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Journal articles on the topic 'Studies and exercises (Popular music)'

Author: Grafiati

Published: 4 June 2021

Last updated: 4 February 2022

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1

Street, John, Matthew Worley, and David Wilkinson. "‘Does it threaten the status quo?’ Elite responses to British punk, 1976–1978." Popular Music 37, no. 2 (April 13, 2018): 271–89. http://dx.doi.org/10.1017/s026114301800003x.

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AbstractThe emergence of punk in Britain (1976–1978) is recalled and documented as a moment of rebellion, one in which youth culture was seen to challenge accepted values and forms of behaviour, and to set in motion a new kind of cultural politics. In this article we do two things. First, we ask how far punk's challenge extended. Did it penetrate those political, cultural and social elites against which it set itself? And second, we reflect on the problem of recovering the history and politics of moments such as punk, and on the value of archives to such exercises in recuperation. In pursuit of both tasks, we make use of a wide range of historical sources, relying on these rather than on retrospective oral or autobiographical accounts. We set our findings against the narratives offered by both subcultural and mainstream histories of punk. We show how punk's impact on elites can be detected in the rhetoric of the popular media, and in aspects of the practice of local government and the police. Its impact on other elites (e.g. central government or the monarchy) is much harder to discern. These insights are important both for enriching our understanding of the political significance of punk and for how we approach the historical record left by popular music.

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2

Sheppard, Jennifer R. "Sound of Body: Music, Sports and Health in Victorian Britain." Journal of the Royal Musical Association 140, no. 2 (2015): 343–69. http://dx.doi.org/10.1080/02690403.2015.1075810.

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ABSTRACTThis article explores ways in which music intersected with the growth of sports in Victorian Britain at the end of the nineteenth century. Although there have been valuable studies of music and sports recently, their main emphasis has been on popular music and contemporary sporting events; a study of the period when playing and watching sports began to acquire its present-day shape has yet to be undertaken. This article moves towards that by examining connections between music and sports through broader social and cultural developments, in particular new ideas about morality, health and physical fitness. It situates commentaries about the healthfulness of music in relation to nineteenth-century discourses about sport, in addition to contextualizing notions of singing and health in the increasing professionalization of Victorian medicine. Finally, this article extends and relocates early twentieth-century encapsulations of singing as physical exercise in the context of concern over degeneration in national fitness.

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3

Hernandez, Deborah Pacini. "Cantando la cama vacía: love, sexuality and gender relationships in Dominican bachata." Popular Music 9, no. 3 (October 1990): 351–67. http://dx.doi.org/10.1017/s026114300000413x.

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Several patterns emerge in bachata's discussions of love, sex and relationships with women. There is little sense of place in the songs – rarely is a specific place name mentioned or invoked, in marked contrast to other Caribbean musical genres associated with listeners of rural origins, in which place names are constantly invoked for affective purposes. The people in bachata songs do not seem to exist anywhere – except the bar, which, I suggest, is a metaphor for the urban shantytown itself. Neither is there a sense of movement, of going anywhere. There is no imagery of journey, or travel, unlike other musics, such as Brazilian popular music or US country music, in which the road and trucks figure prominently. People are neither being pulled or pushed anywhere – out of home, into home, out of work, into work.Life, as expressed in bachata songs, seems fragmentary and lacks coherence – and in that sense, these songs are thoroughly modern. The songs as texts are vignettes, brief snapshots – bites, to use contemporary jargon – that evoke salient parts of events or situations, rather than descriptive narratives that carefully develop a story over time and place. (The only exceptions are the double entendre songs, in which narrative is more a necessity as a framework for the word play than an end in itself.)Bachata songs focus on the pain of losing a woman, but the difficulties of city life are implicitly to blame. Given that both men and women experience this pain, it seems odd that bachateros express no sense of solidarity with women, of shared social and economic trouble, as can sometimes be found in rock songs, for example, where singers invoke the power of love to overcome economic hardship or social prejudice. Bachata expresses a strong sense of vulnerability, betrayal, alienation and despair; yet the songs' anger is directed not at those above – the middle and upper classes – who have indeed betrayed and abandoned the poor as a class: instead, men's wrath is directed below, to a group of people – women – even more vulnerable to exploitation than men themselves. As we have seen, in bachata women are often portrayed as the aggressors and men as victims. Yet men certainly know that even if they can no longer control women as they once may have, in the modern world men clearly exercise more power over their lives than women. Men can, in fact, afford the luxury of expressing vulnerability to emotional pain. Women are the silent ones; their voices are not heard, although their presence can nevertheless be felt intensely. These unresolved tensions, between owner and property, aggressor and victim, voice and silence, freedom and control, order and chaos, are all symbolically explored in bachata.

