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Journal articles on the topic 'Album concept'
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1
Jovanovic, Jelena. "The appearance of concept albums in Yugoslav popular music: Kamen na kamen - long play records." Muzikologija, no. 17 (2014): 167–94. http://dx.doi.org/10.2298/muz1417167j.
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It is commonly understood that a concept album is ?a studio album where all musical or lyrical ideas contribute to a single overall theme or unified story? (Shuker 2002: 5). In this paper this term will be used to denote an album containing extra-musical themes and not simply collections of compositions defined only by genre or theme. In order for an album to belong to this category, it must have taken a thematic unity realized by the common content (thematically) of its compositions and common musical means. Although the beginnings of such creative trends can be traced from 1940, the 1960s and 1970s brought the most influential releases of this kind, especially The Beatles? album Sgt. Pepper?s Lonely Hearts Club Band (1967), which has had a great impact on many authors. As far as is known, the topic of concept albums in Yugoslavia has not yet been elaborated, so this article seems to be the first dedicated to this subject. It seems that in Yugoslavia there had been albums with elements of concept released before the appearance of the Kamen na kamen group album in 1973, entitled LP-60993 (Zagreb: Jugoton). The author of the album was Nikola Borota Radovan. After that, a double LP by the same ensemble and songwriter appeared in 1975 entitled OOUR/AVNOJ (RTV Ljubljana), with even more clearly expressed characteristics of concept. The aim of this article is to show that the thematic and conceptual elements of these editions are firmly connected to those of the concept album. These LPs were formed within the following thematic and contextual frames: 1) Borota`s general inclination towards folklore tradition(s) as a permanent source of inspiration, 2) models among the greatest popular music works that influenced his writing projects, primarily The Beatles? concept albums, and 3) social, economic and political circumstances in Yugoslavia at the time when these albums appeared. Even if it is not strictly a concept album in the full sense, the album LP- 60993 might be regarded as the first album with elements of concept published by a Yugoslav author, according to all the criteria and analyzed results. The elements that show a clear connection to the concept are as follows: leading subject(s)/idea(s) that demand(s) the order of compositions, organization of musical elements and motives on macro- and micro-levels (to produce formal and thematic unity), elements of narrative and musical/sound symbols, including elements of musique concr?te.
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Grier, James. "“What a Concept! What, a Concept? What Concept?” The Byrds, Jefferson Airplane, and the Early Days of the Concept Album." Journal of Musicology 39, no. 2 (2022): 209–24. http://dx.doi.org/10.1525/jm.2022.39.2.209.
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While almost everyone agrees that the Beatles set the bar for the concept album, many would argue about possible precursors, rivals, and imitators. Two releases frame the Beatles’ two most important albums: the Byrds’ Fifth Dimension appeared on July 18, 1966, just weeks before the release of Revolver on August 5 and 8 (the British and US releases, respectively); while Jefferson Airplane’s After Bathing at Baxter’s was released in late November 1967, nearly six months after Sgt. Pepper’s Lonely Hearts Club Band appeared on June 1 and 2. Fifth Dimension and After Bathing at Baxter’s each provides its own interpretation of how thirty to forty minutes of music, articulated by a break halfway through between the end of side one and the beginning of side two, should proceed. The Byrds create an artful succession of songs familiar from single releases and new material, generating a multitude of stylistic cross-references and binding the album together despite the variety of styles it embraces, including Dylanesque psychedelia, Coltrane-inspired jazz, and items from the traditional folk repertory. The Airplane, on the other hand, attempt to string groups of two or three songs together into “suites,” as the band terms them on the jacket, with greater or lesser success. But the overall structure of the album depends on the strength of the material with which each side begins and ends. Both Fifth Dimension and Baxter’s contribute their own perspectives on how the album could become a well-integrated, thoughtful, and creative collection of material.
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Barski, Kamil. "Koncept album – między teorią a praktyką i literaturą a muzyką. Próba wyostrzenia definicji i propozycja metody badania mechanizmów spójności." Przestrzenie Teorii, no. 37 (December 30, 2022): 97–120. http://dx.doi.org/10.14746/pt.2022.37.6.
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In its title, this article indicates two purposes. The first is to attempt to give a precise description of the category of the concept album, whose specificity (also in the opinion of foreign researchers) is usually described in a blurred, intuitive and rather imprecise way. This attempt is made through reference to the literary side of this kind of album. Based on these reflections, the author also attempts to create a typology of concept albums, which constitutes a fluent transition to the second purpose of the article, namely to propose (in terms of this field of knowledge, which we call linguistics of text and discourse) a method for analysing the coherence mechanisms seen in lyrics of this sort of album. Although it is not a theory in the strict sense, the author’s intention was to lend it a practical usability: it is an operation whose purpose is to support the interpretation of concept albums.
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Mazzanti, Sergio. "The live album or many ways of representing performance." Muzikologija, no. 17 (2014): 69–86. http://dx.doi.org/10.2298/muz1417069m.
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The analysis of live albums can clarify the dialectic between studio recordings and live performances. After discussing key concepts such as authenticity, space, time and place, and documentation, the author gives a preliminary definition of live albums, combining available descriptions and comparing them with different typologies and functions of these recordings. The article aims to give a new definition of the concept of live albums, gathering their primary elements: ?A live album is an officially released extended recording of popular music representing one or more actually occurred public performances?.
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Wardani, Reza Kusuma, Panji Adam Agus Putra, and Neng Dewi Himayasari. "Analisis Konsep Jual Beli Imam Hanafi dan UU Perlindungan Konsumen terdahap Jual Beli Album K-Pop Melalui Media Sosial X." Bandung Conference Series: Sharia Economic Law 5, no. 1 (January 31, 2025): 7–12. https://doi.org/10.29313/bcssel.v5i1.17043.
