Results for ' Popular music'

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Bibliography: Popular Music in Aesthetics
  1. On Popular Music.T. W. Adorno - 1941 - Studies in Philosophy and Social Science 9:17.
     
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  2. Popular Music Studies and the Problems of Sound, Society and Method.Eliot Bates - 2013 - IASPM@Journal 3 (2):15-32.
    Building on Philip Tagg’s timely intervention (2011), I investigate four things in relation to three dominant Anglophone popular music studies journals (Popular Music and Society, Popular Music, and the Journal of Popular Music Studies): 1) what interdisciplinarity or multidisciplinarity means within popular music studies, with a particular focus on the sites of research and the place of ethnographic and/or anthropological approaches; 2) the extent to which popular music studies (...)
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  3.  16
    When Vulgarism Comes through Popular music: An Investigation of Slackness in Zimdancehall Music.Wonder Maguraushe - 2023 - Filosofia Theoretica: Journal of African Philosophy, Culture and Religions 12 (1):131-144.
    In Zimbabwe, popular music, particularly the Zimdancehall music genre, has become a cultural site where Shona moral values clash with explicit sexual lyrical content despite a censorship regime in the country. This article examines the nature and cultural consequences of the moral decadence that emerges in popular Zimdancehall song lyrics by several musicians. The article illustrates how vulgar language popularises Zimdancehall songs in unheralded ways that foster identities laced with cultural ambivalences that may portray the artists (...)
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  4. Popular Music and Art-interpretive Injustice.P. D. Magnus & Evan Malone - forthcoming - Inquiry: An Interdisciplinary Journal of Philosophy.
    It has been over two decades since Miranda Fricker labeled epistemic injustice, in which an agent is wronged in their capacity as a knower. The philosophical literature has proliferated with variants and related concepts. By considering cases in popular music, we argue that it is worth distinguishing a parallel phenomenon of art-interpretive injustice, in which an agent is wronged in their creative capacity as a possible artist. In section 1, we consider the prosecutorial use of rap lyrics in (...)
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  5.  7
    On Popular Music and its Unruly Entanglements.Nick Braae & Kai Arne Hansen (eds.) - 2019 - Springer Verlag.
    On Popular Music and Its Unruly Entanglements comprises eleven essays that explore the myriad ways in which popular music is entwined within social, cultural, musical, historical, and media networks. The authors discuss genres as diverse as mainstream pop, hip hop, classic rock, instrumental synthwave, video game music, amateur ukelele groups, and audiovisual remixes, while also considering the music’s relationship to technological developments, various media and materials, and personal and social identity. The collection presents a (...)
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  6. Feminist Aesthetics, Popular Music, and the Politics of the 'Mainstream'.Robin James - unknown
    While feminist aestheticians have long interrogated gendered, raced, and classed hierarchies in the arts, feminist philosophers still don’t talk much about popular music. Even though Angela Davis and bell hooks have seriously engaged popular music, they are often situated on the margins of philosophy. It is my contention that feminist aesthetics has a lot to offer to the study of popular music, and the case of popular music points feminist aesthetics to some (...)
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  7. On Popular Music.T. W. Adorno & George Simpson - 1941 - Zeitschrift für Sozialforschung 9 (1):17-48.
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  8. Analysing Popular Music: Image, Sound and Text.[author unknown] - 2010
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  9.  6
    Authorship roles in popular music: issues and debates.Ron Moy - 2015 - Abingdon, Oxon: Routledge.
    The studio/label as auteur -- Gender and degrees of popular music authorship -- The singular and collective : the writer as auteur -- The interpreter as auteur -- The producer/re-mixer as auteur -- The Zeitgeist as auteur : contexts, scenes & technologies -- Coda : the seeker and the sought.
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  10.  11
    Sonic technologies: popular music, digital culture and the creative process.Robert Strachan - 2017 - New York, NY: Bloomsbury Academic.
    In the past two decades digital technologies have fundamentally changed the way we think about, make and use popular music. From the production of multimillion selling pop records to the ubiquitous remix that has become a marker of Web 2.0, the emergence of new music production technologies have had a transformative effect upon 21st Century digital culture. Sonic Technologies examines these issues with a specific focus upon the impact of digitization upon creativity; that is, what musicians, cultural (...)
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  11. Popular music and heritage embarrassment in Brazil.Carlos Sandroni - 2024 - In Chiara Bortolotto & Ahmed Skounti (eds.), Intangible cultural heritage and sustainable development: inside a UNESCO Convention. New York, NY: Routledge.
     
