Popular Music Studies and the Problems of Sound, Society and Method
Keywords:popular music studies, anthropology, ethnography, recording production, sound, IASPM
AbstractBuilding on Philip Tagg’s timely intervention (2011), I investigate four things in relation to three dominant Anglophone popular music studies journals (Popular Music and Society, Popular Music, and the Journal of Popular Music Studies): 1) what interdisciplinarity or multidisciplinarity means within popular music studies, with a particular focus on the sites of research and the place of ethnographic and/or anthropological approaches; 2) the extent to which popular music studies has developed canonic scholarship, and the citation tendencies present within scholarship on both Western and non-Western popular musics; 3) the motivations for two scholarly groups, Dancecult and ASARP, to breakaway from popular music studies; 4) the forms of music analysis and the kinds of musical material commonly employed within popular music studies. I suggest that the field would greatly benefit from a true engagement with anthropological theories and methods, and that the “chaotic conceptualization” of musical structuration and the critical discourse would likewise benefit from an attention to recorded sound and production aesthetics.
Anderson, Tammy L (2009) Rave Culture: The Alteration and Decline of a Philadelphia Music Scene. Philadelphia: Temple University Press.
Anon (1971) The Popular Music Panels at the PCA Meetings. Popular Music and Society 1 (1): 51–52. http://dx.doi.org/10.1080/03007767108590973
Appadurai, Arjun (1990) Disjuncture and Difference in the Global Cultural Economy. Theory, Culture & Society 7 (2): 295–310. http://dx.doi.org/10.1177/026327690007002017
Atton, Chris (2011) Fan Discourse and the Construction of Noise Music as a Genre. Journal of Popular Music Studies 23 (3): 324–342. http://dx.doi.org/10.1111/j.1533-1598.2011.01296.x
(2009) Ron’s Right Arm: Tactility, Visualization, And The Synesthesia Of Audio Engineering. Journal on the Art of Record Production 4 (October). http://arpjournal.com/1358/
(2010) Mixing for Parlak and Bowing for a Büyük Ses: The Aesthetics of Arranged Traditional Music in Turkey. Ethnomusicology 54 (1): 81–105.
(2012) What Studios Do. Journal on the Art of Record Production 7.
Bennett, Samantha (2009) Revolution Sacrilege! Examining The Technological Divide Among Record Producers In The Late 1980s. Journal on the Art of Record Production 5 (July). http://arpjournal.com/601/
Berger, Harris M—
(1999) Death Metal Tonality and the Act of Listening. Popular Music 18 (2): 161–178. http://dx.doi.org/10.1017/S0261143000009028
(2009) Stance: Ideas About Emotion, Style, and Meaning for the Study of Expressive Culture. Middletown, CT: Wesleyan University Press.
Brooks, Daphne A (2010) ‘Once More with Feeling’: Popular Music Studies in the New Millennium. Journal of Popular Music Studies 22 (1): 98–106. http://dx.doi.org/10.1111/j.1533-1598.2010.01221.x
Brown, Phill (2010) Are We Still Rolling?: Studios, Drugs and Rock “n” Roll: One Man’s Journey Recording Classic Albums. Portland, OR: TapeOp.
Browne, Ray B (1971) “Foreword.” Popular Music and Society 1 (1): 2. http://dx.doi.org/10.1080/03007767108590967
Chion, Michel (1994) Audio-vision: Sound on Screen. New York: Columbia University Press.
Clifford, James (1986) Introduction: Partial Truths. In James Clifford and George Marcus Eds. Writing Culture: The Poetics and Politics of Ethnography. Berkeley, CA: University of California Press: 1-26.
(1991) Rock Culture in Liverpool: Popular Music in the Making. Oxford; New York: Clarendon Press ; Oxford University Press.
