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Journal articles on the topic 'Popular music'

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Author: Grafiati

Published: 4 June 2021

Last updated: 30 July 2024

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1

Bintarto, A. Gathut. "Aspek Olah Vokal Musik Klasik Barat pada Musik Populer." Journal of Urban Society's Arts 1, no. 1 (April 10, 2014): 44–56. http://dx.doi.org/10.24821/jousa.v1i1.787.

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Setiap medium musik mempunyai keistimewaan yang bisa dikaji seperti halnyapada musik klasik Barat dan musik populer. Norma daya tarik musik populeryang ringan dan mudah dinikmati tidak seperti pada musik klasik Barat atauyang sering disebut sebagai musik seni, namun demikian bukan berarti bahwamemainkannya tidak ada syarat artistik. Bervariasinya musik dan banyaknya pelakumusik mengakibatkan standar yang tinggi dan menuntut pemahaman terhadapdetail musik. Musik populer bertolak dari kebiasaan orang dan musisinya inginmemenuhi kebutuhan tersebut. Gambaran emosional yang muncul pada teksmenyebabkan kecenderungan naturalistik dalam bernyanyi. Melalui penelusuranasal-usul musik populer dan penelitian studi kasus di lapangan ditemukan bahwamusik populer beraliran soul serta R&B (rhythm and blues) mempunyai kesamaanunsur dengan teknik dan gaya bernyanyi klasik pada penerapan suara yang ratadalam rentang ambitus (even scale technique), penggunaan imajinasi dengan iramabebas, nada-nada hiasan, teknik vibrato, dan bahkan gaya bernyanyi Gregorianmurni dengan iringan ritmis yang dianggap sebagai suatu kebaruan dalam musikpopuler. The Overview on the Aspect of Western Classical Singing on Popular Music.Every music medium such as Western classical and popular music has its own practicalspecification due to the observation of each characteristic and uniqueness. The potentialattractiveness of popular music is different from the Western classical music in its easylistening characteristics, but it does not mean that the music does not have the artisticcharacter at all. More performers and more variations in the popular music mayaffect the higher standard and require the demand in every aspect of the details. Thepopular music is derived from the daily habit and that is the way the musician shoulddo to make this kind of music. The emotional characteristics in their lyrics cause thenaturalistic singing tendency. Through the observation of the popular music origin andthe field research study, it is founded that soul and R&B music have the similarities. Interms of the classical music, both use the typical scale technique, imagination with thefree rhythm, ornamentation, vibrato technique and even pure Gregorian singing styleused in some popular songs accompanied by rhythmical music served as a new idea inpopular music.

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2

Manggala, Bondan Aji. "“DURMA” (Model Penciptaan Pesan dan Kesan Musik Melalui Pembenturan Teks Lirik dengan Ekpresi Musik)." Acintya Jurnal Penelitian Seni Budaya 12, no. 1 (August 3, 2020): 23–32. http://dx.doi.org/10.33153/acy.v12i1.3139.

