Relevant bibliographies by topics / Popular music – Australia – History and criticism

Academic literature on the topic 'Popular music – Australia – History and criticism'

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Published: 10 December 2022
Last updated: 29 January 2023

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Journal articles on the topic "Popular music – Australia – History and criticism"

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Desler, Anne. "History without royalty? Queen and the strata of the popular music canon." Popular Music 32, no. 3 (September 13, 2013): 385–405. http://dx.doi.org/10.1017/s0261143013000287.

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AbstractAlthough canon formation has been discussed in popular music studies for over a decade, the notion of what constitutes ‘the popular music canon’ is still vague. However, considering that many scholars resent canon formation due to the negative effects canons have exerted on other academic fields, analysis of canon formation processes in popular music studies seems desirable: awareness of these processes can be a valuable tool for scholars’ assessment of how their academic choices contribute to canon formation. Based on an examination of the reception history of Queen in the popular mainstream, music criticism and academia, this article argues that a universally valid popular music canon does not exist and that canon formation in popular music is based on the same criteria as in the ‘high’ arts, i.e. transcendence, historical importance and ‘greatness’, although the latter is replaced by ‘authenticity’ in the popular music context. While canons can be theorised in various ways, a model that distinguishes between canonic strata according to listeners’ relationship to music is particularly useful as it reveals the relative importance of the three canonic criteria within different strata and how they are applied.
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Tukova, Iryna, Valentina Redya, and Iryna Kokhanyk. "Ukrainian Music Criticism of the 2010s: General Situation, Problems, Directions of Development (Based on the Examples From Contemporary Art Music Scene)." Studia Universitatis Babeş-Bolyai Musica 67, no. 2 (December 20, 2022): 129–43. http://dx.doi.org/10.24193/subbmusica.2022.2.07.

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"The paper focuses on the 2010s in the history of Ukrainian music criticism. The materials on contemporary art music were chosen to support the authors’ reflections and conclusions. Selection of the time, period and material for the research are conditioned both with the specific social situation of Ukraine and with the recent developments in its music scene. The paper characterizes the main media, most popular critical genres, and methods of critical coverage. It is highlighted that the problems of Ukrainian music criticism during the 2010s were linked to the post-Soviet past and, in general, to the colonial status of Ukrainian culture in the Russian Empire and later in the Soviet Union. Such problems include the absence of independent journals for music criticism, dominance of information genres over reviews, general stable positive evaluation of musical scene activity etc. A few examples illustrate the gradual changing of situation during the 2010s. The authors offer to consider that new period of Ukraine music criticism history began in 2020 when The Claquers, a critical media about art music in Ukraine and abroad aiming to solve the mentioned problems, was established. Keywords: Ukrainian music criticism, contemporary art music, policy of colonialism, review, announcement. "
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Reese, Henry. "Shopgirls as Consumers: Selling Popular Music in 1920s Australia." Labour History: Volume 121, Issue 1 121, no. 1 (November 1, 2021): 155–74. http://dx.doi.org/10.3828/jlh.2021.22.

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The mid-1920s were boom years for the Australian gramophone trade. The most prominent multinational record companies had established local branches, and a handful of new factories produced millions of records for sale on the local market. Department stores joined an established network of music traders in retailing these cultural products. This article explores the labour of women involved in the retail sale of gramophone records in Melbourne. Selling recorded sound animated a charged rhetoric of musical meliorism, class and taste, according to which the value of the product was determined by the supposed musical quality thereof. Australian saleswomen or “shopgirls” were required to perform evidence of their modernity in the commercial encounter. I propose that conceiving of record saleswomen as simultaneously sellers and consumers provides valuable insight into the entangled nature of capitalism and culture in the realm of Australian music. This exploration of the process of commercialisation of recorded music illuminates the connection between labour and culture, leisure and society in colonial modernity.
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Hughes, Stephen Putnam. "Music in the Age of Mechanical Reproduction: Drama, Gramophone, and the Beginnings of Tamil Cinema." Journal of Asian Studies 66, no. 1 (February 2007): 3–34. http://dx.doi.org/10.1017/s0021911807000034.