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Abstract. This research is motivated by the buying and selling of K-pop albums through social media X, where K-pop albums sold by the seller have contents that are given randomly. Therefore, there are buyers who feel disappointed because the contents of the K-pop album they have bought do not match what they want. The purpose of this research is to find out the concept of Imam Hanafi's sale and purchase of K-pop albums through social media X and the Consumer Protection Law. The research method used is qualitative with a juridical-empirical approach. By using data sources obtained through field observations on social media X and interviews with fans who have bought K-pop albums through social media X and literature studies such as journals, articles, and so on. The discussion in this study is related to Imam Hanafi's concept of buying and selling against buying and selling K-pop albums through social media X and the Consumer Protection Law. The results of this study are that the sale and purchase of K-pop albums on social media X in its pillars have been fulfilled but the conditions have not been fully met because there are still buyers who feel disappointed with the contents of the albums obtained randomly and cause losses. In the Consumer Protection Law, buyers are entitled to compensation if the goods they buy are not suitable. So it can be concluded that the sale and purchase of K-pop albums according to Imam Hanafi does not meet the requirements and in the Consumer Protection Law the buyer has the right to compensation. Abstrak. Penelitian ini dilatarbelakangi oleh jual beli album K-pop melalui media sosial X yang dimana album K-pop yang dijual oleh pihak penjual terdapat isi yang diberikan secara acak. Oleh karena itu, terdapat pembeli yang merasa kecewa karena isi album K-pop yang telah dibelinya tidak sesusai dengan yang diinginkan. Tujuan penelitian ini untuk mengetahui konsep jual beli Imam Hanafi terhadap jual beli album K-pop melalui media sosial X serta Undang-undang Perlindungan Konsumen. Metode penelitian yang digunakan adalah kualitatif dengan pendekatan yuridis-empiris. Dengan menggunakan sumber data yang didapat melalui observasi lapangan pada media sosial X dan wawancara kepada penggemar yang pernah membeli album K-pop melalui media sosial X serta studi literatur seperti jurnal, artikel, dan lain sebagainya. Pembahasan dalam penelitian ini terkait konsep jual beli Imam Hanafi terhadap jual beli album K-pop melalui media sosial X serta Undang-Undang Perlindungan Konsumen. Hasil penelitian ini jual beli album K-pop dalam media sosial X dalam rukunnya sudah terpenuhi tetapi dalam syaratnya belum sepenuhnya terpenuhi karena masih terdapat pembeli yang merasa kecewa dengan isi album yang didapat secara acak dan menimbulkan kerugian. Dalam Undang-Undang Perlindungan Konsumen pembeli berhak mendapatkan ganti rugi apabial barang yang dibelinya tidak sesuai. Sehinggan dapat disimpulkan jual beli album K-pop menurut Imam Hanafi tidak memenuhi syarat dan dalam Undang-Undang Perlindungan Konsumen pembeli memiliki hak untuk mendapatkan ganti rugi.
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Merlini, Mattia. "The Second Death of Concept Albums World-Building and Unification Strategies in the Age of Streaming." Interdisciplinary Studies in Musicology, no. 21 (November 21, 2021): 57–73. http://dx.doi.org/10.14746/ism.2021.21.4.
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As the end of the album format is apparently drawing near due to the radical change in music consumption habits motivated by streaming services, artists and genres interested in creating musical works with meanings broader than those of single songs find themselves in a situation worth analysing. Despite all appearances and expectations, I argue that nowadays artists willing to create narrative, thematic or generally conceptual contexts for their songs are living in a potential second golden age of concept albums. Some attempts at keeping the (concept) album alive are more alike to an act of resistance, others creatively take advantage of the same means of communication used by their digital enemy, in order to create something unique and capable of taking the place of the supposedly doomed CD/lP format. They are often transmedial works, thus requiring an interdisciplinary analysis. In this paper, I offer an overview of the contemporary situation of the album format (and concept album more specifically) and finally propose a classification of four forms of contemporary musical world-building strategies, starting from a selection of emblematic case studies.
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Zebboudj, Iddir. "Le concept album : une vaste « escrockerie » ?" Volume !, no. 4 : 2 (September 15, 2005): 107–17. http://dx.doi.org/10.4000/volume.1397.
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Neimoyer, Susan. "The Cyclic Nature of Joni Mitchell's Court and Spark." Articles 34, no. 1-2 (May 26, 2015): 3–32. http://dx.doi.org/10.7202/1030868ar.
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Current scholarship recognizes several of Joni Mitchell’s albums as being cyclic, or based on a unifying concept. Court and Spark (1974), however, is not numbered among them, despite Mitchell’s having described it as “a discourse on romantic love.” Following the inference that this album may have been conceived as an extended, multi-movement work, this article examines both its textual and musical aspects, seeking unifying characteristics. The cyclic nature of the album is uncovered, showing it to be more unified from a musical perspective than a textual one. This approach is the opposite of Mitchell’s perceived norm, suggesting her compositional process may have been more sophisticated than is currently thought.
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Stimeling, Travis D. "‘Phases and stages, circles and cycles’: Willie Nelson and the concept album." Popular Music 30, no. 3 (September 21, 2011): 389–408. http://dx.doi.org/10.1017/s0261143011000213.
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AbstractWhile many rock artists explored the compositional possibilities of the concept album in the 1960s and 1970s, Nashville's country music community largely ignored the format. But a few artists working on the fringes of country music – and who, notably, aligned themselves with the countercultural images and attitudes of the time – did begin to experiment with the format in the first years of the 1970s. Chief among them was country songwriter and recording artist Willie Nelson who, by the dawn of the 1970s, was on the verge of breaking away from Music Row to seek more lucrative opportunities in Texas. This article explores the role that Nelson's experimentation with the concept album played in his efforts to adopt a countercultural image, develop a younger audience and challenge the hegemony of the country music industry. Moreover, close examination of Nelson's compositional approach to three albums – Yesterday's Wine (1971), Phases and Stages (1974) and Red Headed Stranger (1975) – reveals that Nelson consciously blended the singles-based approach to songwriting that predominated in 1960s and 1970s Nashville and the extended narrative and musical forms of contemporaneous rock music to create musical products that suited the needs of country radio and rock fans alike.
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Vajda, Peter, Ivan Ivanov, Jong-Seok Lee, and Touradj Ebrahimi. "Epitomize Your Photos." International Journal of Computer Games Technology 2011 (2011): 1–11. http://dx.doi.org/10.1155/2011/706893.
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With the rapid growth of digital photography, sharing of photos with friends and family has become very popular. When people share their photos, they usually organize them into albums according to events or places. To tell the story of some important events in one’s life, it is desirable to have an efficient summarization tool which can help people to receive a quick overview of an album containing large number of photos. In this paper, we present and analyze an approach for photo album summarization through a novel social game “Epitome” as a Facebook application. This social game can collect research data, and, at the same time, it provides a collage or a cover photo of the user’s photo album, while the user enjoys playing the game. The proof of concept of the proposed method is demonstrated through a set of experiments on several photo albums. As a benchmark comparison to this game, we perform automatic visual analysis considering several state-of-the-art features. We also evaluate the usability of the game by making use of a questionnaire on several subjects who played the “Epitome” game. Furthermore, we address privacy issues concerning shared photos in Facebook applications.
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McKeon, Ed. "THE CONCEPT ALBUM AS CURATORIAL ‘MEDIUM’: COLIN RILEY'S IN PLACE." Tempo 75, no. 296 (March 10, 2021): 46–56. http://dx.doi.org/10.1017/s0040298220000947.
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AbstractColin Riley's collaborative and curated project In Place (2015–18) – with its exploration of memory, place, language and identity – becomes a stimulus for considering the intertwining relationship between the song cycle and the album form. Featuring seven commissioned poets alongside found texts, In Place simultaneously assembles fragments of contemporary Britain and its broken tongues whilst reflecting on the current possibilities for binding these through song. Riley and his collaborators construct a sense of place in the movements between idiom, psychogeography, field recordings, samples, instrumental voices, speech and song, rather than from any fixed location, reference, identity or origin. I argue that this adapts and learns from the history of the album as a form of double binding, both of a finite set of materials and, crucially, of a community or interpersonal relations. With its development in the modern era through the poetry collection, song cycle, and recording, the album provides a model for living, collective remembrance, contrasting with the archival paradigm of preserving cultural authority. Its transformation and persistence are pursued with the emergence of the concept album through to music streaming, offering an historical framework in which In Place can be appreciated as a contribution to the contemporary ‘return to memory’.