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  12.  18
    On Popular Music in Postcolonial Theory.Robin James - 2005 - African Philosophy 8 (2):171-187.
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  13.  24
    The Value of Popular Music: An Approach from Post-Kantian Aesthetics.Theodore Gracyk - 2019 - British Journal of Aesthetics 59 (4):485-487.
    The Value of Popular Music: An Approach from Post-Kantian AestheticsSTONEALISONPALGRAVE MACMILLAN. 2016. pp. 294. £29.99.
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  14. Popular music.John Andrew Fisher - 2011 - In Theodore Gracyk & Andrew Kania (eds.), The Routledge Companion to Philosophy and Music. New York: Routledge.
     
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  15.  25
    Ideological and political conflicts about popular music in Serbia.Misa Djurkovic - 2004 - Filozofija I Društvo 2004 (25):271-284.
    The paper is focused on ideological and political conflicts about popular music in Serbia, as a good example of wrong and confused searching for identity. Basic conflict that author is analyzing is about oriental elements and the question if they are legitimate parts of Serbian musical heritage or not. Author is making an analysis of three periods in twentieth century, in which absolutely the same arguments were used, and he's paying special attention to contemporary conflicts, trying to explain (...)
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  16.  20
    Popular Music and Adorno's "The Aging of the New Music".R. Hullot-Kentor - 1988 - Telos: Critical Theory of the Contemporary 1988 (77):79-94.
  17. Black Popular Music in Britain Since 1945.[author unknown] - 2014
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  18.  41
    Psychedelic Popular Music: A History Through Musical Topic Theory.Ignacio Soto Silva - 2020 - Alpha (Osorno) 50:384-387.
    Resumen: El presente trabajo explora el estatuto del arte en la filosofía de Spinoza, en el marco de la inversión copernicana que da origen a la estética y del barroco holandés. Si bien el pensamiento spinozista se inscribe en la conversión antropológica, en donde lo bello resulta ser un efecto en el sujeto y no una cualidad de los objetos, su comprensión del arte es inasimilable a la “estética” como ámbito diferenciado y autónomo que se consolida en el siglo XVIII, (...)
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  19.  22
    Performing Rites: Evaluating Popular Music.Simon Frith - 1998 - Oxford University Press.
    Who's better? Billie Holiday or P. J. Harvey? Blur or Oasis? Dylan or Keats? And how many friendships have ridden on the answer? Such questions aren't merely the stuff of fanzines and idle talk; they inform our most passionate arguments, distil our most deeply held values, make meaning of our ever-changing culture. In Performing Rites, one of the most influential writers on popular music asks what we talk about when we talk about music. What's good, what's bad? (...)
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  20. On popular music in postcolonial theory.Robin James - 2005 - Philosophia Africana 8 (2):171-187.
  21.  8
    Digital signatures: the impact of digitization on popular music sound.Ragnhild Brøvig - 2016 - Cambridge, Massachusetts: The MIT Press. Edited by Anne Danielsen.
    Introduction : digital technology and popular music sound -- Making sense of digital spatiality : Kate Bush's eerie collage -- The instrument formerly known as the machine : hyper-accuracy and sonic richness in Prince's Kiss -- The rebirth of silence in the company of noise : Portishead going retro -- Cut-ups and glitches : Los Sampler's and Squarepusher's freeze and flow -- Seasick computers : microrhythmic manipulation in the era of endless undo -- Autotuned voices : alienation and (...)
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  22.  11
    Illness Narratives in Popular Music: An Untapped Resource for Medical Education.Andrew Childress & Monica Lou - 2023 - Journal of Medical Humanities 44 (4):533-552.
    Illness narratives convey a person’s feelings, thoughts, beliefs, and descriptions of suffering and healing as a result of physical or mental breakdown. Recognized genres include fiction, nonfiction, poetry, plays, and films. Like poets and playwrights, musicians also use their life experiences as fodder for their art. However, illness narratives as expressed through popular music are an understudied and underutilized source of insights into the experience of suffering, healing, and coping with illness, disease, and death. Greater attention to the (...)
