| 1. |
- Björck, Cecilia, 1970, et al.
(författare)
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Making Women in Jazz Visible: Negotiating Discourses of Unity and Diversity in Sweden and the US
- 2018
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Ingår i: Journal of the International Association for the Study of Popular Music. - : International Association for the Study of Popular Music (IASPM). - 2079-3871. ; 8:1, s. 42-58
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Tidskriftsartikel (refereegranskat)abstract
- The aim of this article is to examine responses to a project that aspires to further gender-equal jazz scenes in Sweden and the US. The project brought together actors at various levels of the industry: cultural agencies, commercial organizers, activists, and artists. Our analysis – with special focus on resistance voiced – is based on observations, interviews with organizers, and a documentary about the project. The project’s central ambition was to make women in jazz visible in order to change a structural imbalance where men still take up most of the space on stage. This ambition was, however, complicated as different actors resisted a female–male binary, and thus the very idea of “women in jazz”. The resistance was played out through gender equality discourses of either unity or diversity, varying in relation to national context and generation. The article also discusses visibility as a central but also problematic aspect for gender equality efforts in music.
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| 2. |
- Fredriksson, Daniel, dr, 1978-
(författare)
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“From Dalarna to the Orient” : Falun Folk Music Festival
- 2019
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Ingår i: IASPM Journal. - : International Association for the Study of Popular Music (IASPM). - 2079-3871. ; 9:1, s. 6-22
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Tidskriftsartikel (refereegranskat)abstract
- This article discusses the Swedish festival Falun Folk Music Festival (FFF) and makes use of interviews with key organisers, readings of festival brochures, and other material. I begin with a look at the intentions, motivations and negotiations of the organisers leading up to the first festival in 1986, and from there I discuss the way FFF contributed to a change in Swedish folk music discourse towards logics of professionalisation and cosmopolitanism. FFF negotiated between professionals and amateurs, traditionalists and experimentalists. This paved the way for a vast palette of musical traditions, soon to be called “world music”, to reach a Swedish audience. I argue that the cosmopolitanism of FFF, rather than being the main ideological goal of the organisers, worked as a means to an end, namely the professionalisation and artistic recognition of Swedish folk traditions. It also seems to have made the festival relevant in the cultural policy climate of the time.
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| 3. |
- Mehrabov, Ilkin, 1979-
(författare)
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Turkey and Copyleft Music Production : Reflectionson Bandista
- 2013
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Ingår i: IASPM Journal. - : International Association for the Study of Popular Music. - 2079-3871. ; 3:1, s. 80-90
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Tidskriftsartikel (refereegranskat)abstract
- This article focuses on copyleft music production in Turkey through a case study on Bandista, amusic collective with strong oppositional stance formed in 2006 in Istanbul. Describing itsmusical performances as "situationist experiment of rage and rapture" Bandista becameimmensely popular in the Turkish political music scenery after releasing its debut album De tefabula narratur in 2009 under the copyleft scheme. The article tries to look at the copyleft withthe notion of 'music as performance' in mind, and argues that copyleft politics are essential,especially for new music bands to form themselves as independent actors within the musicscene.
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| 4. |
- Muchitsch, Veronika, 1990-
(författare)
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“Genrefluid” Spotify Playlists and Mediations of Genre and Identity in Music Streaming
- 2023
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Ingår i: IASPM Journal. - : International Association for the Study of Popular Music. - 2079-3871. ; 13:3, s. 48-65
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Tidskriftsartikel (refereegranskat)abstract
- Recent popular discourse has claimed that music and listeners’ tastes are becoming increasingly “genrefluid” in popular music culture, and this idea has been linked to the logics of music streaming services. This article analyzes the Spotify-curated playlist Lorem, which has been presented by the company as a primary illustration of “genrefluid” music curation and listening, to investigate Spotify’s mediations of genre and identity at the intersections of media discourse, genre metadata, and curated sound. I discuss how the idea of genrefluidity links post-genre and post-identity discourses to the technocultural logics of algorithmic recommendation. At the same time, Spotify’s mediation of genre remediates earlier hegemonic associations between genre and identity in popular music culture. This article concludes that musical categorization in music streaming does not transcend genre and identity but is characterized by ambivalent mappings of genre and identity mediated by the logics of algorithmic technologies.
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| 5. |
- Vandevert, John D.
(författare)
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Global Hiphopography
- 2024
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Ingår i: IASPM Journal. - : International Association for the Study of Popular Music (IASPM). - 2079-3871. ; 14:1, s. 196-200
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Recension (övrigt vetenskapligt/konstnärligt)
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| 6. |
- Werner, Ann, Docent, 1976-
(författare)
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Resistance in Maxida Märak’s album Utopi
- 2021
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Ingår i: IASPM Journal. - : International Association for the Study of Popular Music. - 2079-3871. ; 11:2, s. 69-83
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Tidskriftsartikel (refereegranskat)abstract
- In this article, the music, lyrics, and music videos of Maxida Märak’s 2019 debut solo album Utopi (Utopia) are analysed using feminist, decolonial theories. The article discusses how the construction of resistance to colonial, patriarchal, and capitalist oppressions takes form on Utopi, and shows popular music’s relationship to feminist and Indigenous resistance today. Lyrics, sounds, and images are analysed using discourse analysis, leading to the conclusion that Utopi holds ambiguous possibilities, of resisting settler colonialism, sexism, racism, and capitalism, while at the same time reinforcing neoliberal story telling tropes of individual success, and marketing Indigenous epistemes as goods. Currently the most visible Indigenous pop and rap artist in Sweden, Märak was born in Stockholm and considers Jokkmokk, in Sápmi, her home. She became famous for her music and political activism for Saami rights and Saami visibility in 2015, and reached a larger audience when she performed in the intermission of Melodifestivalen, the Swedish contest leading up to Eurovision, in 2018. During 2019, she released her first, full length album with songs about motherhood, land, class, love, sex, and loss. She sings and raps mainly in Swedish, and blends rap, pop, and Saami musical heritage. The conclusion of this article shows how land, and Saami feminine spirituality, are constructed as the basis for feminist, anticapitalist, and anti-settler colonial activism in Märak’s work.
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| 7. |
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