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Palkina, Iryna. "The Album “Guernica” by the “KAT” band: a Musical Representation of a Painting by Pablo Picasso." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 133 (March 21, 2022): 71–82. http://dx.doi.org/10.31318/2522-4190.2022.133.257316.
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Relevance of the study. Rock art has a syncretic origin and gravitates towards multi-level synthesis throughout the history of its development. Incorporating elements from other art forms is an essential characteristic of rock music. The trends in the interaction of art forms in the field of rock culture are considered on the example of the concept album “Guernica” by the “KAT” band, dedicated to the cognominal painting by Pablo Picasso. The main source of analysis is the audio recording of the album. The “Guernica” album is a vivid example of an artistic dialogue that takes place on the literary, musical and visual planes.
The scientific novelty of the study. The concept album “Guernica” by the Ukrainian hardcore band “KAT”, dedicated to the painting of the same name by Pablo Picasso, for the first time became the object of musicological analysis and is considered as an example of synthesizing trends in the field of rock art.
The main objective of the study is to determine the levels of artistic interactions between the concept album “Guernica” by the “KAT” band and the original painting by Pablo Picasso.
The methodology is based on the contextual method (to consider rock art as a synthetic phenomenon) as well as methods of holistic (to describe the album), comparative and intermedial analysis (to identify the levels of artistic interaction between a piece of music and the original painting).
Results of the study. The concept album “Guernica” by the hardcore band named “KAT” is not just a dedication to the cognominal painting by Pablo Picasso. Аrtistic dialogue between works of art takes place in the visual (album cover), literary (direct descriptions of the elements of the picture, the technique of seeing events from different angles borrowed from visual art, reportage style of texts) and musical plane (recitative intonations, fast drumbeats, extreme vocal techniques); on the descriptive (direct references to the elements of the picture) and emotional and figurative levels. The album is a vivid example of intermediality in the field of rock art.
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Suryani, Azizah, and Neneng Nurjanah. "MENGGALI MATURITAS DIRI: KAJIAN METAFORA PADA LIRIK LAGU ALBUM RIUH." Bahtera: Jurnal Pendidikan Bahasa dan Sastra 22, no. 2 (July 13, 2023): 154–64. http://dx.doi.org/10.21009/bahtera.222.03.
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This study examines the concept of self-maturity in the metaphor on the Riuh album created by Feby Putri by utilizing a qualitative approach using literature study techniques. The researcher focuses on the metaphors in Riuh's album through song lyrics which consist of ten songs. The data in this study is descriptive data that describes the concept of self-maturity in the metaphor of the song lyrics on the album 'Riuh'. The data source for this research is the verses in the song lyrics on the album 'Riuh'. The findings are 1) the researcher only took 4 different songs as research material, 2) there were 12 metaphorical data showing self-maturity in the lyrical verses studied
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Schab, Alon. "The Concept Album and the Early Music Revival." Journal of Musicological Research 40, no. 4 (October 2, 2021): 323–48. http://dx.doi.org/10.1080/01411896.2021.1993738.
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Fontes, Olney Leite, Fátima Cristiane Lopes Goularte Farhat, Amarilys Toledo Cesar, Marilisa Guimarães Lara, Maria Imaculada Lima Montebelo, Cíntia Maria Bertaglia Luizetto, and Marco Vinícius Chaud. "Evaluation of the effect of different concentrations of Arsenicum album 6cH on intoxicated rats." International Journal of High Dilution Research - ISSN 1982-6206 8, no. 28 (December 28, 2021): 119–27. http://dx.doi.org/10.51910/ijhdr.v8i28.349.
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Aims: Homeopaths diverge on the concept of dose, i.e. the amount of drug that a patient must take to alter his or her state of disease. In order to stimulate reflections on this concept, this study sought to evaluate in vivo the effect of different concentrations of Arsenicum album 6cH prepared according to homeopathic pharmacotechnics. Methods: male Wistar rats were intoxicated with arsenic and then treated with Arsenicum album 6cH and Arsenicum album 6cH diluted at 1%, administered orally. The amount of arsenic retained in the animals’ organism and that eliminated by urine were measured through atomic absorption spectroscopy. Samples of urine were collected before and after intoxication and during treatment. The positive control group (intoxicated animals) and the negative control group (non-intoxicated animals) received only the vehicle used in the preparation of the medicine. Results: Groups treated with Arsenicum album 6cH and Arsenicum album 6cH diluted at 1% eliminated significant amounts of arsenic when compared to the control groups. The group treated with Arsenicum album 6cH eliminated significantly higher amounts of arsenic than the group treated with the diluted medicine at 1%. Conclusion: results suggest that Arsenicum album 6cH should not be diluted as not to compromise its effectiveness in the treatment of rats intoxicated with arsenic.
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Decker, Todd. "Fancy Meeting You Here: Pioneers of the Concept Album." Daedalus 142, no. 4 (October 2013): 98–108. http://dx.doi.org/10.1162/daed_a_00233.
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The introduction of the long-playing record in 1948 was the most aesthetically significant technological change in the century of the recorded music disc. The new format challenged record producers and recording artists of the 1950s to group sets of songs into marketable wholes and led to a first generation of concept albums that predate more celebrated examples by rock bands from the 1960s. Two strategies used to unify concept albums in the 1950s stand out. The first brought together performers unlikely to collaborate in the world of live music making. The second strategy featured well-known singers in songwriter-or performer-centered albums of songs from the 1920s, 1930s, and 1940s recorded in contemporary musical styles. Recording artists discussed include Fred Astaire, Ella Fitzgerald, and Rosemary Clooney, among others.
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Michailowsky, Alexei. "Patsy Gallant and Video Games." Journal of Sound and Music in Games 3, no. 4 (2022): 29–47. http://dx.doi.org/10.1525/jsmg.2022.3.4.29.
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Canadian artist Patsy Gallant (born 1948), who achieved worldwide commercial success as a disco queen, released Take Another Look in 1984. The album tells the story of the “High Tech Girl,” a female cyborg character that serves as a metaphor for Patsy herself to address the imminent end of her marriage to musician Dwayne Ford through the album. For the first time in the singer’s discography, synthesizers and MIDI sequencers took a predominant role. Those new digital technologies inspired the construction of a futuristic piece where distinct elements such as the sleeve photos, the lyrics, the musical arrangements, and the final sound interacted with each other according to an unevenly organized concept. Sound effects and repeating short musical loops were created with the synthesizers to represent narrative elements through the tracks. This article combines interpretative studies, musical analysis, semiotics, and studies related to Patsy Gallant’s biography (as well as her accounts of the making of the album during interviews and conversations with the author) to investigate the intersections between Take Another Look and the background music presented in early home console games, as well as the overall influences of early video game music on the album. It takes into consideration some concepts featured in video game design and game audio literature, notably studies of game narrative, the function of audio elements on gameplay, and game semiotics. In the article, Take Another Look is highlighted as an innovative album where video games are important narrative and sonic references. The language of video games impacts the artistic concept of the record and the metaphors related to both the construction of Patsy Gallant’s musical persona and the music for the project.
