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IMU55T • R305 Master of Arts In CURATORIAL PRACTICES TO EXHIBITING POPULAR MUSIC HISTORY IN MUSIC MUSEUMS A Thesis submitted to the faculty of A5 San Francisco State University In partial fulfillment of the requirements for the Degree \<o IMU55T • R305 Master of Arts In Museum Studies by Rebecca Rhianne Ramirez San Francisco, California May 2016 Copyright by Rebecca Rhianne Ramirez 2016 CERTIFICATION OF APPROVAL I certify that I have read Curatorial Practices to Exhibiting Popular Music History in Music Museums by Rebecca Rhianne Ramirez, and that in my opinion this work meets the criteria for approving a thesis submitted in partial fulfillment of the requirement for the degree Master of Arts in Museum Studies at San Francisco State University. Associate Professor of Museum Studies _________________ Eciward Luby, Ph.D. Professor of Museum Studies n / \ / it Y L - l w V Dean Suzuki, Ph.D. iV Associate Professor of Music CURATORIAL PRACTICES TO EXHIBITING POPULAR MUSIC HISTORY IN MUSIC MUSEUMS Rebecca Rhianne Ramirez San Francisco, California 2016 In this thesis, exhibitions of popular music in museums are examined to highlight the unique issues involved in curating these exhibits, and to explore what the broader museum community can learn from exhibitions of popular music. Limited research has been conducted in the United States regarding this subject, therefore, curators have needed to develop their own methods to displaying and interpreting popular music history. Through a literature review, a review of selected exhibits, and by conducting case studies of three music museums with exhibitions of popular music, the Rock and Roll Hall of Fame Museum, in Cleveland, Ohio, the Country Music Hall of Fame and Museum, in Nashville, Tennessee, the Experience Music Project Museum in Seattle, Washington, an analysis of curatorial approaches are examined. A discussion of the methods used in exhibitions of popular music is presented, including how sound and interactive media is used to engage audiences, and the role that evaluation plays in exhibition development. Finally, conclusions and recommendations are offered. Overall, it is concluded that the success of popular music exhibits highlights the significance of the history of popular music as a curatorial theme, and that exhibitions on popular music offer compelling ways to engage visitors, even as they present specific curatorial challenges. I certify that the Abstract is a correct representation of the content of this thesis. ACKNOWLEDGEMENTS First, I would like to thank the members of my thesis committee, Dr. Edward Luby and Dr. Victoria Lyall for their insights of museum practices and their generous guidance throughout the process, and Dr. Suzuki for his expertise in music history and encouragement of my thesis topic. I would also like to thank Meredith Rutledge-Borger, Mick Buck, Michael Gray, and Jacob McMurray for allowing me to interview them and providing real insight to the work of a music curator. To my family and friends, I can’t thank you enough for your endless support throughout my education, especially my parents. To my niece and nephews, who unknowingly were always my inspiration. And a special thanks to Robert, for his continuous faith and encouragement throughout this process, and for always knowing when an ice cream break was needed. v TABLE OF CONTENTS Table of Contents.............................................................................................................................vi List of Images...................................................................................................................................ix List of Appendices............................................................................................................................x Chapter 1: Introduction.................................................................................................................... 1 Organization of this Thesis.....................................................................................5 Chapter 2: Curatorial Roles and the Exhibition Design Process.......................................................7 Curatorial Roles .....................................................................................................7 Exhibition Design Process....................................................................................12 Evaluations................................................................. 14 Exhibit Design Issues Facing Curators in the21st Century....................................18 Interactives............................................................................................................ 19 Chapter 3: Popular Music...............................................................................................................22 Defining Popular Music........................................................................................22 Origins of Country and Western...........................................................................24 Origins of Rock and Roll, and Pop ................................................................ 27 Origins of Punk and Grunge.................................................................................30 Chapter 4: Curating Music History Exhibitions..............................................................................33 Popular Music in Museums and Criticisms of Music Exhibits............................ 33 Teaching Popular Music History......................................................................... 38 Interpreting Music History....................................................................................39 vi Interactive Media in Music Exhibits.................................................................... 43 Using Sound..........................................................................................................47 Collecting Music Objects......................................................................................52 Ephemera & Memorabilia vs. Historical Artifacts............................................... 57 Chapter 5: Methodology.................................................................................................................61 Literature Review..................................................................................................61 Case Studies..........................................................................................................63 Interview Questions..............................................................................................66 Chapter 6: Rock and Roll Hall of Fame and Museums...................................................................70 Museum Background............................................................................................70 Right Here, Right Now Exhibition........................................................................76 Analysis.................................................................................................................82 Chapter 7: Country Music Hall of Fame and Museums..................................................................86 Museum Background............................................................................................86 Dylan, Cash and the Nashville Cats: A New Music City Exhibition...................89 Analysis............................................................................................................... 102 Chapter 8: Experience Music Project............................................................................................105 Museum Background..........................................................................................105 Nirvana: Taking Punk to the Masses Exhibition.................................................112 Analysis............................................................................................................... 123 Chapter 9: Discussion................................................................................................................... 126 Exhibit Narratives Emphasizing Historical Context..........................................126 Audience Engagement through Sound and Interactive Media...........................128 Thematic Approach to Curatorial Research is Often Employed........................ 129 Evaluation is Necessary to Exhibit Development...............................................130 Chapter 10: Conclusions and Recommendations..........................................................................133 Conclusions......................................................................................................... 134 Recommendations............................................................................................... 136 Final Remarks..................................................................................................... 139 Work Cited.....................................................................................................................................140 Appendix........................................................................................................................................148 viii LIST OF IMAGES Image Page 1. Music video interactive at the EM P.................................................................40 2. Video screens with headphones displaying interviews and other footage of Tupac at the Grammy Museum........................................................................44 3. Turntable station
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