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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. -
Brazilian/American Trio São Paulo Underground Expands Psycho-Tropicalia Into New Dimensions on Cantos Invisíveis, a Global Tapestry That Transcends Place & Time
Bio information: SÃO PAULO UNDERGROUND Title: CANTOS INVISÍVEIS (Cuneiform Rune 423) Format: CD / DIGITAL Cuneiform Promotion Dept: (301) 589-8894 / Fax (301) 589-1819 Press and world radio: [email protected] | North American and world radio: [email protected] www.cuneiformrecords.com FILE UNDER: JAZZ / TROPICALIA / ELECTRONIC / WORLD / PSYCHEDELIC / POST-JAZZ RELEASE DATE: OCTOBER 14, 2016 Brazilian/American Trio São Paulo Underground Expands Psycho-Tropicalia into New Dimensions on Cantos Invisíveis, a Global Tapestry that Transcends Place & Time Cantos Invisíveis is a wondrous album, a startling slab of 21st century trans-global music that mesmerizes, exhilarates and transports the listener to surreal dreamlands astride the equator. Never before has the fearless post-jazz, trans-continental trio São Paulo Underground sounded more confident than here on their fifth album and third release for Cuneiform. Weaving together a borderless electro-acoustic tapestry of North and South American, African and Asian, traditional folk and modern jazz, rock and electronica, the trio create music at once intimate and universal. On Cantos Invisíveis, nine tracks celebrate humanity by evoking lost haunts, enduring love, and the sheer delirious joy of making music together. São Paulo Underground fully manifests its expansive vision of a universal global music, one that blurs edges, transcends genres, defies national and temporal borders, and embraces humankind in its myriad physical and spiritual dimensions. Featuring three multi-instrumentalists, São Paulo Underground is the creation of Chicago-reared polymath Rob Mazurek (cornet, Mellotron, modular synthesizer, Moog Paraphonic, OP-1, percussion and voice) and two Brazilian masters of modern psycho- Tropicalia -- Mauricio Takara (drums, cavaquinho, electronics, Moog Werkstatt, percussion and voice) and Guilherme Granado (keyboards, synthesizers, sampler, percussion and voice). -
The Pop Scene Around the World Andrew Clawson Iowa State University
Volume 2 Article 13 12-2011 The pop scene around the world Andrew Clawson Iowa State University Emily Kudobe Iowa State University Follow this and additional works at: http://lib.dr.iastate.edu/revival Recommended Citation Clawson, Andrew and Kudobe, Emily (2011) "The pop cs ene around the world," Revival Magazine: Vol. 2 , Article 13. Available at: http://lib.dr.iastate.edu/revival/vol2/iss1/13 This Article is brought to you for free and open access by the Student Publications at Iowa State University Digital Repository. It has been accepted for inclusion in Revival Magazine by an authorized editor of Iowa State University Digital Repository. For more information, please contact [email protected]. Clawson and Kudobe: The pop scene around the world The POP SCENE Around the World Taiwan Hong Kong Japan After the People’s Republic of China was Japan is the second largest music market Hong Kong can be thought of as the Hol- established, much of the music industry in the world. Japanese pop, or J-pop, is lywood of the Far East, with its enormous left for Taiwan. Language restrictions at popular throughout Asia, with artists such film and music industry. Some of Asia’s the time, put in place by the KMT, forbade as Utada Hikaru reaching popularity in most famous actors and actresses come the use of Japanese language and the the United States. Heavy metal is also very from Hong Kong, and many of those ac- native Hokkien and required the use of popular in Japan. Japanese rock bands, tors and actresses are also pop singers. -
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. -
Since Cornelius's Music Often Evokes the Harmonies, Instrumentation, And
New Sound 25 Loren Y. Kajikawa “An Escape From the Planet of the Apes: Accounting for Cornelius’s International Reception” Article received on October 4, 2004 UDC 78.067.26 (52) Cornelius Loren Y. Kajikawa “AN ESCAPE FROM THE PLANET OF THE APES: ACCOUNTING FOR CORNELIUS’S INTERNATIONAL RECEPTION” “Monkey See, Monkey Do”: Authenticity, Imitation, and Translation Abstract: Electronic/rock musician Cornelius (Keigo Oyamada) belongs to a loosely constructed genre of Japanese pop termed “Shibuya-kei.” Groups in this genre—Pizzicato Five, Flipper’s Guitar, and Scha Dara Parr among others— emulate the sounds and textures of pre-existing tunes, transforming Western popular music and creating a new and unique sound that has become a source of pride to Japanese music enthusiasts. Cornelius has