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LAMBERT, PHILIP. "Brian Wilson’s Pet Sounds." Twentieth-Century Music 5, no. 1 (March 2008): 109–33. http://dx.doi.org/10.1017/s1478572208000625.
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AbstractPet Sounds, the landmark Beach Boys album of 1966, has received wide acclaim as one of rock’s first ‘concept albums’. It also represents a milestone in the artistic evolution of the group’s primary creative force, Brian Wilson. A thorough examination of the texts and music of the songs of Pet Sounds reveals a unified art work projecting a coherent textual narrative. Songs are associated and interrelated via recurrent motives and harmonic patterns, expressing extremely personal themes of romance and heartbreak. The musical ideas are mostly culminations of Brian Wilson’s earlier work – they are the ‘pet sounds’ that he had been raising and nurturing since the early 1960s – but they appear here in an unprecedented artistic context. Despite Wilson’s continued, if sporadic, productivity in the decades that followed, including the ill-fated Smile project, Pet Sounds stands as his crowning artistic achievement, an album with vast appeal and broad influence.
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Nowak, Raphaël. "Radiohead and the Resistant Concept Album: How to Disappear Completely." IASPM Journal 3, no. 1 (February 15, 2013): 100–102. http://dx.doi.org/10.5429/616.
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Burns, Lori A., and Patrick Armstrong. "Structuring subjectivity: Pain of Salvation’s The Perfect Element: Part I (2000)." Metal Music Studies 7, no. 3 (September 1, 2021): 357–82. http://dx.doi.org/10.1386/mms_00055_1.
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This article examines how Pain of Salvation’s album The Perfect Element: Part I (2000) develops narrative subjectivity through a range of compositional and performative parameters. We reveal a myriad of ways in which the music contributes to the expression of human subjectivity and offers significant moments of interpretive clarity. Attending to the expressive aspects of music, we focus in particular on how the song structures are articulated through the following elements: formal, harmonic, temporal, thematic and textural/timbral content. Contextualizing the concept album narrative within the genres of progressive rock and heavy metal and offering a framework for analysis derived from narrative theory, we interpret how the musical parameters convey the song lyrics and overall album concept. Pain of Salvation’s narrative of human trauma emerges through musical structures that are channelled to shape storyworld and subjectivity. Presenting analytic snapshots of the twelve album tracks, our aim is to create a sense of analytic ‘immersion’, whereby the reader engages actively with the multifaceted expressive content of words and music.
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De la Iglesia, Martin. "I'M ALWAYS TOUCHED BY YOUR PRESENCE, DEAR: BLONDIE ALBUM COVERS AND THE CONCEPT OF PRESENCE." Revista Europeia de Estudos Artisticos 4, no. 2 (June 30, 2013): 59–95. http://dx.doi.org/10.37334/eras.v4i2.58.
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Often, works of art are praised for their “presence”. What exactly this term means, however, is less frequently specified. In this article, presence is defined as a trait of an artwork to cause the vague and possibly subconscious feeling in a viewer that a depicted figure is a living being that is really there, although the viewer is aware that this is not actually the case. By means of an extensive literature review, this article provides criteria for the assessment of presence in any work of art. A methodology for applying these criteria is presented, which is put to the test by assessing the degree of presence in the cover art of the New Wave band Blondie's first six albums (1976-1982). The results of this analysis are then compared to two test samples: other New Wave album covers, and Heavy Metal covers
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De la Iglesia, Martin. "I'M ALWAYS TOUCHED BY YOUR PRESENCE, DEAR: BLONDIE ALBUM COVERS AND THE CONCEPT OF PRESENCE." ERAS | European Review of Artistic Studies 4, no. 2 (June 30, 2013): 59–95. http://dx.doi.org/10.37334/eras.v4i2.133.
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Often, works of art are praised for their “presence”. What exactly this term means, however, is less frequently specified. In this article, presence is defined as a trait of an artwork to cause the vague and possibly subconscious feeling in a viewer that a depicted figure is a living being that is really there, although the viewer is aware that this is not actually the case. By means of an extensive literature review, this article provides criteria for the assessment of presence in any work of art. A methodology for applying these criteria is presented, which is put to the test by assessing the degree of presence in the cover art of the New Wave band Blondie's first six albums (1976-1982). The results of this analysis are then compared to two test samples: other New Wave album covers, and Heavy Metal covers.
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Nowak, Raphaël. "Radiohead and the Resistant Concept Album. How to Disappear Completely." IASPM@Journal 3, no. 1 (June 10, 2013): 100–102. http://dx.doi.org/10.5429/2079-3871(2012)v3i1.12en.
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Stefaniak, Alexander. "Remixing Multimovement Works, Classical Music Concept Albums, and Twenty-First-Century Pianists’ Interpretations of the Canon." 19th-Century Music 47, no. 1 (2023): 53–85. http://dx.doi.org/10.1525/ncm.2023.47.1.53.
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Nineteenth-century pianists routinely treated multimovement works—sonatas, suites, and character-piece sets—not as integral cycles but as sources of movements to excerpt, interpolate, and recombine. Exploring how five twenty-first-century pianists have adapted this practice illuminates the broader history of piano performance and the creative agency of performers invested in canonic works and ideals of Werktreue. Víkingur Ólafsson, Inon Barnatan, Alice Sara Ott, Khatia Buniatishvili, and Hélène Grimaud recombine multimovement works within the context of the concept album genre, a fixture of popular music largely unexplored within classical music. Within their opus-mixing concept albums, these pianists reinterpret the effect in performance and imagined cultural meaning of canonic repertoire. By determining an album’s track-to-track unfolding, they create original tonal, motivic, textural, and topical interrelationships and trajectories. The pianists, liner-note writers, and promoters also frame these albums with rich verbal discourses in which they assert this repertoire’s relevance and even contemporaneity for twenty-first-century listeners. Exploring these albums offers a glimpse of how performers of the classical canon navigate a twenty-first-century, digitally mediated media ecosystem. More broadly, it turns our attention to how this largely unexplored aspect of classical performance and recording shapes the way audiences encounter musical works and performers create public personae.
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Fajaraditya Setiawan, I. Nyoman Anom. "Kajian Rancangan Promo Album Faito 61 Tahun 2008." Jurnal Bahasa Rupa 1, no. 1 (October 28, 2017): 1–10. http://dx.doi.org/10.31598/bahasarupa.v1i1.134.
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Music has many lovers, especially in Bali there are many bands from various musical genres. In the development of indie music labels required hard work in creativity as supporting the popularity and success in the field of music. Faito 61, the band that existed from many hardcore bands of Bali maintained its existence with it so it is known among hardcore music fans from 2004-2010. Efforts to improve creativity and quality, Faito 61 released its first album as proof of maturity to fans and the community in addition to the creations of musicians that can generate and increase the band's popularity. It utilizes visual communication media as a supporting tool to maximize the album promo and this can also increase the popularity and sales of Faito 61 album. The existing media is so diverse that it needs to be selective and in accordance with theories, concepts and field conditions. For such provision it must begin with research and theoretical review. The hardcore concept is lifted according to the flow of the band. The design of Faito 61 album promo media, applied hardcore elements ranging from illustrations, typography and colors. Data obtained from direct interviews with direct observation media that has been owned so far then compared with design theory. Further analyzed qualitatively so that it can be concluded as the basic design.