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ABSTRACT This article is part of a report on the results of artistic research (works of music) in the field of music. Briefly expresses experience and some knowledge findings related to the process of creating musical works of art. "Durma" is an editorial for this artwork, which contains three works of music with a popular music creation approach. Inspired by the anxiety of observing the infertility of creativity in the area of popular music in Indonesia, through "Durma" the thought was made to model the creativity of popular music by paying attention to the clash of lyric texts with musical expressions to produce messages and impressions of songs that are not public. In the habits of popular music, the elements of lyric text and musical expression are linear and mutually reinforcing relationships. It has never been imagined before that when a popular musical creation thinks a little freely and tries to clash ideas with an established knowledge of popular music creation, it will instead create ambiguity and the complexity of a refreshing taste. The outputs of the "Durma" artistic research include (1) art work products in the form of audio recordings of three songs entitled (a) Candles, (b) Girls, and (c) Good Night, (2) research reports, and (3) scientific publications articles that unravel the knowledge behind this work process.Keywords : Music creation, popular, clash of musical expressions and lyric texts ABSTRAK Artikel ini adalah bagian dari laporan hasil penelitian artistik (karya musik) di bidang musik. Secara singkat, ini mengungkapkan pengalaman dan beberapa temuan pengetahuan terkait dengan proses penciptaan karya seni musik. "Durma" adalah editorial untuk karya seni ini, yang berisi tiga karya musik dengan pendekatan penciptaan musik populer. Terinspirasi oleh kecemasan mengamati ketidaksuburan kreativitas di bidang musik populer di Indonesia, melalui "Durma" pemikiran dibuat untuk memodelkan kreativitas musik populer dengan memperhatikan benturan teks lirik dengan ekspresi musik untuk menghasilkan pesan dan tayangan lagu yang tidak umum. Dalam kebiasaan musik populer, unsur-unsur teks lirik dan ekspresi musik adalah hubungan linier dan saling menguatkan. Belum pernah terbayangkan sebelumnya bahwa ketika sebuah ciptaan musik populer berpikir sedikit dengan bebas dan mencoba untuk bertabrakan dengan pengetahuan mapan tentang ciptaan musik populer, ia malah akan menciptakan ambiguitas dan kompleksitas rasa yang menyegarkan. Output dari penelitian artistik "Durma" meliputi (1) produk karya seni dalam bentuk rekaman audio dari tiga lagu berjudul (a) Lilin, (b) Gadis, dan (c) Selamat Malam, (2) laporan penelitian, dan (3) artikel publikasi ilmiah yang mengungkap pengetahuan di balik proses kerja ini. Kata kunci: Penciptaan musik, populer, benturan ekspresi musik dan teks lirik

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3

Kallio, Alexis Anja. "Popular “problems”: Deviantization and teachers’ curation of popular music." International Journal of Music Education 35, no. 3 (August 2017): 319–32. http://dx.doi.org/10.1177/0255761417725262.

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Despite many music classrooms welcoming popular musics in striving towards an inclusive and democratic education, there has been relatively little research into teachers’ decisions regarding which popular musics are included and which are excluded from classroom activities. This is of particular interest taking into account arguments that the norms and values associated with some popular musics or songs exist in conflict with the ideals and ideologies of formal schooling. Through interviews with five Finnish music teachers, this article explores the identification and navigation of “problematic” popular musics in school contexts. Teachers noted that four musical features: lyrics, imagery, musical mood and emotional affect, influenced their constructions of popular musics and their repertoire selections for students. This study suggests that popular repertoire decisions are ethically, ideologically, and politically loaded, and that welcoming students’ own musics does not necessarily result in a more inclusive, democratic classroom culture.

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4

Leach, Robert. "Popular Music." Musical Times 131, no. 1768 (June 1990): 297. http://dx.doi.org/10.2307/965924.

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5

Rappaport, Jonathan C. "Popular Music." Music Educators Journal 86, no. 6 (May 2000): 10. http://dx.doi.org/10.2307/3399613.

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6

Boyle, Catherine M., Jan Fairley, and David Horn. "Popular Music." Bulletin of Latin American Research 8, no. 1 (1989): 151. http://dx.doi.org/10.2307/3338919.

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7

BUCKLEY, D. "Popular Music." Year's Work in Critical and Cultural Theory 1, no. 1 (January 1, 1991): 176–90. http://dx.doi.org/10.1093/ywcct/1.1.176.

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8

BUCKLEY, D. "Popular Music." Year's Work in Critical and Cultural Theory 2, no. 1 (January 1, 1992): 198–217. http://dx.doi.org/10.1093/ywcct/2.1.198.

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9

Buckley, D. "Popular Music." Year's Work in Critical and Cultural Theory 3, no. 1 (January 1, 1993): 317–40. http://dx.doi.org/10.1093/ywcct/3.1.317.

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10

BUCKLEY, D. "Popular Music." Year's Work in Critical and Cultural Theory 4, no. 1 (January 1, 1994): 317–35. http://dx.doi.org/10.1093/ywcct/4.1.317.

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11

BUCKLEY, D. "Popular Music." Year's Work in Critical and Cultural Theory 5, no. 1 (January 1, 1995): 195–213. http://dx.doi.org/10.1093/ywcct/5.1.195.

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12

BUCKLEY, D. "Popular Music." Year's Work in Critical and Cultural Theory 6, no. 1 (January 1, 1996): 153–74. http://dx.doi.org/10.1093/ywcct/6.1.153.