produced a number of imaginative CDs and videos, and fans and critics in North America, Western Europe, and Australia have embraced his work. Yet Cornelius’s popularity, which is a rare occurrence for a Japanese pop musician in the West, raises a number of interesting questions about how listeners interpret music across boundaries of language and culture. First, this paper explores how Cornelius has been received by American critics, arguing that written reviews of his music stand as acts of “translation” that interpolate Cornelius’s music into Western discourses while overlooking the Japanese cultural context from which such work emerges. Secondly, this paper draws on published interviews to contextualize Cornelius’s use of “blank parody” as a possible defense strategy against this burden of Western civilization. And finally, this paper offers its own interpretation of Cornelius’s musical significance: Putting forward a utopian, post-national, cybernetic artistic vision, Cornelius’s electronic music collages avoid invoking racialized bodies in ways that have been problematic for Japanese jazz, rock, and hip-hop musicians. -
Crafting the Showa Dream in Popular Song: “Hachi-Roku” and the Invention of Modern Kayokyoku, 1959-65
Crafting the Showa Dream in Popular Song: “Hachi-Roku” and the Invention of Modern Kayokyoku, 1959-65 Michael FURMANOVSKY Ryukoku University 要旨 大衆向け歌曲に託された昭和の夢ーー「八六」と現代歌謡曲の発現(1959-65) 本稿では、昭和 30 年代後半(1959-65)に、歌謡曲と呼ばれる現代日本のポピュラ ー・ソングの礎が築かれる中で、永六輔と中村八大という伝説に名高い作詞家・ 作曲家のコンビが果たした役割について考察する。当時都会に暮らす日本人の夢 や欲望、そして挫折を明確にし、それを歌に織り込むことにおいて、早稲田が輩 出したこの 2 人の作詞・作曲家が、いかに同業者たちを凌いでいたかを指摘する。 2 人が生み出す楽曲は、単調だが安定の得られる事務職に就き、核家族家庭に身を 落ち着け始めた、いわゆる新しいサラリーマン世代の心を捉えたのである。さら に本稿では、この 2 人の作詞・作曲家たちが活躍した時代の社会・文化的背景に も着目し、テレビ番組「夢であいましょう」に2人が提供した楽曲の歌詞を分析 することを通して、時代精神を捉える能力において、この2人がいかに秀逸を極 めていたかを明らかにする。 Introduction In recent years, cultural studies scholars working in the field of post-war Japanese popular music, have made great strides in uncovering a history that just ten years ago was largely unexplored. While still considered somewhat obscure, this rich history is gradually reaching a new audience of younger Japanese who have developed a nostalgic interest in mid-Showa-era culture, both material and artistic (Sand, 2007). This article aims at adding Japan’s post-war songwriting to the contributions and analysis made by scholars writing in English in the area of jazz (Atkins 2001, Molasky, 2006); enka (Yano, 2002); kayōkyoku and Group Sounds (Bourdaghs, 2012); rokabiri (Furmanovsky, 2008); folk (Tachi, 2009); rock (Stevens, 2008) and hip hop (Condry, 2006). Of these popular culture specialists, the work of Bourdaghs deserves special merit since his recent Sayonara Amerika, Sayonara Nippon is the first detailed analysis of the main currents of Japanese pop music since the war. Bourdagh’s work, which is discussed later, builds on the pioneering studies of the pre- war years by Mitsui Toru (1997). Mitsui’s work, as well as that of Japanese scholar Kikuchi Kiyoshi (2008), has been especially useful in bringing attention to Koga Masao -1- and Hattori Ryuichi, the two leading figures in pre-war Japanese musical innovation. -
"Ersatz As the Day Is Long": Japanese Popular
“ERSATZ AS THE DAY IS LONG”: JAPANESE POPULAR MUSIC, THE STRUGGLE FOR AUTHNETICITY, AND COLD WAR ORIENTALISM Robyn P. Perry A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS May 2021 Committee: Walter Grunden, Advisor Jeremy Wallach © 2021 Robyn P. Perry All Rights Reserve iii ABSTRACT Walter Grunden, Advisor During the Allied Occupation of Japan, Supreme Commander for the Allied Powers (SCAP) Douglas MacArthur set forth on a mission to Americanize Japan. One way SCAP decided this could be done was by utilizing forms of media that were already popular in Japan, particularly the radio. The Far East Network (FEN), a network of American military radio and television stations in Japan, Okinawa, Guam, and the Philippines, began to broadcast American country & western music. By the early 1950s, Japanese country & western ensembles would begin to form, which initiated the evolution toward modern J-pop. During the first two decades of the Cold War, performers of various postwar subgenres of early Japanese rock (or J-rock), including country & western, rockabilly, kayōkyoku, eleki, and Group Sounds, would attempt to break into markets in the West. While some of these performers floundered, others were able to walk side-by-side with several Western greats or even become stars in their own right, such as when Kyu Sakamoto produced a number one hit in the United States with his “Sukiyaki” in 1963. The way that these Japanese popular music performers were perceived in the West, primarily in the United States, was rooted in centuries of Orientalist preconceptions about Japanese people, Japanese culture, and Japan that had recently been recalibrated to reflect the ethos of the Cold War. -