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4

McCrary, J. Matt, Emma Redding, and Eckart Altenmüller. "Performing arts as a health resource? An umbrella review of the health impacts of music and dance participation." PLOS ONE 16, no. 6 (June 10, 2021): e0252956. http://dx.doi.org/10.1371/journal.pone.0252956.

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An increasing body of evidence notes the health benefits of arts engagement and participation. However, specific health effects and optimal modes and ‘doses’ of arts participation remain unclear, limiting evidence-based recommendations and prescriptions. The performing arts are the most popular form of arts participation, presenting substantial scope for established interest to be leveraged into positive health outcomes. Results of a three-component umbrella review (PROSPERO ID #: CRD42020191991) of relevant systematic reviews (33), epidemiologic studies (9) and descriptive studies (87) demonstrate that performing arts participation is broadly health promoting activity. Beneficial effects of performing arts participation were reported in healthy (non-clinical) children, adolescents, adults, and older adults across 17 health domains (9 supported by moderate-high quality evidence (GRADE criteria)). Positive health effects were associated with as little as 30 (acute effects) to 60 minutes (sustained weekly participation) of performing arts participation, with drumming and both expressive (ballroom, social) and exercise-based (aerobic dance, Zumba) modes of dance linked to the broadest health benefits. Links between specific health effects and performing arts modes/doses remain unclear and specific conclusions are limited by a still young and disparate evidence base. Further research is necessary, with this umbrella review providing a critical knowledge foundation.

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5

Megoran, Nick. "The Critical Geopolitics of Danger in Uzbekistan and Kyrgyzstan." Environment and Planning D: Society and Space 23, no. 4 (August 2005): 555–80. http://dx.doi.org/10.1068/d56j.

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Drawing on critical security studies and critical geopolitics, I examine how geopolitical discourses of danger circulate in Kyrgyzstan and Uzbekistan. Whereas some work in this field risks reinscribing the discursive articulation of danger as an inevitable condition of political formation, in this paper I emphasise the need to disaggregate the concept of danger carefully to highlight its operation in specific contexts. I explore these processes across a range of discursive sites from official media to popular music, contrasting findings with material from focus groups composed of socially marginalised populations. I demonstrate the role of discursive constructions of danger or safety in the production and maintenance of the political identity of the new states, and how this is inseparable from material conditions of elite power struggle. I conclude by echoing Hewitt's call for a critical geography that confronts and challenges the domestic exercise of state terror.

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6

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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7

Shin, Hyunjoon. "Inter‐Asia popular music studies: cultural studies of popular music in Asia." Inter-Asia Cultural Studies 10, no. 4 (December 2009): 471–73. http://dx.doi.org/10.1080/14649370903166077.

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8

Mendez, Kyra Jennifer Waligora, and Hae Ra Han. "4056 Dementia family caregivers’ mobile app use and intention to adopt mHealth apps." Journal of Clinical and Translational Science 4, s1 (June 2020): 54–55. http://dx.doi.org/10.1017/cts.2020.194.

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OBJECTIVES/GOALS: To describe preliminary results of Alzheimer’s and dementia caregivers’ (CGs) mobile app use and intention to adopt mHealth apps for their own chronic condition self-management. To discuss implications for designing and implementing mHealth interventions for CGs. METHODS/STUDY POPULATION: This study aims to recruit 110 racially and ethnically diverse family caregivers (CGs) who have a chronic condition, provide care for persons with Alzheimer’s disease or related dementias, and have access to a mobile device. This is a cross-sectional correlational study collecting data with computer-assisted telephone interviews stored through REDCap. The study survey was created using existing surveys about mobile app use; relevant, well-validated research instruments; and questions from the U.S. Census and other national surveys. CGs are being actively recruited from the Baltimore-Washington metropolitan area using various recruitment strategies that have been effective in prior studies. RESULTS/ANTICIPATED RESULTS: The majority of CGs used websites (86%), mobile devices (68%) or apps (53%) to manage their own health. CGs using health-related apps were tracking their exercise (60%), diet (60%), medical records (50%), and physical health measures (50%). More than 4 out of 5 (82%) predicted they would use mobile apps to self-manage their chronic condition, though only 68% actually planned to use them. 86% of CGs were using mobile apps for non-health related purposes, with the most popular app being weather (90%), followed by social media (74%), music/entertainment (68%), and banking/business apps (63%). CGs used weather and social media apps most often (2 or more times/day) and spent 9 hours/week on apps. DISCUSSION/SIGNIFICANCE OF IMPACT: Websites and mobile apps appear to be feasible modes to deliver health interventions to CGs. Researchers should consider including features of apps most frequently used by CGs, such as the weather, ways to connect with others, and music/entertainment, when delivering mHealth interventions to CGs.