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Bolay, Jordan. "‘Their song was partial; but the harmony […] suspended hell’: Intertextuality, voice and gender in Milton/Symphony X’s Paradise Lost." Metal Music Studies 5, no. 1 (March 1, 2019): 5–20. http://dx.doi.org/10.1386/mms.5.1.5_1.
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I illustrate how Symphony X’s concept album retells Milton’s Paradise Lost and complicates the narrative through its use of voice and creative extrapolation, resulting in an intertextual relationship through which the album and epic influence one another’s readings, particularly with regard to gender and the biblical binary of good/evil. One of the difficulties in interpreting the album is that singer Russell Allen shifts his tone of voice to suit the mood of the song, not to denote a change in speaker. Thus, key passages that blend characters’ voices on the album further emphasize the deconstruction of good and evil introduced through the extrapolated narrative and challenge the traditional gender roles presented in the source text. I conclude that within Symphony X’s writing and performances of Paradise Lost, the combination of performative genders challenges the politics of both the source text and the album’s cultural context, i.e. that of heavy metal.
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Duff, De Angela L. "Controversy: Materializing the Mystique and Mythology of Prince." AMP: American Music Perspectives 2, no. 1 (February 1, 2021): 5–14. http://dx.doi.org/10.5325/ampamermusipers.2.1.0005.
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ABSTRACT Prince’s fourth album, Controversy, anchored the trajectory of his entire career and significantly shaped his status as a music icon. During this era, Prince leveraged his prodigious capacity for placemaking and worldbuilding and sparked his journey as a moving image auteur and film director. During the Controversy tour, Prince began experimenting with the visual language of narrative cinema as a vehicle for his music. He would go on to predate Beyoncé’s concept of the visual album by decades. The ubiquity of smoke from fog machines, combined with backlighting, present on tour and in music videos and album art, would come to mythologize the image of Prince that pop culture, more often than not, depicts—mysterious, otherworldly, and bewitching.
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Aghoro, Nathalie. "Agency in the Afrofuturist Ontologies of Erykah Badu and Janelle Monáe." Open Cultural Studies 2, no. 1 (November 1, 2018): 330–40. http://dx.doi.org/10.1515/culture-2018-0030.
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Abstract This article discusses the visual, textual, and musical aesthetics of selected concept albums (Vinyl/CD) by Afrofuturist musicians Erykah Badu and Janelle Monae. It explores how the artists design alternate projections of world/subject relations through the development of artistic personas with speculative background narratives and the fictional emplacement of their music within alternate cultural imaginaries. It seeks to establish that both Erykah Badu and Janelle Monae use the concept album as a platform to constitute their Afrofuturist artistic personas as fluid black female agents who are continuously in the process of becoming, evolving, and changing. They reinscribe instances of othering and exclusion by associating these with science fiction tropes of extraterrestrial, alien lives to express topical sociocultural criticism and promote social change in the context of contemporary U.S. American politics and black diasporic experience.
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Rubin, Daniel Ian. "Mindcrime and Doublethink: Using Music to Teach Dystopian Literature." English Journal 101, no. 2 (November 1, 2011): 74–79. http://dx.doi.org/10.58680/ej201118238.
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Muhammad Akhdan Sytra and Defrizal Saputra. "Desain Album “Collide” Band Dieonic." Jurnal Riset Rumpun Seni, Desain dan Media 3, no. 1 (January 25, 2024): 148–59. http://dx.doi.org/10.55606/jurrsendem.v3i1.2561.
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Dieonic is an Alternative Rock music group with the Shoegaze subgenre hailing from Padang, Indonesia. Formed in 2022, Dieonic presents a fusion of key shoegaze elements within a series of alternative rock tracks, refining the essence of emo music. In the midst of Padang's vibrant underground music scene, Dieonic emerges with a distinctive sound, deviating from the conventional trends. This latest project aims to develop a visual communication concept that mirrors the artistic visualization of Dieonic's musical creations and their unique identity. Beyond offering educational insights into the significance of album design in the music industry, this endeavor concentrates on fortifying Dieonic's visual branding as a pivotal aspect of the band's identity, employing a semiotic approach. The cover design for Dieonic's 'Collide' album underwent a meticulous process, utilizing the 5W+1H analysis and the 4D method design for data analysis. The subsequent creative design seeks to encapsulate the band's essence. The resulting design serves as the primary medium in the form of the album itself, accompanied by supplementary materials such as album CDs, booklets, Spotify previews, posters, t-shirts, and flags. These diverse media will undergo thorough testing for their efficacy with a verified target audience to gauge their overall success.
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Rachubińska, Klaudia. "I’d like to mee tyou in a timeless, placeless place. Kobiecość i przestrzeń oczami Luce Irigary i Suzane Vegi." Kultura Popularna 3, no. 53 (February 26, 2018): 51–60. http://dx.doi.org/10.5604/01.3001.0010.8266.
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The article views American singer-songwriter Suzanne Vega's album Solitude Standing (1987) through the lens of the writings of a French psychoanalyst and feminist scholar Luce Irigaray. Vega's captivating stories of lonesome heroines stranded in monotonous and alienating urban landscapes resonate with Irigaray's concept of femininity as place. The questions of placement and placelessness that permeate the album make for an interesting context in which Irigaray's 'ethics of sexual difference' can be explored in relation to both the feminine experience and artistic practice.
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Jensen, Robert J. "Teaching Mathematics with Technology: Concept Formation in Geometry: A Computer-aided, Student-centered Activity." Arithmetic Teacher 35, no. 7 (March 1988): 34–36. http://dx.doi.org/10.5951/at.35.7.0034.
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Computers are well suited for generating geometric figures of random size and shape. Children are able to form conceptual generalizations when given various examples and counterexamples of a particular class of objects. This month's department suggests one possible way to combine this technological facility of the computer with students' natural abilities for concept formation into a powerful learning tandem. Small groups of students will be asked to create a “family album” for a specific shape. In the process, students will first use a computer to generate random samples of this shape and to obtain measures of specific attributes for each figure. Then they will use a ruler and protractor to reproduce these examples for their albums. Finally, they will develop a list of properties for the shape they are investigating. In the construction of their own descriptions for a particular geometric shape, students will creatively engage in the doing of mathematics. The principal tools for this activity will be a computer, the Geometric preSupposer software, a metric ruler, and a protractor.
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Hagen, Katharina. "Postmodernism in Lord Of The Lost’s Judas: The apocryphal The Gospel of Judas, William Shakespeare’s Romeo and Juliet, and the role of the stars." Metal Music Studies 10, no. 1 (March 1, 2024): 27–40. http://dx.doi.org/10.1386/mms_00125_1.