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During the first half of the twentieth century, new mass media practices radically altered traditional cultural forms and performance in a complex encounter that incited much debate, criticism, and celebration the world over. This essay examines how the new sound media of gramophone and sound cinema took up the live performance genres of Tamil drama. Professor Hughes argues that south Indian music recording companies and their products prefigured, mediated, and transcended the musical relationship between stage drama and Tamil cinema. The music recording industry not only transformed Tamil drama music into a commodity for mass circulation before the advent of talkies but also mediated the musical relationship between Tamil drama and cinema, helped to create film songs as a new and distinct popular music genre, and produced a new mass culture of film songs.
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Lofton, Kathryn. "Dylan Goes Electric." Journal of Popular Music Studies 33, no. 2 (June 1, 2021): 31–50. http://dx.doi.org/10.1525/jpms.2021.33.2.31.

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Within the study of rock music, religion appears as a racial marker or a biographical attribute. The concept of religion, and its co-produced opposite, the secular, needs critical analysis in popular music studies. To inaugurate this work this article returns to the moment in singer-songwriter Bob Dylan’s career that is most unmarked by religion, namely his appearance with an electric guitar at the 1965 Newport Folk Festival. Dylan’s going electric became, through subsequent years of narrative attention, a secularizing event. “Secularizing event” is a phrase coined to capture how certain epochal moments become transforming symbols of divestment; here, a commitment writ into rock criticism as one in which rock emerged by giving up something that had been holding it back. Through a study of this 1965 moment, as well as the history of electrification that preceded it and its subsequent commentarial reception, the unreflective secular of rock criticism is exposed.
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Shuker, Roy, and Michael Pickering. "Kiwi rock: popular music and cultural identity in New Zealand." Popular Music 13, no. 3 (October 1994): 261–78. http://dx.doi.org/10.1017/s0261143000007194.

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The New Zealand popular music scene has seen a series of high points in recent years. Published in 1989 were John Dix's labour of love, Stranded in Paradise, a comprehensive history of New Zealand rock'n'roll; an influential report by the Trade Development Board, supportive of the local industry; and the proceedings of a well-supported Music New Zealand Convention held in 1987 (Baysting 1989). In the late 1980s, local bands featured strongly on the charts, with Dave Dobbyn (‘Slice of Heaven’, 1986), Tex Pistol (‘The Game of Love’, 1987) and the Holiday Makers (‘Sweet Lovers’, 1988) all having number one singles. Internationally, Shona Laing (‘Glad I'm Not A Kennedy’, 1987) and Crowded House (‘Don't Dream It's Over’, 1986) broke into the American market, while in Australia many New Zealand performers gathered critical accolades and commercial success.
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Kennedy, Rosanne. "Soul music dreaming:The Sapphires, the 1960s and transnational memory." Memory Studies 6, no. 3 (May 20, 2013): 331–44. http://dx.doi.org/10.1177/1750698013485506.

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In memory studies, concepts of cosmopolitan, transnational and transcultural memory have been identified as a means of studying mnemonic symbols, cultural forms and cultural practices that cross national, ethnic and territorial borders. However, what do these concepts deliver for memory work that originates in an ‘off-centre’ location such as Australia, where outsiders often lack an understanding of the history and cultural codes? A recent Indigenous Australian film, The Sapphires, set in 1968, provides an opportunity to consider some of the claims that are made for the transnational travels of memory. The film tells the story of an Aboriginal girl group that travels to Vietnam to perform for the American troops. I discuss the mnemonic tropes and transcultural carriers of memory, particularly soul music, that enable this popular memory to circulate nationally and internationally. While global tropes and icons of the 1960s can be imported into Australia, and used to construct Australian cultural memory and identity, how effectively does cultural memory travel transnationally from Australia?
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Mitchell, Gillian A. M. "‘Mod Movement in Quality Street Clothes’: British Popular Music and Pantomime, 1955–75." New Theatre Quarterly 33, no. 3 (July 10, 2017): 254–76. http://dx.doi.org/10.1017/s0266464x17000306.

