| 1. |
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| 2. |
- de Boise, Sam, 1985-
(författare)
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Digitalization and the Musical Mediation of Anti-Democratic Ideologies in Alt-Right Forums
- 2022
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Ingår i: Popular music and society. - : Routledge. - 0300-7766 .- 1740-1712. ; 45:1, s. 48-66
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Tidskriftsartikel (refereegranskat)abstract
- Popular music research has explored digital technologies’ potential for democratizing music consumption, distribution, and produc-tion. This article, however, focuses on the anti-democratic implica-tions of digitalization for popular music by exploring discussions of music in 1,173 posts in 6 Alt-Right forums, from 2010–2018. It demonstrates that, first, owing to algorithmic architecture, inter-pretations of musical politics are mutually reinforcing in these spaces. Second, a large degree of musical “omnivorousness” in these forums is both a feature of contemporary far-right strategy and a consequence of digitalization. Third, by articulating “reac-tionary democratic” principles through music criticism, these move-ments more easily evade regulation.
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| 3. |
- Fornäs, Johan, 1952-
(författare)
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Exclusion, Polarization, Hybridization, Assimilation : Otherness and Modernity in the Swedish Jazz Age
- 2010
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Ingår i: Popular music and society. - London : Routledge. - 0300-7766 .- 1740-1712. ; 33:2, s. 219-236
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Tidskriftsartikel (refereegranskat)abstract
- The introduction of jazz in Sweden fed into discourses renegotiating modern forms of identity in welfare society. In this new Jazz Age, music became an arena for reformulating norms of age, class, ethnicity, and gender differences. This article presents an intersectional and inter-medial study of songs, films and print sources with such topics. The new jazz idiom was linked to enticing and horrifying forms of otherness. Four basic positions are highlighted in the successive integration of both jazz and identities, from separation to fusion: demonizing exclusion, primitivist polarization, diversifying hybridization and normalizing assimilation.
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| 4. |
- Fornäs, Johan
(författare)
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The Words of Music
- 2003
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Ingår i: Popular music and society. - London : Informa UK Limited. - 0300-7766 .- 1740-1712. ; 26:1, s. 37-51
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Tidskriftsartikel (refereegranskat)abstract
- Words and music are two distinct symbolic modes. Yet, as human ways of communication or forms of expression, they have much in common. They have important similarities as signifying systems, their mutual penetration is suggested by metaphors like “the language of music” or “the music of language”, and they are multi-modally united in all song genres. Popular song in particular is generally “text-intensive” (Booth 188). Many attempts to distinguish univocally between them turn out to be more difficult than may first be expected. Most cultural practices have no problems separating or combining them, but their defining differences tend to be explained in highly divergent and even contradictory ways. I will here exemplify some such fascinating paradoxes, problematizing what might seem to be self-evident rather than offering any simple answers. By pointing at certain interesting complexities, at least some main dimensions of the relations between words and music will be discerned
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| 5. |
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| 6. |
- Muchitsch, Veronika, Fil.dr, 1990-
(författare)
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Sad Girls on TikTok : Musical and Multimodal Participatory Practices as Affective Negotiations of Ordinary Feelings and Knowledges in Online Music Cultures
- 2024
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Ingår i: Popular music and society. - : Routledge. - 0300-7766 .- 1740-1712.
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Tidskriftsartikel (refereegranskat)abstract
- This article examines musical participatory practices on TikTok as mediations of ordinary feelings and knowledges. It conducts a multimodal analysis of user-generated videos that recirculated the song “Complex” by Scottish singer-songwriter Katie Gregson-MacLeod, which became widely successful on the app in 2022. Through its features and sociotechnical affordances, TikTok fosters feminine-coded articulations of intimate affects and negotiations of ordinary feelings and knowledges that have been marginalized in popular music cultures. Its intersecting algorithmic logics and human practices also create new rules about what affective sensibilities are foregrounded and how they are circulated through multimodal and memetic participatory practices.
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| 7. |
- O’Hagan, Lauren, 1991-
(författare)
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The Irish Rover : Phil Lynott and the Search for Identity
- 2021
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Ingår i: Popular music and society. - : Routledge. - 0300-7766 .- 1740-1712. ; 44:1, s. 26-48
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Tidskriftsartikel (refereegranskat)abstract
- Phil Lynott, the lead singer of the rock band Thin Lizzy, was a complex character. An illegitimate black child who grew up in a working-class, Catholic district of Dublin, Ireland in the 1950s, Lynott spent his life searching for a sense of belonging, something which he explored through rock and roll. This study uses Lynott’s song lyrics to investigate his quest for identity. In particular, it identifies the many recurring themes and archetypes in his music that offered multifaceted self-portraits of his internal conflict between being black, Irish, illegitimate, a rockstar, a Lothario, a son, a father, and a husband, all at the same time.
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| 8. |
- Otterbeck, Jonas, et al.
(författare)
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Introduction : Researching Popular Music Censorship
- 2017
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Ingår i: Popular Music and Society. - : Informa UK Limited. - 0300-7766 .- 1740-1712. ; 40:3, s. 257-260
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Tidskriftsartikel (refereegranskat)abstract
- The present volume brings together six articles which all address issues of censorship in music. While restrictions on free speech in popular music are often ascribed to the semantic content of lyrics or images, the authors in this special issue take their point of departure from the perception that the musical sound in its complexity rather plays a major role in silencing musicians and artists. Drawing on diverse cases of restrictions in various popular music genres, the volume expands knowledge on how censorship affects music life and how it can be theorized.
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| 9. |
- Otterbeck, Jonas, et al.
(författare)
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“Music Version” versus “Vocals-Only” : Islamic Pop Music, Aesthetics, and Ethics
- 2020
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Ingår i: Popular Music and Society. - : Informa UK Limited. - 0300-7766 .- 1740-1712. ; 43:1, s. 1-19
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Tidskriftsartikel (refereegranskat)abstract
- This article analyzes vocals-only Islamic pop music as a musical genre and mode of production. The aim is to present and discuss this particular form in relation both to its history as an Islamic phenomenon and, more broadly, to consumer society aesthetics. The article focuses on songs from the Islamic media company Awakening and its highly successful output of Islamic pop music, sketching the genealogy of vocals-only music in Islam before analyzing the recordings of songs both in “music versions” and vocals-only. It is then argued that, in spite of its signals of nonconformist, conservative Islamic ideals, the vocals-only phenomenon is very much a part of global consumer culture, in both its aesthetic qualities and its production.
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| 10. |
- Reuter, Anders
(författare)
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Who let the DAWs Out? The Digital in a New Generation of the Digital Audio Workstation
- 2022
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Ingår i: Popular Music and Society. - : Informa UK Limited. - 0300-7766 .- 1740-1712. ; 45:2, s. 113-128
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Tidskriftsartikel (refereegranskat)abstract
- Pop is increasingly assimilating the compositional practices of hip- hop and EDM (electronic dance music). This shift is driven by a new generation of Digital Audio Workstations (DAWs). These are less based on a recording studio logic and more a combination of controlling loops and the networked logic of ubiquitous computing (ubicomp) culture. Via new media theory, this article discusses how the practices of hip-hop and EDM are digitalised in the DAW, and what that means for pop production. I argue that it entails funda-mentally new practices that can better be understood as control of metadata that define interrelational running processes.
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