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Lord Of The Lost’s Judas (2021) is a thematic concept album exploring different aspects of the Judas reception without a straightforward narrative or interpretation, but covering varying viewpoints on betrayal and salvation. It hereby pushes the boundaries of heavy metal as a genre by combining different texts. The band explicitly points out their first source of inspiration, the apocryphal The Gospel of Judas (~100–80 ad), and adds that the album also features the literary theme of impossible (here: brotherly) love. I argue that the album references a specific text implementing this theme, namely William Shakespeare’s Romeo and Juliet (1597), most prominently implied by ‘star-crossed’. These two texts are as different as they could be, contrasting, e.g. religious enlightenment and entertainment. Still, they have one thing in common: they both rely heavily on Christian astrology. By investigating how the album makes use of this shared motif to create its own version of star-induced fate, I show how both texts overlap and intermingle on the album. The result is a kaleidoscope that is a prime example of postmodernism. By refusing a fixed depiction of Christian imagery and even adding another text, Judas demonstrates that art does not have to be linear or limiting, and opens heavy metal to new, postmodern ways.
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Svetlova, Anna. "The poet who failed his best play? Podmiot mówiący w utworach zespołu Nightwish wobec paradygmatu romantycznego." Annales Universitatis Paedagogicae Cracoviensis. Studia de Cultura 3, no. 10 (2018): 72–87. http://dx.doi.org/10.24917/20837275.10.3.6.
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The poet who failed his best play? Speaking subject in the tracks of Nightwish in the face of the romantic paradigm The article gives an insight into the problem of lyrical subject in songs recorded by Nightwish, along with the myth of the damned poet led by the group’s leader, Tuomas Holopainen, and romantic concepts of poetry, love and nature. It raises issues of autobiography and authenticity of artists, as well as the multidisciplinary narrative in rock music led on literary, iconic and musical levels. This text focuses primarily on the early Nightwish songs, the Century Child concept album and the End of an Era concert as the last live performance of Nightwish with Tarja Turunen as the lead singer.
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Cambria, Erik, and Amir Hussain. "Sentic Album: Content-, Concept-, and Context-Based Online Personal Photo Management System." Cognitive Computation 4, no. 4 (May 3, 2012): 477–96. http://dx.doi.org/10.1007/s12559-012-9145-4.
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Yulia Awalliyah, Fany Haifa Alia, Sili Muldiyanti, and Fikri Hakim. "Makna Asosiatif Lirik Lagu Dalam Album Laskar Cinta Dewa 19: Kajian Semantik Dan Pandangan Sufistik." Semantik : Jurnal Riset Ilmu Pendidikan, Bahasa dan Budaya 2, no. 1 (December 12, 2023): 10–25. http://dx.doi.org/10.61132/semantik.v2i1.144.
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Associative meaning is the meaning that a word has that is interconnected with circumstances outside of language. Associative meaning is also related to changes in meaning due to the similarity of characteristics of a word. Language communities use associative meaning to express other concepts that are similar to the nature, condition or characteristics of the concept from which the word or lexeme originates. Associative meaning can be found in various fields of language arts, one of which is in song lyrics. Therefore, this research aims to describe the associative meaning and link with tasawwuf in the song lyrics in the album "Laskar Cinta" by Dewa 19. The method used in this research is qualitative descriptive analysis and uses a semantic approach. In Dewa 19's "Laskar Cinta" album, there are 12 songs, but the 4 song titles analyzed contain 11 data that use associative meanings and meanings linked to tasawwuf. The associative meaning is identified by finding a word that has a meaning outside of language.
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McCallum, Duncan. "The Secret Path to Reconciliation." CAML Review / Revue de l'ACBM 52, no. 1 (June 6, 2024): 60–74. http://dx.doi.org/10.25071/1708-6701.40486.
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In 2016, Canadian musician Gord Downie released a solo concept album titled Secret Path, which dealt with the death of Chanie Wenjack, an Anishinaabe boy who passed away after escaping an Ontario residential school in the 1960s. This album came just one year after the Final Report of the Truth and Reconciliation Commission (TRC) was published, marking a major national step in the reconciliation process. This, in combination with Downie’s terminal brain cancer diagnosis that same year, gave the album a particularly heightened prominence within Canada. This paper examines Downie’s album through the musicological framework of secondary musical witnessing, where Downie acts as a witness in defining the story of Chanie Wenjack. Through analyzing Downie’s role as a musical witness, broader questions of Indigenous allyship are explored through the colonial lens of settler witnessing. This paper aims to explore the nuances and circumstances around Secret Path to understand its historical and cultural significance in the reconciliation movement upon its release, as well as the problems with its legacy related to Indigenous allyship when judged by modern standards as a way of demonstrating how far the reconciliation movement has progressed since 2016.
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Zhang, Zhuoran. "The Embodiment of Postmodernism in Ryuichi Sakamoto's Rap Track Undercooled." Journal of Education, Humanities and Social Sciences 26 (March 2, 2024): 431–37. http://dx.doi.org/10.54097/0v2er677.
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Since the postmodernism has spread around the world and the advent of electronic music, more and more composers based on traditional music concepts are fusing modern technology to explore sound and acoustics, using the combination of acoustic instruments and electronic music. Ryuichi Sakamoto is one of the most representative composers of contemporary electronic music influenced by postmodernism. This article will take Ryuichi Sakamoto 's work Undercooled, composed in 2004 from album Chasm, as an example to analyze The musical structure, melody design, lyrics will be the focus of the analysis. Secondly, through the analysis of the postmodernism concept displayed in this piece, the author tries to clarify the postmodernism concept is reflected in the music piece.
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Thomas, Virginia. "Black Tree Play: Learning From Anti-Lynching Ecologies in The ‘Life and Times’ of an American Called Pauli Murray." Feminist Review 125, no. 1 (July 2020): 70–87. http://dx.doi.org/10.1177/0141778920918582.
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This article reads the photo album, The ‘Life and Times’ of an American Called Pauli Murray as an archive of anti-lynching pasts and futures. While scholarly discourses have leveraged Murray’s archive for evidence of her ‘true’ gender and sexual orientation, this article uses the reading practice of ‘accompaniment’ to reframe investigations of Murray’s identity into thinking with and learning from the strategies she archived in the album for living in atmospheres of antiblackness. Working with Christina Sharpe’s (2016) concept of ‘weathering’, I read several photographs in Murray’s album as burgeoning ecologies of repair in relation to visual technologies of racial capture, particularly that of lynching photography. Reading passages in which Murray talks about lynching and race as atmospheric from Proud Shoes (1999 [1956]) and Song in a Weary Throat (1987) alongside The ‘Life and Times’, I read Murray’s portraits as rupturing white property relations through turning lynching photography’s scripts inside out.
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Szarecki, Artur. "From Albums to Musicking Assemblages: Virtual Structures and Topological Unfoldings in Toyomu’s “Imagining” of Kanye West’s The Life of Pablo." Przegląd Kulturoznawczy, no. 1 (55) (March 30, 2023): 53–68. http://dx.doi.org/10.4467/20843860pk.23.004.17847.
