The Relationship Between Musical and Social Patterns in American Popular Music

1964 ◽  
Vol 12 (4) ◽  
pp. 279-286 ◽  
Author(s):  
K. Peter Etzkorn
Keyword(s):  
Popular Music ◽  
Social Patterns ◽  
American Popular Music ◽  
The Relationship

Crossing over with Rubén Blades

1991 ◽  
Vol 44 (2) ◽  
pp. 301-323 ◽  
Author(s):  
Don Michael Randel
Keyword(s):  
Puerto Rico ◽  
Popular Music ◽  
English Language ◽  
Crossing Over ◽  
Hollywood Films ◽  
Ways Of Thinking ◽  
American Popular Music ◽  
Ruben Blades ◽  
Relationship Of ◽  
The Relationship

Having won two Grammy Awards, attracted considerable attention in the English-language media, and appeared in several Hollywood films, Latin popular singer Rubén Blades has been much discussed as a crossover, that is, as an artist who, with a well-defined audience (in this case Hispanic), produces work that appeals in addition to another audience (here the audience for mainstream American popular music). El Gran Combo de Puerto Rico, in contrast, continues to appeal to its traditional Hispanic audience and remains the undisputed leader in popularity with that audience. A comparison of a piece by El Gran Combo with one by Blades suggests ways of thinking about the relationship of both to their audiences and to each other and ways in which musicology might approach such questions in specifically musical terms. Blades is seen not to be crossing over from one audience to another but to represent transformations in his Hispanic audience, which is itself crossing over to become increasingly imbued with Anglo culture while remaining rooted in its own traditions.

Un Naw Chwech Wyth

2018 ◽  
Vol 42 (3) ◽  
pp. 300-305
Author(s):  
Sarah Hill
Keyword(s):  
Social Change ◽  
Popular Music ◽  
Political Activism ◽  
Global Motion ◽  
Anglo American ◽  
American Popular Music ◽  
The 1960S ◽  
The Relationship

The politically-oriented Anglo-American popular music of the 1960s was notable for its ability to inspire activism in cultures around the globe. In this paper I focus on the relationship between popular music and political activism in Wales, and suggest that 1968 was but one brief point on a much longer timeline: an arbitrary marker in local political terms, but part of a larger global motion toward radical social change.

Humanism and Music

2020 ◽  
Author(s):  
Christopher M. Driscoll
Keyword(s):  
Artificial Intelligence ◽  
Popular Culture ◽  
Popular Music ◽  
Case Studies ◽  
Contemporary Music ◽  
Theoretical Relationship ◽  
Rock Band ◽  
Historical Developments ◽  
The Relationship

This chapter explores the relationship between humanism and music, giving attention to important theoretical and historical developments, before focusing on four brief case studies rooted in popular culture. The first turns to rock band Modest Mouse as an example of music as a space of humanist expression. Next, the chapter explores Austin-based Rock band Quiet Company and Westcoast rapper Ras Kass and their use of music to critique religion. Last, the chapter discusses contemporary popular music created by artificial intelligence and considers what non-human production of music suggests about the category of the human and, resultantly, humanism. These case studies give attention to the historical and theoretical relationship between humanism and music, and they offer examples of that relationship as it plays out in contemporary music.

The origins of syncopation in American popular music

Popular Music ◽  
2021 ◽  
Vol 40 (1) ◽  
pp. 18-41
Author(s):  
David Temperley
Keyword(s):  
African American ◽  
Popular Music ◽  
20Th Century ◽  
19Th Century ◽  
Vocal Music ◽  
Piano Music ◽  
Historical Process ◽  
American Popular Music ◽  
The 19Th Century ◽  
Fourth Position

AbstractThe origins of syncopation in 20th-century American popular music have been a source of controversy. I offer a new account of this historical process. I distinguish between second-position syncopation, an accent on the second quarter of a half-note or quarter-note unit, and fourth-position syncopation, an accent on the fourth quarter of such a unit. Unlike second-position syncopation, fourth-position syncopation tends to have an anticipatory character. In an earlier study I presented evidence suggesting British roots for second-position syncopation. in contrast, fourth-position syncopation – the focus of the current study – seems to have had no presence in published 19th-century vocal music, British or American. It first appears in notation in ragtime songs and piano music at the very end of the 19th century; it was also used in recordings by African-American singers before it was widely notated.

Pitchfork’s authenticity problem: the critical reception of Vampire Weekend and Lil Wayne

2021 ◽  
Author(s):  
Margaret Murray
Keyword(s):  
Popular Music ◽  
Critical Reception ◽  
Commercial Success ◽  
And Performance ◽  
The Relationship

Abstract This article turns a critical eye on the arguments deployed by Pitchfork, one of the most popular music websites, when reviewing two artists: Vampire Weekend and Lil Wayne. Rhetorically analyzing the reception of these two artists is illuminating because both had indie breakouts in 2008, both release genre-spanning music, and both have had over a decade of commercial success. However, Vampire Weekend’s whiteness enables them to benefit from authenticity tropes that are unavailable to Lil Wayne. The analysis will show how Lil Wayne is essentialized as a rapper who is unauthorized to move beyond that genre. Overall, this article examines authenticity as the rhetorical move by which exclusion is constructed and highlights how assumptions about the relationship between race and performance are key to arguments about artistry.

Step It Up and Go

2020 ◽  
Author(s):  
David Menconi
Keyword(s):  
Working Class ◽  
Popular Music ◽  
Hip Hop ◽  
The State ◽  
College Town ◽  
American Idol ◽  
Recorded Music ◽  
American Popular Music ◽  
The Many ◽  
Nina Simone

This book is a love letter to the artists, scenes, and sounds defining North Carolina’s extraordinary contributions to American popular music. David Menconi spent three decades immersed in the state’s music, where traditions run deep but the energy expands in countless directions. Menconi shows how working-class roots and rebellion tie North Carolina’s Piedmont blues, jazz, and bluegrass to beach music, rock, hip-hop, and more. From mill towns and mountain coves to college-town clubs and the stage of American Idol, Blind Boy Fuller and Doc Watson to Nina Simone and Superchunk, Step It Up and Go celebrates homegrown music just as essential to the state as barbecue and basketball. Spanning a century of history from the dawn of recorded music to the present, and with sidebars and photos that help reveal the many-splendored glory of North Carolina’s sonic landscape, this is a must-read for every music lover.

Sign in / Sign up

Export Citation Format

Share Document