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From the late 1950s onwards, young rock ‘n’ roll musicians and popular singers were introduced into commercial Christmas pantomime productions. While this practice, which constituted an extension of their involvement in the broader sphere of variety theatre, has been previously noted, it is seldom accorded much sustained attention. In this article Gillian Mitchell explores the impact which such performers made upon pantomime, while observing the ways in which involvement in pantomime productions affected their careers and aspirations. ‘Pop stars’ brought much-needed revenue to struggling theatres, and, while their presence onstage alongside experienced pantomime performers sometimes attracted criticism, they also contributed in many ways to a reinvigoration of the medium, whether by offering fresh scope for topical gags, or by giving ambitious producers the chance to more more experimental types of production. The article also questions the notion that, by the late 1960s, pantomime had become a ‘last refuge’ for those popular musicians who were apparently unable to maintain a foothold in the increasingly ‘serious’ world of rock music. Gillian A.M. Mitchell is a Lecturer in Modern History at the University of St Andrews. This article forms part of a larger project which explores adult reactions to popular music and inter-generational relations in Britain from the 1950s to the 1970s.
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Archer, Rory. "Assessing Turbofolk Controversies: Popular Music between the Nation and the Balkans." Southeastern Europe 36, no. 2 (2012): 178–207. http://dx.doi.org/10.1163/187633312x642103.

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This article explores controversies provoked by the Serbian pop-folk musical style “turbofolk” which emerged in the 1990s. Turbofolk has been accused of being a lever of the Milošević regime – an inherently nationalist cultural phenomenon which developed due to the specific socio-political conditions of Serbia in the 1990s. In addition to criticism of turbofolk on the basis of nationalism and war-mongering, it is commonly claimed to be “trash,” “banal,” “pornographic,” “(semi-)rural,” “oriental” and “Balkan.” In order to better understand the socio-political dimensions of this phenomenon, I consider other Yugoslav musical styles which predate turbofolk and make reference to pop-folk musical controversies in other Balkan states to help inform upon the issues at stake with regard to turbofolk. I argue that rather than being understood as a singular phenomena specific to Serbia under Milošević, turbofolk can be understood as a Serbian manifestation of a Balkan-wide post-socialist trend. Balkan pop-folk styles can be understood as occupying a liminal space – an Ottoman cultural legacy – located between (and often in conflict with) the imagined political poles of liberal pro-European and conservative nationalist orientations. Understanding turbofolk as a value category imbued with symbolic meaning rather than a clear cut musical genre, I link discussions of it to the wider discourse of Balkanism. Turbofolk and other pop-folk styles are commonly imagined and articulated in terms of violence, eroticism, barbarity and otherness the Balkan stereotype promises. These pop-folk styles form a frame of reference often used as a discursive means of marginalisation or exclusion. An eastern “other” is represented locally by pop-folk performers due to oriental stylistics in their music and/or ethnic minority origins. For detractors, pop-folk styles pose a danger to the autochthonous national culture as well as the possibility of a “European” and cosmopolitan future. Correspondingly I demonstrate that such Balkan stereotypes are invoked and subverted by many turbofolk performers who positively mark alleged Balkan characteristics and negotiate and invert the meaning of “Balkan” in lyrical texts.
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Hadžajlić, Hanan. "Heavy Metal and Globalization." AM Journal of Art and Media Studies, no. 17 (October 16, 2018): 129. http://dx.doi.org/10.25038/am.v0i17.276.