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13

BUCKLEY, D. "Popular Music." Year's Work in Critical and Cultural Theory 7, no. 1 (January 1, 1997): 169–85. http://dx.doi.org/10.1093/ywcct/7.1.169.

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14

BUCKLEY, D. "Popular Music." Year's Work in Critical and Cultural Theory 8, no. 1 (January 1, 2001): 94–107. http://dx.doi.org/10.1093/ywcct/8.1.94.

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15

Gedik, Ali C. "Reflections on Popular Music Studies in Turkey <br>http://dx.doi.org/10.5429/2079-3871(2011)v2i1-2.6en." IASPM Journal 2, no. 1-2 (January 18, 2012): 51–56. http://dx.doi.org/10.5429/551.

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This article reviews the state of popular music studies in Turkey in comparison to IASPM's Anglo-American history of popular music studies. The main focus is on the similarities and dissimilarities in studies based on shifts in paradigms: firstly the shift from the sociology of arabesk music in Turkey and sociology of rock music in the Anglo-American popular music studies, to the sociology of popular music; secondly, a parallel shift in theoretical premises, from Marxism to postmodern theories. Mapping the achievements of popular music studies in Turkey in relation to the study of popular musics that have dominated specific eras, it is shown that despite earlier divergences from the 1990s onwards, Turkish popular music studies gradually converged with international popular music studies.

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16

VanWeelden, Kimberly. "Classical Music as Popular Music." Update: Applications of Research in Music Education 31, no. 1 (September 17, 2012): 14–24. http://dx.doi.org/10.1177/8755123312457883.

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17

Chakravarty, Devpriya. "Popular Musics of India: An Ethnomusicological Review." Journal of Ethnic and Cultural Studies 6, no. 3 (December 18, 2019): 111. http://dx.doi.org/10.29333/ejecs/267.

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This article brings into discussion the presence of a contemporary popular music culture amongst globalised, urban, Indian youth which is perpetuated by Electronic Dance Music (EDM) festivals. This paper begins with the argument as to how there is no one monolithic popular music scene in India by presenting a historical analysis of a timeline for popular musics of India, a scene that has received scanty scholarly attention.

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18

Bates, Eliot. "Popular Music Studies and the Problems of Sound, Society and Method." IASPM Journal 3, no. 2 (April 16, 2013): 15–32. http://dx.doi.org/10.5429/613.

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Building on Philip Tagg’s timely intervention (2011), I investigate four things in relation to three dominant Anglophone popular music studies journals (Popular Music and Society, Popular Music, and the Journal of Popular Music Studies): 1) what interdisciplinarity or multidisciplinarity means within popular music studies, with a particular focus on the sites of research and the place of ethnographic and/or anthropological approaches; 2) the extent to which popular music studies has developed canonic scholarship, and the citation tendencies present within scholarship on both Western and non-Western popular musics; 3) the motivations for two scholarly groups, Dancecult and ASARP, to breakaway from popular music studies; 4) the forms of music analysis and the kinds of musical material commonly employed within popular music studies. I suggest that the field would greatly benefit from a true engagement with anthropological theories and methods, and that the “chaotic conceptualization” of musical structuration and the critical discourse would likewise benefit from an attention to recorded sound and production aesthetics.

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19

Walser, Robert, and David Brackett. "Interpreting Popular Music." Notes 55, no. 1 (September 1998): 126. http://dx.doi.org/10.2307/900377.

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20

Maróthy, János, Richard Middleton, and Janos Marothy. "Studying Popular Music." Studia Musicologica Academiae Scientiarum Hungaricae 33, no. 1/4 (1991): 472. http://dx.doi.org/10.2307/902469.

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21

Tagg, Philip, and David Brackett. "Interpreting Popular Music." American Music 16, no. 2 (1998): 224. http://dx.doi.org/10.2307/3052568.

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22

Saunders, Matthew C. "Analyzing Popular Music." Music Educators Journal 91, no. 1 (September 2004): 64–65. http://dx.doi.org/10.2307/3400116.