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9

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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10

JOHNSON, BRUCE. "DIRECTIONS IN POPULAR MUSIC STUDIES." Perfect Beat 2, no. 4 (October 6, 2015): 98–105. http://dx.doi.org/10.1558/prbt.v2i4.28773.

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11

Waksman, Steve. "Popular Music Studies and Interdisciplinarity." Journal of World Popular Music 6, no. 2 (November 26, 2019): 232–36. http://dx.doi.org/10.1558/jwpm.40177.

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12

Mitsui, Toru. "Popular music studies in Japan." Popular Music 7, no. 1 (January 1988): 103. http://dx.doi.org/10.1017/s0261143000002592.

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13

Cohen, Sara. "Ethnography and popular music studies." Popular Music 12, no. 2 (May 1993): 123–38. http://dx.doi.org/10.1017/s0261143000005511.

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Simon Frith (1982) once bemoaned the fact that students would rather sit in the library and study popular music (mainly punk) in terms of the appropriate cultural theory, than conduct ethnographic research which would treat popular music as social practice and process. Ten years later the literature on popular music is still lacking in ethnography.

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14

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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15

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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16

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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17

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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18

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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19

Till, Rupert. "Twenty First Century Popular Music Studies." IASPM@Journal 3, no. 2 (June 24, 2013): 1–14. http://dx.doi.org/10.5429/2079-3871(2013)v3i2.1en.

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20

Burns, Gary. "Interdisciplinary Editing in Popular Music Studies." Music Reference Services Quarterly 6, no. 3 (January 26, 1998): 45–51. http://dx.doi.org/10.1300/j116v06n03_05.

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21

Cooper, B. Lee. "Women's studies and popular music stereotypes." Popular Music and Society 23, no. 4 (December 1999): 31–43. http://dx.doi.org/10.1080/03007769908591751.

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22

Horn, David. "Institute of Popular Music." Popular Music 7, no. 3 (October 1988): 333–35. http://dx.doi.org/10.1017/s0261143000002993.

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23

Tôru, Mitsui. "A Popular Music anthology." Popular Music 10, no. 3 (October 1991): 347. http://dx.doi.org/10.1017/s0261143000004694.

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24

Albrecht, Michael Mario. "Mapping the Terrain of Contemporary Popular Music Studies: Reading Authenticity Theory intoThe Popular Music Studies Reader." Review of Communication 7, no. 3 (July 2007): 314–21. http://dx.doi.org/10.1080/15358590701480721.

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25

Partridge, Christopher. "Death, the Gothic, and popular music: Some reflections on why popular music matters." Temenos - Nordic Journal of Comparative Religion 52, no. 1 (June 1, 2016): 127–50. http://dx.doi.org/10.33356/temenos.58356.

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26

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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27

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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28

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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29

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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30

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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31

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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32

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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33

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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34

Negus, Keith. "‘Popular Music and Social Reality’, International Association for the Study of Popular Music." Popular Music 11, no. 1 (January 1992): 107–9. http://dx.doi.org/10.1017/s0261143000004864.

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35

Maceda, Teresita Gimenez. "Problematizing the popular: the dynamics of Pinoy pop(ular) music and popular protest music." Inter-Asia Cultural Studies 8, no. 3 (August 28, 2007): 390–413. http://dx.doi.org/10.1080/14649370701393766.

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36

Wells, Paul F. "The Center for Popular Music." Popular Music 8, no. 2 (May 1989): 197–98. http://dx.doi.org/10.1017/s0261143000003408.

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37

Atsuko, Kimura. "Japanese corporations and popular music." Popular Music 10, no. 3 (October 1991): 317–26. http://dx.doi.org/10.1017/s0261143000004670.

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It has been a long time since Japan was first considered an economic power. Japanese automobile, electronic and computer companies have entered the world market and are now competing fiercely with each other. Their financial power and technologies are focused both domestically and overseas, and their launch into culture through advertising strategies is another facet of that power which has emerged since the 1980s (Un'no 1990).