(1993) Ethnography and Popular Music Studies. Popular Music 12 (2): 123–138. http://dx.doi.org/10.1017/S0261143000005511
Cope, Bill, and Mary Kalantzis (2009) Signs of Epistemic Disruption: Transformations in the Knowledge System of the Academic Journal. First Monday 14 (4). http://firstmonday.org/htbin/cgiwrap/bin/ojs/index.php/fm/article/viewArticle/2309=/2163
Dawe, Kevin (2003) Lyres and the Body Politic: Studying Musical Instruments in the Cretan Musical Landscape. Popular Music and Society 26 (3): 263–283. http://dx.doi.org/10.1080/0300776032000116950
Dent, Alexander Sebastian (2005) Cross-Cultural ‘Countries’: Covers, Conjuncture, and the Whiff of Nashville in Musica Sertaneja (Brazilian Commercial Country Music). Popular Music and Society 28 (2): 207–227. http://dx.doi.org/10.1080/03007760500045345
Dougan, John (2006) Objects of Desire: Canon Formation and Blues Record Collecting. Journal of Popular Music Studies 18 (1): 40–65. http://dx.doi.org/10.1111/j.1524-2226.2006.00075.x
Duffett, M (2003) False Faith or False Comparison? A Critique of the Religious Interpretation of Elvis Fan Culture. Popular Music and Society 26 (4): 513–522. http://dx.doi.org/10.1080/0300776032000144959
Feld, Steven (1994) From Schizophonia to Schismogenesis: On the Discourses and Practices of World Music and World Beat. In Charles Keil and Steven Feld Ed. Music Grooves. Chicago: University of Chicago Press: 257–289
Finnegan, Ruth H (1989) The Hidden Musicians: Music-making in an English Town. Cambridge: Cambridge University Press.
Fletcher, Michael (2011) The Effect Of Spatial Treatment Of Music On Listener’s Emotional Arousal. Journal on the Art of Record Production 5 (July). http://arpjournal.com/832/
(1982) British Popular Music Research. IASPM UK Working Paper No. 1.
(2007) A Journal on the Art of Record Production. Journal on the Art of Record Production 1 (February). http://arpjournal.com/486/
Frith, Simon and Horne, Howard (1987) Art Into Pop. London: Methuen.
Gerber, Heidi (2011) Adult MP3 Users’ Perspectives On Past And Present Consumer Audio Technology: Does The Music Still Matter? Journal on the Art of Record Production 5 (July). http://arpjournal.com/866/
Goertzen, Chris, and María Susana Azzi (1999) Globalization and the Tango. Yearbook for Traditional Music 31: 67–76. http://www.jstor.org/stable/767974
Grenier, Line, and Jocelyne Guilbault (1990) ‘Authority’ Revisited: The ‘Other’ in Anthropology and Popular Music Studies. Ethnomusicology 34 (3): 381–397. http://www.jstor.org/stable/851624
Hartman, Kent (2012) The Wrecking Crew: The Inside Story of Rock and Roll’s Best-kept Secret. New York: St. Martin’s Press.
Hodgson, Jay (2011) Lateral Dynamics Processing In Experimental Hip Hop: Flying Lotus, Madlib, Oh No, J-Dilla And Prefuse 73. Journal on the Art of Record Production 5 (July). http://arpjournal.com/880/
Howard, Denis (2008) From Ghetto Laboratory to the Technosphere: The Influence of Jamaican Studio Techniques on Popular Music. Journal on the Art of Record Production 3 (November). http://www.artofrecordproduction.com/content/view/164/109/
Inglis, Ian (2003) ‘Some Kind of Wonderful’: The Creative Legacy of the Brill Building. American Music 21 (2): 214–235. http://www.jstor.org/stable/3250565
Jackaway, Gwenyth (1999) Selling Mozart to the Masses: Crossover Marketing as Cultural Diplomacy. Journal of Popular Music Studies 11-12 (1): 125–150. http://dx.doi.org/10.1111/j.1533-1598.1999.tb00006.x
Jacques, Geoffrey (2001) A Roundtable on Ken Burns’s Jazz. Journal of Popular Music Studies 13 (2): 207–225. http://dx.doi.org/10.1080/152422201753331207
Juno, Andrea., and Vivian. Vale (1983) Industrial Culture Handbook. San Francisco, CA: RE/Search Publications.