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Heavy Metal is a specific, alternative music genre that exists on the fringe of popular music, where it is classified by its own culture: musical style, fashion, philosophy, symbolic language and political activism. For over five decades of the existence of heavy metal, its fans have developed various communication systems through different types of transnational networks, which significantly influenced the development of all aspects of metal culture, which relates both to divisions within the genre itself and to various philosophical and political aspects of heavy metal activism – of a global heavy metal society. Going through the processes of globalization, and so glocalization, heavy metal is today a significant part of popular culture in North and South America, Europe, Asia, Australia; while in some societies it represents the cultural practice of a long tradition with elements of cultural tourism, in some countries where conservative, religious policies are dominant, it represents subversive practices and encounters extreme criticism as well as penalties. Globalization in the context of the musical material itself is based on the movement from idiomatic, cultural and intercultural music patterns to transcultural – where heavy metal confronts the notion of one's own genre. Post-metal, the definition of a genre that goes beyond the aesthetic concepts of heavy metal, contains the potential of overcoming the genre itself. Article received: March 30, 2018; Article accepted: May 10, 2018; Published online: October 15, 2018; Preliminary report – Short CommunicationsHow to cite this article: Hadžajlič, Hanan. "Heavy Metal and Globalization." AM Journal of Art and Media Studies 17 (2018): 129−137. doi: 10.25038/am.v0i17.276
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Dissertations / Theses on the topic "Popular music – Australia – History and criticism"

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Papanikolaou, Dimitris. "Singing poets : literature and popular music in France and Greece /." London : Legenda, 2007. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=016510046&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA.

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Lau, Man-chun, and 劉文俊. "A study of Hong Kong popular music industry (1930-2000)." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2003. http://hub.hku.hk/bib/B4389608X.

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Ross, Gordon. "Popular music analysis." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp05/MQ65051.pdf.

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Linekin, Kim. "The modern popular song as a literary art form." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ37216.pdf.

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West, Aaron J. "Caught Between Jazz and Pop: The Contested Origins, Criticism, Performance Practice, and Reception of Smooth Jazz." Thesis, connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-9722.

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Powell, Steven. "Dread rites : an account of Rastafarian music and ritual process in popular culture." Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=55647.

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Keightley, Keir. "The history and exegesis of pop : reading "All summer long"." Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=22458.

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The study of popular music has experienced an astonishing growth in the past two and a half decades; however, the detailed analysis of musical texts has lagged far behind other areas, such as the sociology of the youth audience and analysis of the visual components of music video. This thesis undertakes a survey of recent approaches to popular music at the textual level, before examining the construction of an individual song, the Beach Boys' 1964 recording of "All Summer Long". While many parameters affecting the creation of the cultural significance of the text in question are discussed, ultimately the exegesis serves to problematize larger issues in scholarly work on popular music, particularly the dominance of the paradigms of rupture, rebellion, and authenticity in relation to the historiography and criticism of the formation known as "rock".
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Stafford, Andrew. "Pig city : from The Saints to Savage Garden." Thesis, Queensland University of Technology, 2004.