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23

Ostendorf, Berndt, David Brackett, Ron Eyerman, and Andrew Jamison. "Interpreting Popular Music." Jahrbuch für Volksliedforschung 44 (1999): 219. http://dx.doi.org/10.2307/848913.

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24

Manuel, Peter, and Richard Middleton. "Studying Popular Music." Ethnomusicology 36, no. 2 (1992): 263. http://dx.doi.org/10.2307/851921.

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25

Bohlman, Philip V., and Richard Middleton. "Studying Popular Music." Jahrbuch für Volksliedforschung 37 (1992): 157. http://dx.doi.org/10.2307/848560.

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26

Schmid, Caitlin. "Bloomsbury Popular Music." Fontes Artis Musicae 65, no. 4 (2018): 345–47. http://dx.doi.org/10.1353/fam.2018.0039.

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27

BUCKLEY, D. "9 Popular Music." Year's Work in Critical and Cultural Theory 9, no. 1 (January 1, 2002): 118–36. http://dx.doi.org/10.1093/ywcct/mbe009.

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BUCKLEY, D. "9 Popular Music." Year's Work in Critical and Cultural Theory 10, no. 1 (January 1, 2002): 122–34. http://dx.doi.org/10.1093/ywcct/mbf009.

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29

GILBERT, J. "9 Popular Music." Year's Work in Critical and Cultural Theory 11, no. 1 (January 1, 2003): 113–26. http://dx.doi.org/10.1093/ywcct/mbg009.

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30

GILBERT, J. "9 Popular Music." Year's Work in Critical and Cultural Theory 12, no. 1 (January 1, 2004): 116–29. http://dx.doi.org/10.1093/ywcct/mbh009.

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31

Cohen, Marci. "Bloomsbury Popular Music." Notes 76, no. 1 (2019): 159–61. http://dx.doi.org/10.1353/not.2019.0081.

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32

McClary, Susan. "Studying Popular Music." Popular Music 10, no. 2 (May 1991): 237–42. http://dx.doi.org/10.1017/s0261143000004542.

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33

Dauncey, Hugh, and Chris Tinker. "Popular Music Nostalgia." Volume !, no. 11 : 1 (December 30, 2014): 8–17. http://dx.doi.org/10.4000/volume.4202.

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34

Cavicchi, Daniel, David Brackett, Richard Middleton, and Jason Toynbee. "Interpreting Popular Music." Ethnomusicology 46, no. 1 (2002): 179. http://dx.doi.org/10.2307/852817.

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35

Marshall, Lee, and Isabel Kongsgaard. "Representing popular music stardom on screen: the popular music biopic." Celebrity Studies 3, no. 3 (November 2012): 346–61. http://dx.doi.org/10.1080/19392397.2012.679455.

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36

Rauduvaite, Asta. "Music education of the present: Does popular music develop learners’ values?" New Trends and Issues Proceedings on Humanities and Social Sciences 4, no. 1 (August 26, 2017): 139–47. http://dx.doi.org/10.18844/prosoc.v4i1.2245.

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37

Nyairo, J. "Popular music, popular politics: Unbwogable and the idioms of freedom in Kenyan popular music." African Affairs 104, no. 415 (April 1, 2005): 225–49. http://dx.doi.org/10.1093/afraf/adi012.

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38

Tan, Yunshu, and Lauren Conti. "Effects of Chinese popular music familiarity on preference for traditional Chinese music: Research and applications." Journal of Popular Music Education 3, no. 2 (July 1, 2019): 329–58. http://dx.doi.org/10.1386/jpme.3.2.329_1.

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Teaching and learning popular music and world musics are prominent topics in music education but often play a supplement role in the classroom. The main purpose of this quantitative experimental study was to investigate the effects of Chinese popular music on students’ familiarity and preference for its traditional version. Participants were undergraduate students from a university in the northeastern United States who completed a pre-test, minimum four weekly treatments and post-test. Results suggest participation in a world music course may contribute to preference for Chinese traditional music, but short-term exposure to popular versions of Chinese traditional music does not seem to contribute to preference for Chinese traditional music. A reason for this may be that popular music has its own cultures and characteristics that are not necessarily transferable to music from other music genres. In addition, the personality traits of open-mindedness or closed-mindedness showed significant influence over preference for traditional or popular music, respectively.