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  23. La critica di Adorno alla popular music.Luca Corchia - 2017 - The Lab's Quarterly 18 (4):31-56.
    For a long time, popular music has been presented as a field of loisir, devoid of artistic value, social expression of barbaric subcultures and product of a cultural industry aimed at mass distraction. In this perspective, the criticism of Theodor W. Adorno is crucial and, even today, his theses – on the aesthetic inferiority of popular music compared to the “cultivated” music and on the deplorable socio-cultural effects of its diffusion – are still a shared (...)
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  24.  46
    An Aesthetics of (Popular) Music Radio.Aaron Meskin - 2023 - Journal of Aesthetics and Art Criticism 81 (3):330-340.
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  25.  17
    Utilizing Critical Realism in Empirical Gender Research: The Case of Boys and the Reproduction of Male Dominance within Popular Music Life.Victor Kvarnhall - 2017 - Journal of Critical Realism 16 (1):26-42.
    ABSTRACTPopular music life is permeated by a quantitative form of male dominance, and has been for several decades. Based on a recent study this article engages with the reproduction of said male dominance by attempting to understand boys’ approaches to popular music and musicians. In particular, by making use of an interdisciplinary explanatory feminist theory the article seeks to show that interacting mechanisms at different levels make the adoption of a so-called ‘identificatory’ approach attainable for boys. The (...)
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  26.  7
    Listening to the unconscious: adventures in popular music and psychoanalysis.Kenneth M. Smith - 2023 - New York: Bloomsbury Academic. Edited by Stephen Overy.
    An examination of the unconscious as it relates to popular music and the first truly interdisciplinary book on philosophy and popular music with equal weight given to each discipline.
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  27.  16
    Lit-rock: literary capital in popular music.Ryan Hibbett (ed.) - 2022 - New York: Bloomsbury Academic.
    Discusses the relationship between popular music and literature in conjunction with the connection between high and low art.
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  28.  41
    An Eye for Music: Popular Music and the Audiovisual Surreal.John Richardson - 2011 - Oxford University Press.
    Introduction -- Navigating the neosurreal : background and premises -- Neosurrealist tendencies in recent films -- Neosurrealist metamusicals, flow and camp aesthetics -- In tandem with the random : loose synchronisation and remediation in Philip Glass's -- La Belle et la Bête and The dark side of Oz -- The surrealism of the virtual band in the digital age : Gorillaz' "Clint Eastwood" and "Feel good inc." -- Back to the garden? Performing the disaffected acoustic imaginary in the digital age (...)
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  29.  25
    Cassette Culture: Popular Music and Technology in North India.Rahul Peter Das & Peter Manuel - 1995 - Journal of the American Oriental Society 115 (2):357.
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  30.  37
    Cheques or dating scams? Online fraud themes in hip-hop songs across popular music apps.Suleman Lazarus, Olaigbe Olaigbe, Ayo Adeduntan, Tochukwu Dibiana, Edward & Uzoma OKolorie, Geoffrey - 2023 - Journal of Economic Criminology 2:1-17.
    How do hip-hop songs produced from 2017 to 2023 depict and rationalize online fraud? This study examines the depiction of online fraudsters in thirty-three Nigerian hip-hop songs on nine popular streaming platforms such as Spotify, Deezer, iTunes, SoundCloud, Apple Music, and YouTube. Using a directed approach to qualitative content analysis, we coded lyrics based on the moral disengagement mechanism and core themes derived from existing literature. Our findings shed light on how songs (a) justify the fraudulent actions of (...)
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  31. Teaching Moral Philosophy with Popular Music.John Mizzoni - 2006 - Teaching Ethics 6 (2):15-28.
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  32.  80
    Valuing and evaluating popular music.Theodore Gracyk - 1999 - Journal of Aesthetics and Art Criticism 57 (2):205-220.
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  33. Understanding Performance Expression in Popular Music Recordings.Nicola Dibben - 2014 - In Dorottya Fabian, Renee Timmers & Emery Schubert (eds.), Expressiveness in Music Performance: Empirical Approaches Across Styles and Cultures. Oxford: Oxford University Press.
     
