..................................................................................................................... 4 Chapter 1. BACKGROUND AND METHODOLOGY ............................................................ 8 Phone studies ................................................................................................................................... 8 Digitization, media convergence, and mobile phones .............................................................. 11 Mobile phones and the ICT4D debate