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39

Kawamoto, Akitsugu. "Popular Music Studies in Japan: Reviewing the Journal Popular Music Studies." IASPM Journal 9, no. 2 (December 2019): 86–91. http://dx.doi.org/10.5429/2079-3871(2019)v9i2.8en.

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40

Pavlic, Edward, and Mark Anthony Neal. "What the Music Said: Black Popular Music and Black Popular Culture." African American Review 34, no. 2 (2000): 348. http://dx.doi.org/10.2307/2901259.

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41

Kallio, Alexis Anja. "Popular Outsiders: The Censorship of Popular Music in School Music Education." Popular Music and Society 40, no. 3 (March 10, 2017): 330–44. http://dx.doi.org/10.1080/03007766.2017.1295213.

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42

Burns, Gary. "Popular music and societyand the evolving discipline of popular music studies." Popular Music and Society 21, no. 1 (March 1997): 123–31. http://dx.doi.org/10.1080/03007769708591662.

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43

de Clercq, Trevor. "Popular music analysis too often neglects the analysis of popular music." Popular Music 39, no. 2 (May 2020): 339–44. http://dx.doi.org/10.1017/s0261143020000173.

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For more than two decades, a trend in popular music scholarship has been the publication every few years of an edited collection of analytical essays (e.g., Covach and Boone 1997; Moore 2003; Everett 2008). These multi-author volumes sometimes have a specific analytical concern, such as intertextuality (Burns and Lacasse 2018), but more typically they simply bring together a variety of essays written by a variety of authors using a variety of methods to analyse music from a variety of styles. Strategically, the editors of these volumes will pitch this lack of any strong unifying theme as an advantage, asserting that the broad range of approaches gives the reader a sense for the diversity of current perspectives (as in, for example, the preface to Spicer and Covach 2010 or the introduction to von Appen et al. 2015). To be fair, the exclusive focus on analysis, particularly close readings of the ‘text’ itself, makes the chapters of these collections hold together more than, say, the articles in any regular issue of Popular Music. However, with typically only a dozen or so contributions in each volume, these multi-author works often seem like scattershot glimpses into the vast universe of possible analytical approaches and musical styles.

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44

Ančić, Ivana. "Ambijentalna muzika kao praksa popularne umetnosti / Ambient Music as Popular Art Practice." AM Journal of Art and Media Studies, no. 11 (November 15, 2016): 143–54. http://dx.doi.org/10.25038/am.v0i11.155.

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This paper considers ambient music in a comparative perspective. Taking the 1950s as a mirror time axis, I suggest comparing Erik Satie’s ideas on Furniture music (1920s) to Brian Eno’s notions of ambient music (1970s onwards). Satie is considered as the father of ambient music as he was among the first people aware of the interconnection of music and ambient sounds. Music that Brian Eno creates almost thirty years later has deep roots in Satie’s concept of implementation of ambiental music, which means that the music “should last and represent the environment” (Brian Eno, “Ambient Music”, 2014). Ambiental music’s theoretical foundations can be compared to American Minimalist and environmental art. Consideration of the audio perception phenomena is also very important for understanding and Adorno’s interpretation of the term regressive listening that will be explored later in this paper. This is an attempt to study the artistic side of ambient music, which has a wide scope of applications beyond the art sphere. In this respect, I will try to state the differences between ambient music as an art intermission in our everyday life and ambient music as a control device over human behavior.

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45

Ma, Lita. "Bentuk dan Elemen Musik Akustik dalam Piano Kover Lagu ‘DNA’ karya BangtanSonyeondan (BTS)." PROMUSIKA 9, no. 2 (March 17, 2022): 78–83. http://dx.doi.org/10.24821/promusika.v9i2.5435.