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  34.  12
    Against Music? Heuristics and Sense-Making in Listening to Contemporary Popular Music.Vincenzo Zingaro - 2022 - Philosophies 7 (2):38.
    Is the ubiquity of contemporary popular music akin to a deliberate aggression to the hearing, making the listening experience devoid of any sense? If so, is there any strategy to morph this supposed confusion into meaningful stimuli? Relying on epistemology, we attempt at promoting the act of listening as a proper way of world-making and refer to Mark Reybrouck, Bruno Nettl, Steven Brown and Joseph Jordania—among others—to gather appropriate heuristic tools. In the last part of the essay, we (...)
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  35.  11
    Over and over: exploring repetition in popular music.Olivier Julien & Christophe Levaux (eds.) - 2018 - New York: Bloomsbury Academic.
    From the Tin Pan Alley 32-bar form, through the cyclical forms of modal jazz, to the more recent accumulation of digital layers, beats, and breaks in Electronic Dance Music, repetition as both an aesthetic disposition and a formal property has stimulated a diverse range of genres and techniques. From the angles of musicology, psychology, sociology, and science and technology, Over and Over reassesses the complexity connected to notions of repetition in a variety of musical genres. The first edited volume (...)
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  36.  6
    Adorno and the Subversive Potential of Popular Music.Hans-Herbert Kögler - 2019 - In Amirhosein Khandizaji (ed.), Reading Adorno: The Endless Road. Palgrave Macmillan. pp. 151-181.
    The essay begins by addressing the analytic frame that Adorno opens up for a critical theory of music, to then focus on a hermeneutic-pragmatic account of music as aesthetic agency, followed by a reconstruction of the uniquely transgressive potentials that this account of musical experience entails for popular music. The new account is motivated by the impasse created by Adorno’s own philosophy of music to provide a grounding for the cognitive capacities necessary to understand autonomous (...)
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  37. Democracy and popular music in music education.K. Snell - 2009 - In June Countryman & Elizabeth Gould (eds.), Exploring Social Justice: How Music Education Might Matter. Canadian Music Educators' Association = Association Canadienne des Musiciens Éducateurs. pp. 166--183.
     
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  38.  6
    Resisting Neoliberal Subjectivities: Friendship Groups in Popular Music.Cathy Benedict - 2022 - Philosophy of Music Education Review 30 (2):132-144.
    Abstract:The pedagogical strategy of students choosing their own friends with whom to work in classroom contexts (under the guise of democratic participation) because this is how popular musicians learn, has mostly gone uninterrogated in the literature. Approaching the question of how to create a common world through a critical examination of the unexamined assumptions that underpin emerging celebratory discourses on friendship, I consider the ways in which the words friends and friendship are indiscriminately used without acknowledging that the soundness (...)
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  39.  22
    Development of emotion recognition in popular music and vocal bursts.Dianna Vidas, Renee Calligeros, Nicole L. Nelson & Genevieve A. Dingle - 2020 - Cognition and Emotion 34 (5):906-919.
    ABSTRACTPrevious research on the development of emotion recognition in music has focused on classical, rather than popular music. Such research does not consider the impact of lyrics on judgements...
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  40.  55
    The aesthetics of popular music.Peter Stadlen - 1962 - British Journal of Aesthetics 2 (4):351-361.
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  41. Papua New Guinea : popular music and the continuity of tradition : an ethnographic study of songs by the band Paramana Strangers.Oli Wilson - 2011 - In Godfrey Baldacchino (ed.), Island songs: a global repertoire. Lanham, Md.: Scarecrow Press.
     