A Parametric Sound Object Model for Sound Texture Synthesis
Daniel Mohlmann¨ A Parametric Sound Object Model for Sound Texture Synthesis Dissertation zur Erlangung des Grades eines Doktors der Ingenieurwissenschaften | Dr.-Ing. | Vorgelegt im Fachbereich 3 (Mathematik und Informatik) der Universitat¨ Bremen im Juni 2011 Gutachter: Prof. Dr. Otthein Herzog Universit¨atBremen Prof. Dr. J¨ornLoviscach Fachhochschule Bielefeld Abstract This thesis deals with the analysis and synthesis of sound textures based on parametric sound objects. An overview is provided about the acoustic and perceptual principles of textural acoustic scenes, and technical challenges for analysis and synthesis are con- sidered. Four essential processing steps for sound texture analysis are identified, and existing sound texture systems are reviewed, using the four-step model as a guideline. A theoretical framework for analysis and synthesis is proposed. A parametric sound object synthesis (PSOS) model is introduced, which is able to describe individual recorded sounds through a fixed set of parameters. The model, which applies to harmonic and noisy sounds, is an extension of spectral modeling and uses spline curves to approximate spectral envelopes, as well as the evolution of pa- rameters over time. In contrast to standard spectral modeling techniques, this repre- sentation uses the concept of objects instead of concatenated frames, and it provides a direct mapping between sounds of different length. Methods for automatic and manual conversion are shown. An evaluation is presented in which the ability of the model to encode a wide range of different sounds has been examined. Although there are aspects of sounds that the model cannot accurately capture, such as polyphony and certain types of fast modula- tion, the results indicate that high quality synthesis can be achieved for many different acoustic phenomena, including instruments and animal vocalizations. -
VOD-Records Internet-Newsletter 01/2012 (
VOD-Records Internet-Newsletter 01/2012 (www.vod-records.com) RELEASES SCHEDULED FOR END FEBRUARY VOD94: JOHN DUNCAN 1st Recordings 1978-85 V1.2 5LP/7“-Box 79,99 € 1978 - 1985 V1.2 First Recordings JOHN =`ijkI\Zfi[`e^j VOD94 DUNCAN (0./$(0/,M(%) John Duncan has been one of the most oustanding, consistently controversial and confrontational, powerful, and compelling masters of experimentation for the last 30 years. His works range from noise to conceptual installations, shortwave-radio to enviromental recordings. Over the years, Duncan has worked on many rewarding collaborations including 'Incoming' with Christoph Heemann, 'Contact' with Andrew McKenzie (of the Hafler Trio), 'Palace of Mind' with Giuliana Stefani, 'Da Sich Die Machtgier' with Asmus Tietchens, 'Nine Suggestions' with Mika Vainio and Ilpo Väisänen, 'Our Telluric Conversation' with Carl Michael von Hausswolff. Other than on his own labels AQM and Allquestions, Duncan has released records on labels such as Touch, Staalplaat, Die Stadt & Heemann's Streamline label. This Box-Set combines all of his Vinyl- and Tape-Releases produced between 1978 and 1985 on his own AQM-Label (Organic 12“, Creed & Nicki 7“, Riot Lp) with music from his 82-85-Tape-Releases Music you finish, Supplement, Move Forward (Pleasure Escape), Brutal Birthday Soundtrack, Phantom and Purge). A Bonus 7“ will be provided with earliest collaboration-recordings from 1978 & 79 performed as Doo-Doettes and CV Massage with artists like Michael Le Donne Bhennet, Dennis Duck, P. Mc Carthy, Fredrik Nilsen, Dennis Duck & Tom Recchion VOD95: JOHN BENDER Memories of mindless mechanical monologues 1976-1985 7LP-Book-like Folder-Set (w.Bonus-7“ for members) 119,99 € This outstanding deluxe Box-Set delivers an excellent and extensive overview of John Benders music-output recorded between 1976-1985 John Bender is without any doubt, the protagonist, if not the inventor of a whole musical-genre known as Cold Minimal Wave/Synth. -
Analyzing Genre in Post-Millennial Popular Music