Keil, Charles (1985) People’s Music Comparatively: Style and Stereotype, Class and Hegemony. Dialectical Anthropology 10 (1-2): 119–130. http://dx.doi.org/10.1007/BF00244253
Kronengold, Charles (2005) Accidents, Hooks and Theory. Popular Music 24 (3): 381–397. http://dx.doi.org/10.1017/S0261143005000589
MacFarlane, Thomas (2009) Magical Mystery Tour: Mono or Stereo? Journal on the Art of Record Production 4 (October). http://arpjournal.com/1362/
Marcus, George E., and Michael M. J. Fischer (1986) Anthropology as Cultural Critique: An Experimental Moment in the Human Sciences. Chicago: University of Chicago Press.
Maxwell, William J. (2004) Ralph Ellison and the Constitution of Jazzocracy. Journal of Popular Music Studies 16 (1): 40–57. http://dx.doi.org/10.1111/j.0022-4146.2004.00010.x
McIntyre, Phillip (2008) The Systems Model Of Creativity: Analyzing The Distribution Of Power In The Studio. Journal on the Art of Record Production 3 (November). http://arpjournal.com/686/.
Meintjes, Louise (2003) Sound of Africa!: Making Music Zulu in a South African Studio. Durham: Duke University Press.
Morrow, Guy (2012) Creative Conflict In A Nashville Studio: A Case Of Boy & Bear. Journal on the Art of Record Production 6 (June). http://arpjournal.com/1838/
Moylan, William (2009) Considering Space in Music. Journal on the Art of Record Production 4 (October). http://arpjournal.com/1379/
Mynett, Mark (2012) Achieving Intelligibility Whilst Maintaining Heaviness When Producing Contemporary Metal Music. Journal on the Art of Record Production 6 (June). http://arpjournal.com/1858/
Nettl, Bruno (2010) Nettl’s Elephant: On the History of Ethnomusicology. Urbana: University of Illinois Press.
Novak, David (2008) 2·5×6 Metres of Space: Japanese Music Coffeehouses and Experimental Practices of Listening. Popular Music 27 (1). http://dx.doi.org/10.1017/S0261143008001517
Ortner, Sherry B. (2006) Anthropology and Social Theory: Culture, Power, and the Acting Subject. Durham: Duke University Press.
Pcaaca.org (2013) PCAACA – Popular Culture Association and American Culture Association. http://pcaaca.org/about/history-and-overview/ Accessed: 20 Feb 2013.
Paterson, Justin (2007) Phase Experiments In Multi-Microphone Recordings: A Practical Exploration. Journal on the Art of Record Production 1 (February). http://arpjournal.com/1803/
Porcello, Thomas (1998) ‘Tails Out’: Social Phenomenology and the Ethnographic Representation of Technology in Music-Making. Ethnomusicology 42 (3): 485–510. http://www.jstor.org/stable/852851
Prato, Paolo (1990) On the Road Again: Rituals of Effervescence in the Contemporary Urban Soundscape. OneTwoThreeFour 9: 5–11.
Ribac, François (2007) From the Scientific Revolution to Rock: Toward a Sociology of Feedback. Journal on the Art of Record Production 1 (February). http://arpjournal.com/368/
Sarbanes, Janet (2006) Musicking and Communitas: The Aesthetic Mode of Sociality in Rebetika Subculture. Popular Music & Society 29 (1): 17–35. http://dx.doi.org/10.1080/03007760500142738
Schafer, R. Murray (1977) The Tuning of the World. New York: A. A. Knopf.
Scheurer, T. E (1996) The Beatles, the Brill Building, and the Persistence of Tin Pan Alley in the Age of Rock. Popular Music and Society 20 (4): 89. http://dx.doi.org/10.1080/03007769608591646
Schmidt, Joshua (2012) Full Penetration: The Integration of Psychedelic Electronic Dance Music and Culture into the Israeli Mainstream. Dancecult: Journal of Electronic Dance Music Culture 4 (1): 38-64. http://dj.dancecult.net/index.php/journal/article/view/114
Scott, Ken, and Bobby. Owsinski (2012) Abbey Road to Ziggy Stardust: Off the Record with the Beatles, Bowie, Elton & So Much More. Los Angeles: Alfred Music Pub.