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38

Whiteley, Sheila. "Popular Music and Technology Conference." Popular Music 17, no. 3 (October 1998): 327–28. http://dx.doi.org/10.1017/s0261143000008588.

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39

De Ferranti, Hugh. "‘Japanese music’ can be popular." Popular Music 21, no. 2 (May 2002): 195–208. http://dx.doi.org/10.1017/s026114300200212x.

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Traditional genres, modern popular music, ‘classical’ concert music and other styles of music-making in Japan can be viewed as diverse elements framed within a musical culture. Bourdieu's concept of habitus, and Williams' of dominant, residual and emergent traditions, are helpful in formulating an inclusive approach, in contrast to the prevailing demarcation between traditional and popular music research. Koizumi Fumio first challenged the disciplinary separation of research on historical ‘Japanese music’ and modern hybrid music around 1980, and the influence of his work is reflected in a small number of subsequent writings. In Japanese popular music, evidence for musical habitus and residual traits of past practice can be sought not only in characteristics typical of musicological analysis; modal, harmonic and rhythmic structures; but also in aspects of the music's organisation, presentation, conceptualisation and reception. Among these are vocal tone and production techniques, technical and evaluative discourse, and contextual features such as staging, performer-audience interaction, the agency of individual musicians, the structure of corporate music-production, and the use of songs as vehicles for subjectivity. Such an inclusive approach to new and old musical practices in Japan enables demonstration of ways in which popular music is both part of Japanese musical culture and an authentic vehicle for contemporary Japanese identity.

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40

Ribac, François, and Paul Harkins. "Popular Music and the Anthropocene." Popular Music 39, no. 1 (February 2020): 1–21. http://dx.doi.org/10.1017/s0261143019000539.

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41

Baker, David. "Review: Popular Music on Screen." Media International Australia 106, no. 1 (February 2003): 165–68. http://dx.doi.org/10.1177/1329878x0310600124.

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42

Paulraj, Kavin. "Brazilian Popular Music and Citizenship." Hispanic American Historical Review 94, no. 1 (February 1, 2014): 136–37. http://dx.doi.org/10.1215/00182168-2390222.

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43

McCann, Bryan. "Brazilian Popular Music and Globalization." Hispanic American Historical Review 82, no. 1 (February 1, 2002): 181–83. http://dx.doi.org/10.1215/00182168-82-1-181.

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44

Bendrups, Dan. "Popular Music Studies and Ethnomusicology in Australasia." IASPM@Journal 3, no. 2 (June 24, 2013): 48–62. http://dx.doi.org/10.5429/2079-3871(2013)v3i2.4en.

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45

Cloonan, Martin. "What is Popular Music Studies? Some observations." British Journal of Music Education 22, no. 1 (March 2005): 77–93. http://dx.doi.org/10.1017/s026505170400600x.

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Popular Music Studies (PMS) is now taught in over 20 higher education institutions (HEIs) in the UK and numerous others across the world. This article outlines the constituent parts of PMS in the UK and questions its status as a discipline in its own right. It concludes by arguing that, having established itself, PMS will need to deal with two key pressures in modern academic life – those of conducting research and widening participation. In the former instance, PMS might have to be pragmatic, in the latter lies potential for radicalism.

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46

GRENIER, LINE, ANAHID KASSABIAN, DAVID BRACKETT, and WILL STRAW. "ROUNDTABLE: THE FUTURE OF POPULAR MUSIC STUDIES." Journal of Popular Music Studies 11-12, no. 1 (March 1999): 151–66. http://dx.doi.org/10.1111/j.1533-1598.1999.tb00007.x.

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47

Mullen, John. "Made in France: Studies in Popular Music." Popular Music and Society 43, no. 4 (May 22, 2020): 461–64. http://dx.doi.org/10.1080/03007766.2020.1765283.

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48

Regev, Motti. "Made in Korea: Studies in Popular Music." Popular Music and Society 40, no. 5 (July 10, 2017): 609–10. http://dx.doi.org/10.1080/03007766.2017.1348594.

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49

Driscoll, Catherine. "On popular music: Teaching modernist cultural studies." Continuum 24, no. 4 (August 2010): 517–32. http://dx.doi.org/10.1080/10304310903186588.

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50

Erez, Oded. "Made in Greece: studies in popular music." Ethnomusicology Forum 28, no. 1 (January 2, 2019): 125–27. http://dx.doi.org/10.1080/17411912.2019.1580148.

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