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 9-2018 Analyzing Genre in Post-Millennial Popular Music Thomas Johnson The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/2884 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] ANALYZING GENRE IN POST-MILLENNIAL POPULAR MUSIC by THOMAS JOHNSON A dissertation submitted to the Graduate Faculty in Music in partial Fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2018 © 2018 THOMAS JOHNSON All rights reserved ii Analyzing Genre in Post-Millennial Popular Music by Thomas Johnson This manuscript has been read and accepted for the Graduate Faculty in music in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. ___________________ ____________________________________ Date Eliot Bates Chair of Examining Committee ___________________ ____________________________________ Date Norman Carey Executive Officer Supervisory Committee: Mark Spicer, advisor Chadwick Jenkins, first reader Eliot Bates Eric Drott THE CITY UNIVERSITY OF NEW YORK iii Abstract Analyzing Genre in Post-Millennial Popular Music by Thomas Johnson Advisor: Mark Spicer This dissertation approaches the broad concept of musical classification by asking a simple if ill-defined question: “what is genre in post-millennial popular music?” Alternatively covert or conspicuous, the issue of genre infects music, writings, and discussions of many stripes, and has become especially relevant with the rise of ubiquitous access to a huge range of musics since the fin du millénaire. -
WRESTLING with OR EMBRACING DIGITIZATION in the MUSIC INDUSTRY the Contrasting Business Strategies of J-Pop and K-Pop
Parc & Kawashima / Wrestling with or Embracing Digitization 23 WRESTLING WITH OR EMBRACING DIGITIZATION IN THE MUSIC INDUSTRY The Contrasting Business Strategies of J-pop and K-pop Jimmyn Parc Seoul National University and Sciences Po Paris [email protected] Nobuko Kawashima Doshisha University [email protected] Abstract Digitization has significantly changed the process for producing and consuming music: from analogue to digital, albums to songs, possess to access, audio to visual, and end products to promotional products. In this globalized digital era, actively embracing digitization would likely help enhance the competitiveness of the music industry. The rise of K-pop and the decline of J-pop clearly demonstrate the different results from whether to embrace or wrestle with digitization. The Korean music industry recognized changes brought on by digitization earlier and was more active in responding with effective strategies. By contrast, the Japanese music industry did not immediately respond to these changes but stuck to its rent-seeking behavior in order to take advantage of its larger market size and ‘sophisticated’ copyright regime. The implications from this paper is that business activities are the core element for creating and enhancing competitiveness of the music industries. Keywords J-pop, K-pop, Hallyu, music industry, digitization, cultural industry Kritika Kultura 30 (2018): 23–048 © Ateneo de Manila University <http://journals.ateneo.edu/ojs/kk/> Parc & Kawashima / Wrestling with or Embracing Digitization 24 About the Authors Jimmyn Parc is a visiting lecturer at Paris School of International Affairs (PSIA), Sciences Po Paris, France and a research associate at the EU Centre, Graduate School of International Studies (GSIS), Seoul National University. -
The Perth Sound in the 1960S—
(This is a combined version of two articles: ‘‘Do You Want To Know A Secret?’: Popular Music in Perth in the Early 1960s’ online in Illumina: An Academic Journal for Performance, Visual Arts, Communication & Interactive Multimedia, 2007, available at: http://illumina.scca.ecu.edu.au/data/tmp/stratton%20j%20%20illumina%20p roof%20final.pdf and ‘Brian Poole and the Tremeloes or the Yardbirds: Comparing Popular Music in Perth and Adelaide in the Early 1960s’ in Perfect Beat: The Pacific Journal for Research into Contemporary Music and Popular Culture, vol 9, no 1, 2008, pp. 60-77). Brian Poole and the Tremeloes or the Yardbirds: Comparing Popular Music in Perth and Adelaide in the Early 1960s In this article I want to think about the differences in the popular music preferred in Perth and Adelaide in the early 1960s—that is, the years before and after the Beatles’ tour of Australia and New Zealand, in June 1964. The Beatles played in Sydney, Melbourne, Brisbane and Adelaide but not in Perth. In spite of this, the Beatles’ songs were just as popular in Perth as in the other major cities. Through late 1963 and 1964 ‘I Want to Hold Your Hand,’ ‘I Saw Her Standing There,’ ‘Roll Over Beethoven’ and the ‘All My Loving’ EP all reached the number one position in the Perth chart as they did nationally.1 In this article, though, I am not so much interested in the Beatles per se but rather in their indexical signalling of a transformation in popular music tastes. As Lawrence Zion writes in an important and surprisingly neglected article on ‘The impact of the Beatles on pop music in Australia: 1963-1966:’ ‘For young Australians in the early 1960s America was the icon of pop music and fashion.’2 One of the reasons Zion gives for this is the series of Big Shows put on by American entrepreneur Lee Gordon through the second half of the 1950s.