Post van Linda Duits: Progressieve muziek: op niveau twisten over smaak

Posted on 08/02/2012 by Pedro

Deze blogpost van Linda Duits verscheen eerst op Dieponderzoek.nl, met toestemming plaatsen we hem hier ook:

Nergens wordt zoveel over smaak getwist als in de popmuziek. Ideeën over wat goed is, wat mooi, wat de moeite waard, hangen samen met de labels die aan de muziek wordt toegekend. ‘Underground’, ‘alternatief’ en – in het Engels – ‘progressive’ zijn waardeoordelen. Ze gaan niet zozeer over het soort muziek, zoals traditionele indelingen als pop en rock, maar ze zeggen meer iets over de relatie van de artiest tot zijn muziek en tot de industrie. Sociologen definiëren muziekgenres daarom anders dan musicologen dat doen. Een voorbeeld van een sociologische definitie van genres is “systems of orientations, expectations, and conventions that bind together an industry, performers, critics, and fans in making what they identify as a distinctive sort of music” (Lena and Peterson 2008, p. 698). Het gaat dus om verwachtingen die ontstaan uit interactie tussen industrie en luisteraars. In een recent artikel inPopular Music & Society [abstract] onderzoekt Jarl A. Ahlkvist de manier waarop fans definiëren wat progressieve rockmuziek is.

Progressieve rock [wiki] ontstond in de jaren ’70 als label voor bands als Yes, Genesis en Emerson, Lake & Palmer. De aanduiding ging toen over “a style of rock music most notable for its incorporation of sensibilities, forms, and sounds from Western classical music” (p. 640). Inmiddels is het genre ‘gegroeid’ en wordt er bijvoorbeeld ook neo-prog en symfonisch onderscheiden. Ahlkvist onderzocht 213 albumrecensies van fans, omdat deze goed inzicht bieden in de verwachtingen van fans.

Zijn analyse laat zien dat fans in hun recensies de progressieve kwalificaties evalueren: hoe verhoudt de muziek zich tot de klassiekers, komt de essentie van progressief wel terug, hoe origineel is de muziek etc. Daarnaast bevatten de recensies uitspraken over hoe goed de muzikant en zijn uitvoering is. Tot slot worden de complexiteit van de muziek en ‘het concept’ meegenomen. Het is daarbij opvallend dat  dergelijke recensies meestal geen aandacht besteden aan de betekenis van de muziek of de teksten, maar dat recensenten juist letten op de stemming en de emotionaliteit van albums.

Het onderzoek laat zien hoe complex genreverwachtingen zijn en hoe genredefinities (‘wat mag progressief heten’) het terrein zijn van strijd. Deze studie maakt daarmee duidelijk dat genre-indelingen niet zozeer gaan om het type muziek, maar juist (ook) informatie bevatten over de luisteraar die zich met een bepaald genre wil associëren.

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Uitnodiging: Dance Music and the Creative City – IASPM studiemiddag in Groningen, 9 December a.s.

Posted on 01/12/2011 by Koos Zwaan

IASPM meeting
December 9, 14.00-17:00
University of Groningen
Dance Music and the Creative City

IASPM Benelux and the Faculty of Arts, Culture and Media at the University of Groningen cordially invite interested parties to participate in a workshop afternoon on the theme of Dance Music and the Creative City. We invite IASPM members as well as members of the university community and general public to discuss and hear presentations on issues relating to the revitalization of dance music events in the post-industrial, creative city.

Institution: Faculty of Arts, Culture and Media, University of Groningen
Address: Oude Boteringstraat 34, Groningen (click on link for Google maps)
Room: 002 (on ground floor)

>>>>>>>>>> De studiemiddag is gratis toegankelijk, maar geef je wel van te voren op via het deelnameformulier <<<<<<<<<<