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Perpaduan antara musik elektronis dan musik populer menghasilkan aliran musik baru, yaitu Electronic Dance Music (EDM). EDM merupakan genre musik elektronis perkursif dengan menggunakan peralatan berteknologi tinggi. Salah satu tempat yang mulai mengeksperimen EDM adalah Korea Selatan, yaitu Kpop atau lebih dikenal sebagai Korean Pop. Kpop menggunakan perpaduan antara musik Korea dengan musik Barat, salah satu contoh yang menggunakan EDM adalah lagu ‘DNA’ karya grup BTS. Masyarakat sekarang suka mengkover lagu ke bentuk vokal ataupun instrument, salah satunya adalah piano kover. Permasalahan yang diteliti adalah mengetahui bentuk dan elemen musik EDM dalam bentuk piano kover. Penelitian ini bertujuan untuk mengetahui bentuk dan elemen musik lagu ‘DNA’ karya BTS dalam piano kover. Penelitian ini menggunakan metode kualitatif dengan pengambilan data berupa studi literatur, studi diskografi, dan observasi. Hasil penelitian menunjukkan bahwa bentuk musik yang diterapkan dalam piano kover tetap sama, tetapi terdapat perbedaan dalam elemen musik, yaitu poliritmik, harmoni, dan warna nada.AbstractForms and Elements of Acoustic Music in Bangtansonyeondan (BTS)'s Piano Cover of 'DNA'. Electronic music and popular music combined resulted in a new genre of music, namely Electronic Dance Music (EDM). EDM is a percussive electronic music genre using high-tech equipment. One of the places that started experimenting with EDM was South Korea, namely Kpop or Korean Pop. Kpop uses a mix of Korean music with Western music. One example that uses EDM is the song 'DNA' by the BTS group. People now like to cover songs to vocals or instruments, one of which is a piano cover. The problem under study is knowing the form and elements of EDM music in a piano cover. This study aims to determine the form and musical elements of the song 'DNA' by BTS on the piano cover. This study uses qualitative methods with data collection in literature studies, discography studies, and observations. The results showed that the musical form applied to the piano cover remained the same, but there were differences in the musical elements, namely polyrhythmic, harmony, and tone colour.Keywords: electronic music; music popular; EDM; Kpop; piano cover

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46

Masi, Leonardo. "Fellini and Popular Music." Załącznik Kulturoznawczy, no. 9 (2022): 447–62. http://dx.doi.org/10.21697/zk.2022.9.22.

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Through some examples taken from Nights of Cabiria, La Dolce Vita and The Voice of the Moon, the essay explores Federico Fellini’s attitude towards popular music, which plays a particularly relevant and original role in his films. Characters like Cabiria or Salvini identify themselves with popular music and are immersed in its particular taste, in contrast with other characters represented by classical music (Lazzari, Steiner, Gonnella). Popular music appears in some key moments of the three films and comes to unblock a stalemate on the level of the plot. Moreover it often creates “magical” moments in which the fourth wall is torn down and diegetic and extra-diegetic levels are messed up.

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47

Thornton, Sarah. "Strategies for reconstructing the popular past." Popular Music 9, no. 1 (January 1990): 87–95. http://dx.doi.org/10.1017/s0261143000003755.

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One of the things that distinguishes music from other forms of popular culture is that its consumption is accompanied by so much comment. Neither TV nor film, for instance, has accrued the volume, diversity or specialisation of the books and magazines devoted to music and read by people without a professional investment. This literature poses particular problems for historians of rock'n'roll, rock and pop. What are its main methods of ordering the popular past? Which musics and events does it privilege? How should scholars read the music press as sources? How can the pop histories contained in New Musical Express, Billboard or The Face be interpreted for histories of pop? This article is derived from work-in-progress concerning the history of discotheques and club cultures from the late 1950s until the present day. As such, it offers no tidy solutions or complete narratives, but rehearses a few dilemmas relevant to writing about popular culture.

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48

Kong, Lily, and Brian Longhurst. "Popular Music and Society." Transactions of the Institute of British Geographers 21, no. 4 (1996): 715. http://dx.doi.org/10.2307/622400.

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49

Nardi, Carlo, Hillegonda C. Rietveld, and William Echard. "Introduction: Popular Music Perfomance." IASPM@Journal 4 (February 18, 2014): 1–4. http://dx.doi.org/10.5429/2079-3871(2014)v4i1.1en.

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50

Doyle, Jenna. "REVIEW | Performing Popular Music." IASPM Journal 10, no. 1 (November 2020): 89–90. http://dx.doi.org/10.5429/2079-3871(2020)v10i1.9en.

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