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In 2016, Kanye West released his highly anticipated eight album, The Life of Pablo, on a streaming platform Deezer, where it remained exclusively available for over a month. This prevented audiences from several countries, where the service has not yet launched, from accessing it. As a result, Japanese electronic music producer, Toyomu, created his own version of the album, without hearing the original. Browsing the internet, he tracked every sample and every lyric that West used, and assembled them into an original work, comprising an “imagining” of how The Life of Pablo could have sounded. His endeavor, while ingrained in the cultural logic of remix, goes beyond it, comprising a unique musical entity that eludes easy categorization. Therefore, the paper employs Manuel DeLanda’s assemblage theory to account for its specificity. This entails a shift from a relational and processual understanding of the musical album, already implied in West’s work, to mapping the topological structure of possibilities, defined by invariants and attractors, that hints at real but not actual vectors of its becoming. As such, Toyomu’s undertaking provides an opportunity to further rethink the concept of the musical album in a time when it was already decentered by the transition from material objects to digital data.
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Bačiulienė, Kristina. "Language of Love in Marcelijus Martinaitis „Atmintys“." Respectus Philologicus 26, no. 31 (October 25, 2014): 98–109. http://dx.doi.org/10.15388/respectus.2014.26.31.7.
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The notion of transcendental love in the context of “the eternal return”, the motif of Eros, and the image of a woman are discussed in Marcelijus Martinaitis’s book “Atmintys: meilės lyrikos albumas” (Eng. Reminiscences: the album of love lyrics”) (2008). The methods of mythopoetic thought, comparativistics, and interpretative mind have been applied. On the basis of the Bible, mythology, the notion of and relation between Eros and Love, also combining notions developed by philosophers as Nikolai Berdyaev, Erich Fromm, Vladimir Solovyev, phenomenologists as Algis Mickūnas, Mircea Eliade, Plato, and insights by popes Paul VI and Benedict XVI, a concept which might be useful in deciphering the language of love in Marcelijus Martinaitis’s book is introduced. The primary code of the album of love is the concept of memory and the notion of love as seen by Oskaras Milašius, while the secondary code relates to Dante, chivalric romance of Provence troubadours, legends of King Arthur, Celtic mythology. The genre of M. Martinaitis’s reminiscences was born when the poet was studying in Gervinės, and the first collection of Reminiscences appeared in 1986. The text of Reminiscences was seen as hermetic, intertextual, reflecting the act of cosmogony and antropogony in permanent space-time. The process of word re-creation is associated with archetypal consciousness, and the cycle of “the eternal return” prevails. Love is perceived as transcendental and existential basis, a purpose to merge with God, God’s gift to humanity, and the vision of love object. Eros (passion) is ambivalent: it is earthly / heavenly, sinful / divine, creating / destructive, and driving power of creation. A woman is seen as earthly / sensual, divine / unreachable. An issue which motif (Christian or courtesan literature) dominates in the album of love lyrics is discussed. Album is of great interest as an immanent text.
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Terentyev, S. S. "Genre and Style Features of Dutch Symphonic Metal (on the Example of Epica)." Art & Culture Studies, no. 3 (October 2021): 380–405. http://dx.doi.org/10.51678/2226-0072-2021-3-380-405.
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The article is devoted to the work of the famous Dutch symphonic metal band Epica. The material highlights the genre and stylistic features of the music of this group, reveals the key features of the album concepts, determines the place of the band in the genre and style context of rock music in general and symphonic metal in particular. The genetic connection of symphonic met.al with progressive metal is revealed. On the example of Epica’s many-part compositions, which are based on various cultural sources and references to scientific theories, clothed in complex conceptual forms, the principle of “superhybridity” (J. Heiser’s term) is derived. As a formative principle of the group’s album triptych (The Quantum Enigma, The Holographic Principle, Omega), the concept of “metanarrative” (term by J.-F. Lyotard) is considered, the rehabilitation of which can be observed in the mainstream of the general processes of metamodernism in music. The author also refers to the developments of a number of researchers who have devoted their scientific works to the issues of terminology and typology of rock music.
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Clark, Joe C. "Radiohead and the Resistant Concept Album: How to Disappear Completelyby Marriane Tatom Letts." Music Reference Services Quarterly 14, no. 1-2 (January 2011): 66–67. http://dx.doi.org/10.1080/10588167.2011.570204.
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Woloshyn, Alexa. "A Tribe Called Red’s Halluci Nation: Sonifying Embodied Global Allegiances, Decolonization, And Indigenous Activism." Articles 36, no. 2 (October 1, 2018): 101–9. http://dx.doi.org/10.7202/1051602ar.
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“We are the tribe that they cannot see. We live on an industrial reservation. We are the Halluci Nation.” These words from Indigenous activist and poet John Trudell (1946–2015) inspired the latest album by Ottawa-based Indigenous DJ collective A Tribe Called Red (ATCR) and frame its pan-Indigenous, transcultural message. Inter-tribal relationships are both common and important to Indigenous communities, especially in urban centres. Powwows are also events that emphasize intertribal and intercultural relationships, even as they hosted by a specific nation. With Halluci Nation, ATCR seeks to foster far-reaching allegiances across culture, ethnicity, and place to “[understand] oppression and how to collectively dismantle oppression” (DJ NDN of ATCR). This article argues that ATCR’s Halluci Nation sonifies a process of decolonization that establishes an embodied network of global allies. I trace the development of ATCR’s music from its original focus on the Ottawa Indigenous community and its non-Indigenous allies to a call for nation-to-nation relationships (see Juno Award–winning album Nation II Nation, 2013), and then now to a concept album that seeks to manifest a real “Halluci Nation” with members from around the world. Analysis of ATCR’s music, audience, and Halluci Nation album is contextualized by studies of community formation and identity politics in intertribal initiatives), such as powwows and friendship centres, and pan-Indigenous activism, such as Idle No More.
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Kowalczuk, Urszula. "Album biograficzne zasłużonych Polaków i Polek wieku XIX. Warsztatowe studia przypadków." Poznańskie Studia Polonistyczne. Seria Literacka, no. 35 (November 5, 2019): 164–92. http://dx.doi.org/10.14746/pspsl.2019.35.8.
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The article proposes a new reading of Album biograficzne zasłużonych Polaków i Polek wieku XIX (1901–1903) [Biographic album of distinguished nineteenth-century Polish men and women (1901–1903)]. It is proven that this collection of characteristically designed biographies and an unusual collective biography is an important work of Polish humanities of the turn of the twentieth century that can be placed in relation to both Thomas Carlyle’s hero concept and Jacob Burckhardt’s postulates of the ‘anthropologisation of history’. The three selected biograms (Klaudyna Potocka’s by Aleksander Kraushar, August Hiacynt Dziarkowski’s by Józef Peszke and Adolf Pawiński’s by Jan Karol Kochanowski) are case studies allowing for the reconstruction of the dilemmas and text strategies each time specifying the biographer’s unique workshop and the techniques of uncovering it.
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Gusāns, Ingars. "CONCEPT OF LATGALE IN LYRICS OF LATGALIAN SCHLAGER MUSIC BANDS." Via Latgalica, no. 11 (February 20, 2018): 66. http://dx.doi.org/10.17770/latg2018.11.3069.