Context
In this symposium, dance music is reconfigured in a variety of new contexts from the matrices of city and national politics, to the fluid and changing creative output guided by aesthetic and musical processes of intertexuality, digitalization, experimentation and mixed-mediation. Multiculturalism, citizenship, collectivity and mass-mediation all relate to the processes and organizational structures inspiring dance music’s recent proliferation in the creative city. The activity of contemporary dance music participants variously challenge or reify the precarious cultural and ethnic identities assigned to central and peripheralized groups such as those “citizens” connected to the nation-state or conversely those cosmopolitans working internationally and self-represented outside the political bounds of regions and nations. Independent, highly professional artists promoting transnational networks in, around and beyond the metropolitan centers of leisure and physical interactivity speak to new kinds of connections engendered by digital media, migration and mobility in the twenty first century. The three speakers uniquely contribute to a discourse which too long centered upon the particular geographical locals and “schools”  of fragmented genres of electronic dance music to incorporate other surprising theoretical frames which juxtapose seemingly incongruous genres such as jazz and folk or articulate varying levels of musical professionalism and activity. Finally the speakers also consider those outside the creative musical process as important mediators in the culture of dance music such as bouncers and event planners whose influence speaks to powerful barriers and markers of identity continually at play when articulating the “who, when and where” instantiating dance music’s politics of pleasure and bodily expression in the post-industrial city.

Participating Speakers (click on the title of the paper for a full abstract):
14:00 Dr. Kristin McGee (Assistant Professor of Popular Music, University of Groningen) - Wicked Jazz Sounds: Cosmopolitanisms and Collectivities in Amsterdam’s New Jazz World

14:45 Luis Manuel Garcia (Postdoctoral Fellow at the Freie Universitat in Berlin) - Bouncers and Multiculturalism: the Political Stakes of Nightlife in Paris and Berlin

Coffee Break

15:45 Monika Zyla (Research Masters Student, University of Groningen)
- Do-it-Yourself: Dance Music’s Changing Dispositions in Experimental Music Practices

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Deadline reminder (1 December) CFP Ashgate Research Companion to Fan Studies

Posted on 18/11/2011 by Koos Zwaan

In recent years, the internet in general and social media in particular have fundamentally changed our media culture. The relationship between producers and consumers has shifted, creating new power relationships. Media culture has become more and more about participation, while technological developments such as ‘Facebook liking’ have further blurred the traditional distinction between fans and audiences. Fans represent the vanguard of these new developments. Insights from early fan studies on active audiences have spread to other notions of the audience. These developments call for a critical rethinking of the role and significance of fans in contemporary culture.

Herewith we invite proposals for a new handbook of Fan Cultures, part of the Ashgate Research Companion Series. We welcome contributions from established scholars in the media and communication, sociology and psychology, or any related field. Topics of interest for this research companion include, but are not limited to:

  • histories of fan cultures / fan studies
  • fan geographies
  • disciplinary challenges
  • studying fans: methodological issues
  • power and identity among fans
  • haters, non-fans and anti-fans
  • individual fans vs fan communities
  • the producer-consumer continuum
  • online fan spaces
  • uses and meanings of fan technologies

Ashgate Companions offer a comprehensive and authoritative state-of-the-art review of current research in a particular area. The Companion’s editor brings together a team of respected and experienced experts to write new chapters on the key issues in their specialty.

Submission details:
Submissions should describe original contributions and should not have been published or submitted elsewhere. Please send an abstract of your submission (max. 300 words), accompanied by a brief bio (max 50 words), to Koos Zwaan (koos.zwaan@inholland.nl). The editors will select a number of abstracts for the volume, which will be included in the proposal for review by the publisher. Subject to review and the issue of a contract, the authors of the selected abstracts will be invited to submit full chapters for publication in the volume.

Timeline:
Deadline abstract submission: December 1, 2011
Notification: December 14, 2011

Editors:

Dr. Linda Duits, affiliated researcher, Research Institute for History and Culture, Utrecht University

info@lindaduits.nl

Dr. Stijn Reijnders, Associate Professor in Cultural Heritage, Erasmus School of History, Culture and Communication, Erasmus University Rotterdam

reijnders@eshcc.eur.nl

Dr. Koos Zwaan, Associate Professor of Media, Culture and Citizenship, Inholland University of Applied Sciences

koos.zwaan@inholland.nl

Download this call as a PDF file.