Sheehan, Thomas W (2007) Iggy’s Blues. Journal of Popular Music Studies 19 (2): 133–156. http://dx.doi.org/10.1111/j.1533-1598.2007.00117.x
(2005) ‘Living Underground Is Tough’: Authenticity and Locality in the Hip-hop Community in Istanbul, Turkey. Popular Music 24 (1): 1–20. http://dx.doi.org/DOI:10.1017/S0261143004000273
(2012) Theory and Method in Popular Music Analysis: Text and Meaning. Studia Musicologica Norvegica 38 (1): 86-108.
St John, Graham—
(2001) Alternative Cultural Heterotopia and the Liminoid Body: Beyond Turner at ConFest. The Australian Journal of Anthropology 12 (1): 47–66. http://dx.doi.org/10.1111/j.1835-9310.2001.tb00062.x
(2008) Trance Tribes and Dance Vibes: Victor Turner and Electronic Dance Music Culture. In Graham St John Ed, Victor Turner and Contemporary Cultural Performance. New York: Berghahn Books: 149–173.
(2009) Neotrance and the Psychedelic Festival. Dancecult: Journal of Electronic Dance Music Culture 1 (1): 35–64. http://dj.dancecult.net/index.php/journal/article/view/11
(2012) Seasoned Exodus: The Exile Mosaic of Psyculture. Dancecult: Journal of Electronic Dance Music Culture 4 (1): 4–37. http://dj.dancecult.net/index.php/journal/article/view/111
Sterne, Jonathan (2003) Bourdieu, Technique and Technology. Cultural Studies 17 (3/4): 367–389. http://dx.doi.org/0.1080/0950238032000083863
Straw, Will (2010) Cultural Production and the Generative Matrix: A Response to Georgina Born. Cultural Sociology 4 (2): 209-216. http://dx.doi.org/10.1177/1749975510368472
(1979) Kojak: 50 Seconds of Television Music. Ph.D. Dissertation, Gøteborg University.
(1985a) Why IASPM? Which Tasks? In David Horn Ed. Popular Music Perspectives 2, pp 501–507. Gøteborg; Exeter: IASPM. http://www.tagg.org/articles/iasptask83.html
(1985b) Address on the State of the Association. International Association for the Study of Popular Music, IASPM 3rd Annual Conference. Montréal, QE. http://www.tagg.org/articles/montreal.html
(2011) Caught on the Back Foot: Epistemic Inertia and Visible Music. IASPM@Journal 2 (1-2): 3–18. http://www.iaspmjournal.net/index.php/IASPM_Journal/article/view/556
Tagg, Philip, and Keith Negus (1992) The Primary Text: Back to Square One? IASPM UK Newsletter, September.
Théberge, Paul (1990) Democracy and Its Discontents: The MIDI Specification. OneTwoThreeFour 9: 12–34.
Vale, V., and Andrea. Juno (1989) Modern Primitives: An Investigation of Contemporary Adornment & Ritual. San Francisco, CA: Re/Search Publications.
Wæver, Ole (1998) The Sociology of a Not So International Discipline: American and European Developments in International Relations. International Organization 52 (4): 687–728. http://dx.doi.org/10.1162/002081898550725
Wallach, Jeremy (2003) The Poetics of Electrosonic Presence: Recorded Music and the Materiality of Sound. Journal of Popular Music Studies 15 (1): 34–64. http://dx.doi.org/10.1111/j.1533-1598.2003.tb00114.x
Wicks, Sammie Ann (1998) America’s Popular Music Traditions as ‘Canon-Fodder’. Popular Music and Society 22 (1): 55–89. http://dx.doi.org/10.1080/03007769808591697
(2001) The Poetics of Rock: Cutting Tracks, Making Records. Berkeley: University of California Press.
(2012) The State Of The Art And The State Of The Discipline. Journal on the Art of Record Production 6 (June). http://arpjournal.com/2010/
Authors retain copyright, while licensing their work under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License.