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The visibility and success of Latgalian schlager groups in Latvia are of interest not only due to music composed by these groups, but even more regarding lyrics created by these musical associations, and especially concerning their relation to Latgale. The aim of the research is to describe the manifestations of the concept of Latgale in the lyrics of Latgalian schlager groups. The object of the research is the concept of Latgale, the subject of the study consists of the texts of Latgalian schlager groups (“Patrioti.lg”, “Galaktika”, “Ginc un Es”, etc.). The source of the study is 12 albums that have come out over the period of ten years (2008–2017). Both Latgalian (the Latvian language of Latgale) and Latvian texts are discussed. Latgalian groups sing about the same themes that are covered around the world – love, everyday life, reflection, quest for the sense of life, etc. The concept of Latgale is among them too. Taking into account that the term concept is often used in different linguistic and cultural spheres and its limits of understanding are quite extensive, in this study it is used in the linguacultural sense, i.e., concept is a unit of collective consciousness guiding towards higher spiritual values, which is linguistically expressive and which possesses ethno cultural features (Аngelova 2004). The first discoverer of the concept of Latgale is language. In this research it is the Latgalian language consistently used by some groups, for example, “Patrioti.lg”; also the last album of duet Inga and Normunds (2015) is completely in Latgalian, while other artists (“Galaktika”, “Ginc un Es”) use Latgalian lyrics only in separate songs written either by musicians themselves or by poets. In any case, at least some songs in Latgalian included in an album are positive examples of the liveliness and functionality of language. Geographical names are rather widely represented in the lyrics and serve as a confirmation of the territorial identity of Latgale. Several titles directly include an indication to Latgale, for example, the titles of the following albums – “Munai Latgolai”, “Latgaleite”, or the names of songs – “Latgale”, “Munai Latgolai”, etc. Latgale’s most famous geographical objects associated with our region in the rest of Latvia are mentioned in schlager songs. For example, Latgale’s largest lakes Rāzna and Lubāns, the river Daugava, the hills – Liepukalns, Mākoņkalns. The naming of geographic objects is inextricably linked with the sense of homeland. The lyrics of these songs acknowledge patriotism and pride about our land or region, partly attributable to the mentioned geographical objects; however, the manifestation of the concept of Latgale is often expressed in descriptive terms. Several authors successfully use the symbols of Latgale, thus influencing the listener’s awareness even more, for example, Latgale as the land of blue lakes – a traditional and positive stereotype of the region. Latgale is closely associated with Latgalians’ belief in God due to the strong Catholic traditions. Authors of lyrics include religious motifs truly believing in their hearts or emphasizing religious themes on purpose in order to particularly impress people of middle and older generation who make up one of the main parts of target audience. The song lyrics written by poets (Ineta Atpile-Jugane, Leontīne Apšeniece, etc.) stand out for their artistic and ideological qualities in contrast to texts created by musicians themselves. In their poetry too there is a call to stay, live and work in Latgale. It should be considered a positive trait that Latgale is not shown as a wictim, but it is a place that symbolizes hope and patriotism. As the main function of schlager music is entertaining the listeners, a number of texts depict cheerful social and party situations where beer belongs as one of the unwritten symbols of Latgale and Latvia. Also a significant part of Latgale is song, which gives strength and unites people. The portrayal of Latgale in lyrics mostly invokes nostalgic and positive emotions, confirming Latgalian values and objects that are known to common listeners.
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Merlini, Mattia. "A second of structured chaos: Kosmos/chaos dialectic in Meshuggah’s Catch 33." Metal Music Studies 9, no. 3 (September 1, 2023): 311–29. http://dx.doi.org/10.1386/mms_00117_1.
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Among the most frequent features of the Swedish extreme metal band Meshuggah’s music, there is an omni-presence of minor-second intervals and distorted eight-string guitars, a remarkable amount of odd time signatures, aggressive vocals and an endless attempt to thwart the listener’s expectations. In this case study I analyse the many contradictions present in Meshuggah’s album Catch 33 (2005), which I interpret as a concept album about paradox or a long single song (constituted by thirteen individual tracks not separated by breaks) that seeks to balance the variety, complexity, ‘imperfection’ of its starting material – the chaos side of the album’s style – with elements that promote order, intelligibility and ‘perfection’ – its kosmos side. By which musical means does the band represent contradiction and paradox in this album, and their style in general? I argue that there are specific musical (but also conceptual, lyrical, structural and contextual) reasons that make the album representative of the band’s discography and style, to the point of being possibly considered their quintessential work (despite often being labelled as an experimental entry in the band’s output), and one of the most coherent incarnations of (proto-)djent stylistic features. The kosmos/chaos dialectic is the idea I choose to describe the ongoing struggle for stability at work in this music, capable of magnifying the beauty of imperfection and the paradoxical truth behind the sentiment, expressed in the lyrics, that we are ‘sentenced to a lifetime | a second of structured chaos’.
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Marstal, Henrik. "Lost in transcription? The songbook as mediator for the distribution of songs in a post-digital era." Journal of Popular Music Education 3, no. 1 (April 1, 2019): 51–65. http://dx.doi.org/10.1386/jpme.3.1.51_1.
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Taking its departure in Beck’s rather unusual release Song Reader (2012), a collection of songs in the format of a sheet book rather than an album, the article investigates the concept of the songbook as mediator for the distribution of songs. This is done by the use of Kirkesangbogen (2017), an unauthorized supplement to the Danish Psalm Book, in which a great number of songwriters have contributed – among these Nikolaj Paakjær. The article documents how one of his songs, included in Kirkesangbogen, came into existence in dialogue with his supervisor at the Rhythmic Music Conservatory in Copenhagen, where Paakjær attended the songwriting bachelor programme. In doing so, the article points to a number of pros and cons of publishing songs in the format of sheet music instead of the format of the album.
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Dieteren, Eva. "Fifty Years of the Concept Album in Popular Music: From The Beatles to Beyoncé." IASPM Journal 14, no. 2 (November 6, 2024): 207–10. http://dx.doi.org/10.5429/2079-3871(2024)v14i2.12en.
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Vögele, Pius Jonas. "The Ascension of the Astro-Goth – Yugen Blakrok’s Otherworldly Hip-Hop Poetics." Comparative Critical Studies 19, no. 3 (October 2022): 399–416. http://dx.doi.org/10.3366/ccs.2022.0455.
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This article explores the work of South African hip-hop artist Yugen Blakrok from an Afrofuturist perspective with a distinct focus on the Gothic, using Mark Fisher’s concept of sonic hauntology. The title of her debut album, The Return of the Astro-Goth (2013), already alludes to this otherworldly dimension in her music. On her second album, Anima Mysterium (2019), Yugen Blakrok delves deeper into the dark abyss of the cosmos and affirms her role as mythic sorceress, which becomes apparent in song titles such as ‘Gorgon Madonna’ and their visualizations as music videos. With the use of a broad set of intertextual references and sampling, and through the merging of various religious attributes from both African and Western traditions, the ancient fuses with the futuristic. The frequent use of Gothic tropes in the lyrics of Yugen Blakrok illustrates a deep interest in the otherworld, the in-between state of dreams, and the question of sound recordings as the haunting voices of the dead. While such contradictions of linear time exemplify Afrofuturism, this article makes a case for combining them with Rammellzee’s concept of Gothic Futurism in order to designate Yugen Blakrok’s unique approach as Astro-Gothic Futurism.