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Dance Music and the Creative City – IASPM Studiemiddag in Groningen op 9 december

Posted on 18/11/2011 by Koos Zwaan

Op 9 december a.s. organiseert IASPM Benelux in samenwerking met de afdeling Kunsten, Cultuur en Media van de Rijksuniversiteit Groningen voor een studiemiddag met als thema ”Dance Music and the Creative City“. Zie voor meer informatie onderstaande uitnodiging.  

Mocht je interesse hebben om op deze middag eigen onderzoek te presenteren, neem dan contact op met Kirstin McGee (kamcgee32@yahoo.com).    

Deelname aan de studiemiddag is gratis, maar wel graag van te voren aanmelden via het aanmeldingsformulier.



IASPM meeting
December 9,  14.00 – 17.00 hrs
University of Groningen

IASPM Benelux and the Faculty of Arts, Culture and Media cordially invites interested parties to participate in a workshop afternoon on the theme of Dance Music and the Creative City. We invite IASPM members to discuss or present work on issues related to the revitalization of dance music events in the post-industrial, creative city. Interested speakers should contact Kristin at kamcgee32@yahoo.com

Some of the themes relevant for this workshop are: 

· The regeneration of dance music cultures including an examination of a greater variety of popular music participants engaging with dance music in the cosmopolitan city. These might include music amateurs, photographers, videographers, event managers, bloggers, dancers, chefs…
· The musicological and aesthetic values guiding mixed-genre dance musics. 
· The role that architectural spaces and the expansion of urban neighborhoods perform in regenerating dance music events in the twenty first century.
· Musical and cultural tourism: such as the impact of party tourists and migrating musicians and arts organizations.
· The concepts of collectivity, flexibility, professionalism and interactivity and how they remain important concepts for understanding the modes of performance, consumption and participation motivating urban dance music events. These concepts are sometimes depicted as post-Fordist phenomena by globalization theorists and might also provide productive theoretical frameworks. · Mediation: including the impact of new kinds of networks from social media to digital editing software as well as the post-event reception of dance events through new and traditional media.   

Drinks and snacks to follow the presentations and discussion.   

Confirmed Speakers:
Dr. Kristin McGee, University of Groningen – Wicked Jazz Sounds: Cosmopolitanisms and Collectivities in Amsterdam’s New Jazz World

Dr. Luis Manuel Garcia, Postdoctoral Fellow at the Freie Universitat in Berlin – Bouncers and Multiculturalism: the Political Stakes of Nightlife in Paris and Berlin

 

Address:
Faculty of Arts, Culture and Media
Oude Boteringstraat 34, Groningen
Room: to be announced later

 

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De evolutie van de dansmuziek in de Westerse wereld

Posted on 09/11/2011 by Pedro
Hoe evolueerde de dansmuziek in onze regio’s gedurende de voorbije decennia?
Klik op de afbeelding en ontdek de interactieve infografiek:


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Europese onderzoekssubsidies geschrapt? Onderteken de petitie!

Posted on 04/11/2011 by Koos Zwaan

De Europese Commissie is van plan om in het volgende Framework programma de mogelijkheden voor onderzoekssubsidies binnen de geesteswetenschap en de sociale wetenschap te schrappen. Als je het hier niet mee eens bent, teken dan de open brief . Graag ook verder verspreiden in je eigen (academische) netwerk.

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Aankondiging internationale IASPM conferentie, Ovieda, Spanje, 24-28 juni 2013

Posted on 04/11/2011 by Koos Zwaan

Dear IASPM members,

Please put in your diaries the dates 24-28 June 2013 to go to Oviedo, Spain for IASPM biennial conference. In the beginning of December you will receive the complete CFP. For now the conference title and abstract:

BRIDGE OVER TROUBLED WATERS: CHALLENGING ORTHODOXIES

17th Biennial IASPM Conference

24-28 June 2013, Oviedo, Spain

Both popular music and the studies in this field have been spaces of tension, but also of encounter, dialogue and exchange. The triple metaphor of water (flow and travel), trouble (stress, power strugle), and bridge (meetings, communication) represent well some of the themes that might be fertile ground for an IASPM conference. Popular music genres are constructed through contact between different cultures, traditions and imagineries, proposing a dialogue between modernity and tradition, between the new and the inherited, between local and cosmopolitan experiences. Popular music studies, since its beginning, has been marked by its interdisciplinary nature, being a meeting place not only between different academic disciplines, but also open to the experiences of musicians, cultural managers, journalists, filmmakers and industry players. The music industry has been a space of crises and reinvention, of business and the pervasive everyday use of music. On one side intellectual property laws are making it difficult to create remixes or mashups, censorship is always floating around music, and on the other sound defines identities and there is nothing more uncomfortable than to hear sounds you don’t like. One of the aims of IASPM is to find ways of learning to deal with difference in our multicultural societies… Music travels with people and crosses not only rivers, but also oceans. Several music genres were born from musical encounters in port cities, although costal towns are not the only urban spaces where popular music is made.  Because of the clash of different types of people related to musical practices in urban spaces, some musics might have more prestige than others, not because of the sound in itself, but because of who is playing or singing, and especially who is using it. Nevertheless, it is in sound that all the “troubles” resonate, echo and get transformed, be it by appropriation, sampling, variation, transformation, cross-overs, etc. Finally, popular music has been the space for the challenge not only of generations, but also of established social structures, be it in the entertainment business (the tension of music “of” the people and music “for” the people is always present), or in the academy. This IASPM  conference proposes to reflect on the power of popular music to challenge orthodoxies, and build bridges between different experiences, perspectives and disciplines.
Best wishes,
 

Martha Tupinambá de Ulhôa

Instituto Villa Lobos – PPGM – UNIRIO

IASPM – Executive Chair (2011-2013)

Senior Research Fellow

King’s College London (mai 2011 – fev 2012)

King’s: +44 (0)20 7848 1384

Mobile: +44 (0)75 4932 6912

http://lattes.cnpq.br/5378800627543781

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Gastpost van Linda Duits: Hét culturele icoon van deze eeuw is alweer 10: de verjaardag van de iPod

Posted on 24/10/2011 by Pedro

Op 23 oktober 2001 (gisteren tien jaar geleden) introduceerde Steve Jobs in een klein zaaltje een apparaatje dat zowel digitale muziek als Apple zelf een ongekende impuls zou geven: de iPod. “The Apple brand is going to be fantastic” zei Steve, en hij had gelijk. Waar nog geen marktleider was, lukte het Apple niet alleen om de markt te veroveren, maar om MP3-spelers synoniem te maken met hun merk. Dat was extra bijzonder, omdat de iPod niet de eerste digitale muziekdrager was en omdat aan het begin de iPod alleen werkte met een Mac. Er konden wel 1000 liedjes op en dat was “huge”. Bekijk de presentatie zelf hier beneden en check vooral hoe knullig alles nog is, niets van het mediaspektakel dat we later zouden zien. De verkoop van iPods daalde volgens Webwereld het afgelopen jaar met 23 procent en hiermee is de toekomst van de speler onzeker geworden. De iPod maakt echter al onmiskenbaar deel uit van de canon van de popcultuur.

Wellicht de belangrijkste verklaring voor het succes is de manier waarop de iPod een hulpmiddel werd in de performance van identiteit. Onze muzieksmaak zegt iets over wie we zijn en met de iPod werd het mogelijk je gehele muziekcollectie bij je te dragen. Daarnaast was de iPod door het opvallende design een stijlicoon. De witte oortjes werden bijvoorbeeld al snel een statussymbool waarmee je je kon onderscheiden van de ‘losers’ met een gewone MP3-speler.

Er is veel wetenschappelijk onderzoek gedaan naar de iPod, vanuit verschillende perspectieven. Zo stelt Michael Bull in een artikel uit 2006 [toegang vereist] dat hoewel mobiel muziek luisteren een geïsoleerde activiteit lijkt, de iPod toch allerlei mogelijkheden biedt voor sociaal gedrag. De iPod kan je immers inpluggen in je auto of thuis, en veel DJs brachten hun iPods mee naar optredens. Hij noemt de iPod het eerste culturele icoon van de 21ste eeuw, “a potent metaphor for much urban life”.