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  42. The industrialization of popular music, part I.Simon Frith - 2013 - In Sara Horsfall, Jan-Martijn Meij & Meghan D. Probstfield (eds.), Music sociology: examining the role of music in social life. Boulder, CO: Paradigm Publishers.
     
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  43. The classical and the popular: musical form and social context.Ken Hirschkop & D. Shepherd - 1989 - In Christopher Norris (ed.), Music and the politics of culture. New York: St. Martin's Press. pp. 283--304.
     
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  44.  13
    Listening in the Mix: Lead Vocals Robustly Attract Auditory Attention in Popular Music.Michel Bürgel, Lorenzo Picinali & Kai Siedenburg - 2021 - Frontiers in Psychology 12.
    Listeners can attend to and track instruments or singing voices in complex musical mixtures, even though the acoustical energy of sounds from individual instruments may overlap in time and frequency. In popular music, lead vocals are often accompanied by sound mixtures from a variety of instruments, such as drums, bass, keyboards, and guitars. However, little is known about how the perceptual organization of such musical scenes is affected by selective attention, and which acoustic features play the most important (...)
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  45.  33
    Papua New Guinea : popular music and the continuity of tradition : an ethnographic study of songs by the band Paramana Strangers.Oli Wilson - 2011 - In Godfrey Baldacchino (ed.), Island songs: a global repertoire. Lanham, Md.: Scarecrow Press. pp. 119.
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  46.  22
    Affects, indexes and signs: Will Oldham and the authenticity of the voice in popular music.William Large - 2018 - Angelaki 23 (3):75-87.
    Usually, when we determine the authenticity of a performer in popular music then we do so either through their biography or their inherence within a tradition. The question of authenticity then becomes one of betrayal. This article argues that there might be a unique way of approaching authenticity through affects, where authenticity is impersonal rather than personal. It uses the work of Pierre Schaeffer to describe the difference between indexes and signs on the one hand, and affects on (...)
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  47.  25
    Challenges to Criminal Labeling: Three Voices in American Popular Music.David Ray Papke - 2019 - International Journal for the Semiotics of Law - Revue Internationale de Sémiotique Juridique 34 (1):191-210.
    Criminal labeling is an important process in the typical modern hegemony, serving not only to name and marginalize selected criminals but also to underscore and rationalize the hegemony’s norms. In the contemporary United States, such labeling is especially harsh and reductive. It predictably involves the established criminal justice institutions—police departments, criminal courts, and prisons—and also a wide range of community spokesmen, political figures, and the mass media. Yet despite the hegemony’s apparent determination to criminally label individual men and women and (...)
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  48.  14
    The Special Liveliness of Hooks in Popular Music and Beyond.Steven G. Smith - 2023 - Springer Nature Switzerland.
    This book illuminates the aesthetically underrated meaningfulness of particular elements in works of art and aesthetic experiences generally. Beginning from the idea of "hooks" in popular song, the book identifies experiences of special liveliness that are of enduring interest, supporting contemplation and probing discussion. When hooks are placed in the foreground of aesthetic experience, so is an enthusiastic “grabbing back” by the experiencer who forms a quasi-personal bond with the beloved singular moment and is probably inclined to share this (...)
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  49.  99
    How Classical Music is Better than Popular Music.James O. Young - 2016 - Philosophy 91 (4):523-540.
    In at least one respect, classical music is superior to popular music. Classical music has greater potential for expressiveness and, consequently, has more potential for psychological insight and profundity. The greater potential for expressiveness in classical music is due, in large part, to it greater harmonic resources. The harmonies in classical music are more likely to be functional, more contrary motion is employed, and modulation is more common. Although popular music employs rhythms (...)
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  50.  7
    An Intermediary Between Production and Consumption: The Producer of Popular Music.Antoine Hennion - 1989 - Science, Technology and Human Values 14 (4):400-424.
    Trying to reduce the divide between culture and science, this article follows the producer of popular records, as an interface between music and its market. Like the innovator when he does not obey scientific, technical, and commercial reasons in succession, but reshapes them all together through a double task of giving its form to the product and the interesting people within it, the producer represents the public to the artist and the music to the media. First in (...)
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