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She comes from Ireland, she's very beautiful I come from Brisbane, and I'm quite plain Pig City - The Go-Betweens, Lee Remick If popular music really is a universal language, it's curious how easily a song - even a commercially obscure one - can come to symbolise a city's identity. The stories of London, Liverpool, Manchester, Dunedin, Detroit, Memphis, Nashville, New York, New Orleans, San Francisco and Seattle are inextricably entwined with the music made there. Robert Forster, however, could never have imagined that his self-deprecating paean to an actress would become so fabled in his home town. This is understandable. Queensland's often stifling subtropical capital doesn't exactly spring to mind when discussing the world's great musical cities. Partly this comes down to Australian pop and rock's poor-relation status next to the United States and the United Kingdom. Inside Australia, too, Brisbane for decades wore a provincial reputation as a big country town, at least in the southern capitals of Sydney and Melbourne. Of course, one of the most successful bands in recording history began life in Brisbane in the late 1950s. But the Bee Gees didn't so much outgrow the city as outgrow Australia. Struggling for recognition, the Brothers Gibb began an exodus of musicians out of the country when they left for their native UK at the beginning of 1967, the year before a peanut fanner, Joh Bjelke-Petersen, took control of Queensland's ruling Country Party (later the National Party). The literature on Australian pop is only beginning to accumulate, so again it is understandable that Brisbane, so far, has rated little more than a footnote. The bigger problem is that the footnote has remained the same, recycled in various contexts by various authors: that music in Brisbane especially the punk scene of the late '70s - was overwhelmingly a reaction to the repression of the Bjelke-Petersen era. This is partly true. Bjelke-Petersen's rule of Queensland between 1968 and 1987 was nothing if not iron-fisted. Public displays of dissent were often brutally suppressed; the rule of law was routinely bent to the will of those charged with its enforcement; minorities were treated as simply another obstacle on the path to development. To top it all off, the electoral system was hopelessly rigged in favour of the incumbents. 'Here,' writes Rod McLeod, 'in a city practically under police curfew, you fucked and fought, got stoned, got married, or got out of town.' But it makes little sense to give a politician too much credit for the creation of a music scene. Major cultural movements result from an intersection of local, national and international factors. The Saints were not so much a reaction to living in a police state as they were a response to the music of not just the Stooges and the MC5, but the Easybeats and the Missing Links. And it's doubtful the national success of a string of Brisbane acts in the '90s - from Powderfinger to George - could have happened without the nationalisation of the Triple J network. Of course, it would be naïve to suggest that growing up in a climate of fear and loathing did not heavily distort the prism through which these artists saw the world. As Saints guitarist Ed Kuepper says, 'I think the band was able to develop a more obnoxious demeanor, thanks to our surroundings, than had everyone been really nice.' In the words of Australian music historian Ian Mcfarlane, 'That Australia's most conservative city should give rise to such a seditious subcultural coterie is a sociological phenomenon yet to be fully explored. This book is my attempt to document the substantial yet largely unsung contribution that Brisbane has made both to Australian popular culture and to international popular music. In doing so, I aimed to chart the shifts in musical, political and cultural consciousness that have helped shape the city's history and identity. In its broadest sense, Pig City is the story of how Brisbane grew up.
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Ng, Pong-wai Brenda, and 吳邦瑋. "The development in Hong Kong of commercial popular songs in Cantonese." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1996. http://hub.hku.hk/bib/B31213522.

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胡又天. "華語流行歌詞的演變= The development of Chinese popular song lyrics (1970-2013) /胡又天." HKBU Institutional Repository, 2016. https://repository.hkbu.edu.hk/etd_oa/343.

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19世紀下半葉，留聲機的發明與唱片產業的崛起，大幅催化了世界各地音樂與文化的交流，隨之而興的流行歌曲也自然成為了無數歷史信息、群體情感與個人記憶的載體；雖或因族群、階級、學派中的各種歧見而初未能得到公正評價，但到多元思想起而與商業邏輯拮抗的1990年代以降，從大眾、文壇到學界，已有愈來愈多人肯認了流行歌曲在文學、音樂與社會等各方面的研究意義與價值，有關華語流行歌曲的研究，亦形成了一個新興的學術領域，本論文即為其中一環。本文緒論首先針對既有論著，提出以「文學、音樂、社會」三面與「知識、技能、情感」三向為之分類，述評其方法成果。其次，採取文學面、技能向的立場，在研究方法上，提出「以作品所預設之目的來評判作品」及「以『合樂』的考量探討辭章、聲韻」的原則，並且說明了華語歌曲所固有的聲韻問題，提出裨益實際創作的研究主張，而不僅將流行歌曲作為某學科議題的資料。正文則以傳統文學「知人閱世」的進路，採詞話形式，在1970-2013年台灣的國語流行歌詞之中，選錄特別流行、創新，或能代表時勢演變之作，介紹其背景、主旨與流傳情形，分析其觀念、技法與影響，以貢獻於當代中文世界「流行詞學」典律的建立，俾讀者從中建起一個大概的演變圖景 = The invention of gramophone records and the rise of music industry in late 19th century have greatly catalyzed the global interaction of cultures, and subsequently contributed to the emergence of pop songs. However, owing to various ethnical, class and academic differences in various cultures, the importance of pop songs as carriers of historical data, collective sentiments and personal memories has not been adequately appreciated. Only in recent years have the musical, sociological, and cultural significance of critical research in pop songs and lyrics gained wider recognition among academics, intelligentsia, and mass consumers.Born in the confluence of political intervention, social stereotypes and commercial interests in the Shanghai International Settlement since 1927, Chinese Pop songs had produced lasting classics and fading stars with ebbs and flows of historical personages and political dynasties. More studies were made amid the antagonism between commercial logic and cultural pluralism during the 1990s. A new academic field was thus brought into being. This dissertation is meant to provide a critical link in this field. The dissertation introduces a framework to analyze Chinese Pop songs in three dimensions: literary, musical, and social, as well as the involved three aspects : knowledge, skills, and emotions. Relevant writings and discourses are categorized, with their methods described and their achievements commented upon. It then considers the aspect of skills within the literary dimension by following the methodology of traditional lyrics studies, and expands beyond its pure academic critique of creative writings to the principles of generating creative writings. This framework is then used as a basis to analyze the evolution of concepts and techniques in the creation of Chinese Pop songs. This dissertation aims at providing researchers and writers a set of flexible methods to comprehend and utilize the creative enterprise from an objective vantage point.
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Books on the topic "Popular music – Australia – History and criticism"