Deze post verscheen eerst op dieponderzoek.nl en werd met toestemming van Linda Duits geplaatst.

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Aankondiging en CFP research workshop Media & Cultural Industries

Posted on 12/10/2011 by Koos Zwaan

ERMeCC Research Workshop with David Hesmondhalgh

Trends and Strategies in the Media and Cultural Industries

Friday 4th November 2011, 12:00-18:00 hrs
Room: TBA
Woudestein Campus, Erasmus University Rotterdam
Directions

Against the background of wider technological, economic, socio-cultural and political developments, the logics of the media and cultural industries have been changing significantly. New digital technologies and distribution platforms (e.g. gaming, the internet, mobile platforms etc.) have resulted in a radically changing environment. For companies, workers and policymakers operating within media industries, these changes have severely impacted their operations: previously separated media markets have converged, new media products and business models have developed, and users are no longer passive consumers but are actively peer producing content (user generated content). Questions that are central to this meeting are: How do media organizations and industries respond to altering international, national and local (business) conditions brought about by these developments? To what extent and in what ways are structures and processes of media production currently being transformed by increasing digitalisation, converging media and shifting ownership structures? How does this affect the nature of journalistic and creative work?

PhD candidates, research master students, as well as advanced researchers in media, communication and culture are invited to attend the meeting and contribute to the discussion.The workshop will be a high density session, featuring Prof. Dr. David Hesmondhalgh (Institute of Communication Studies, University of Leeds) as keynote speaker. There will be ample opportunity for researchers to pitch their research and to discuss, to comment, to network and to be inspired. We think this workshop is particularly relevant for people researching: media production and distribution, creative industries, online creativity (including UGC), media policies, media business, media access and consumption, and related topics.
If you are interested in attending the meeting or would like to pitch your current research in a short (5-10 minutes) presentation, please send an e-mail before 20 October 2011 to:ermecc@eshcc.eur.nl, including the following details:

  • your name
  • job title [PhD student, research master student, postdoc, assistant professor etcetera]
  • affiliation (university and department/graduate programme)
  • contact details
  • title of your current research project
  • 100-150 word abstract of your proposed presentation [only if you want to pitch your research]

Please note that there will be a limit to the number of presentations that can be scheduled; you will receive word shortly after October 20 whether or not you have been selected to give a presentation. For more information please contact Dr. Erik Hitters: hitters@eshcc.eur.nl

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Avond over de Beatles

Posted on 07/10/2011 by Koos Zwaan

Talkshow met muziekclips door Stan Rijven
Zondag 9 oktober 2011
14.00 uur Pathé Tuschinski, Amsterdam

9 oktober  is John Lennon’s geboortedag, die wereldwijd door Beatles fans wordt herdacht. Nog steeds zorgt de invloedrijkste band uit de popgeschiedenis voor nieuws. The Beatles staan wereldwijd weer bovenaan op de muzieklijsten – maar nu bij  iTunes.  Aan de hand van bijzondere archiefbeelden, een quiz en live muziek blikt popkenner (en IASPM-lid) Stan Rijven terug op hun oeuvre. Speciale aandacht is er voor George Harrison die tien jaar geleden overleed.

Speciale gast:
Azing Moltmaker begon als verzamelaar en is nu directeur van het Beatles Museum in Alkmaar. Moltmaker publiceerde de meeste boeken over de Fab Four ter wereld (40!).  

Live Muziek:
Zanger/gitarist Coen Bardelmeijer, van de voormalige coverband ‘Let It Beat’, zingt deze middag een aantal Beatles-klassiekers.

zondag 9 oktober
14.00 uur, Pathé Tuschinski, Amsterdam
Toegangsprijs € 17,50
Reserveren bij Pathé: http://www.pathe.nl/film/17004/clipoog-beatles
of via 0900-1458 (€ 0,55 cpm)

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