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World music: Global sounds in Australia. Sydney: University of New South Wales Press, 2010.

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Corn, Aaron David Samuel. Dreamtime wisdom, modern time vision: The aboriginal acculturation of popular music in Arnhem Land, Australia. Casuarina, N.T: North Australia Research Unit, Australian National University, 1999.

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1973-, Gibson Chris, ed. Deadly sounds, deadly places: Contemporary Aboriginal music in Australia. Sydney: UNSW Press, 2004.

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Philip, Hayward, ed. From pop to punk to postmodernism: Popular music and Australian culture from the 1960s to the 1990s. Sydney, Australia: Allen & Unwin, 1992.

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Tara, Brabazon, ed. Liverpool of the South Seas: Perth and its popular music. Crawley, W.A: University of Western Australia Press, 2005.

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Dreyfus, Kay. Sweethearts of rhythm: The story of Australia's all girls bands and orchestras to the end of the Second World War. Sydney: Currency Press, 1998.

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Peters, Mahora. Showband!: Mahora and the Māori Volcanics. Wellington, Aotearoa, N.Z: Huia Publishers, 2006.

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Popular music. New York: Marshall Cavendish Benchmark, 2013.

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1963-, Hesmondhalgh David, and Negus Keith, eds. Popular music studies. London: Arnold, 2002.

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Thai popular music. Bangkok: White Lotus Press, 2012.

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Book chapters on the topic "Popular music – Australia – History and criticism"

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Frith, Simon. "Writing about Popular Music." In The Cambridge History of Music Criticism, 502–26. Cambridge University Press, 2019. http://dx.doi.org/10.1017/9781139795425.027.

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"Protesting Colonial Australia: Convict Theatre and Kelly Ballads." In The Routledge History of Social Protest in Popular Music, 379–90. Routledge, 2013. http://dx.doi.org/10.4324/9780203124888-35.

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"Telling the Truth and Commenting Reality: “Harsh Criticism” in Guinea-Bissau’s Intervention Music." In The Routledge History of Social Protest in Popular Music, 349–63. Routledge, 2013. http://dx.doi.org/10.4324/9780203124888-33.

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"The Music’s Not All That Matters, After All: British Progressive Rock as Social Criticism." In The Routledge History of Social Protest in Popular Music, 141–59. Routledge, 2013. http://dx.doi.org/10.4324/9780203124888-18.

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Harold, Claudrena N. "Introduction." In When Sunday Comes, 1–16. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043574.003.0001.

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The introduction combines autobiographical reflection with cultural criticism to outline the book’s unique contribution to gospel music history. It recounts the major debates that consumed gospel music insiders as the genre assumed a larger place within mainstream popular culture: Were contemporary gospel artists who experimented with the rhythms of R&B and hip-hop more concerned with selling records than saving souls, and if so, was gospel music on the same path of decline as its secular sibling R&B, which some critics insisted had lost its soul? Did acts like Andraé Crouch, the Winans, and Kirk Franklin really depart from the gospel tradition? Or were they simply following in the steps of their predecessors who had also employed new sounds and technologies to fulfill their evangelical mission?
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