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The Eurovision Song Contest is famous for its camp spectacles and
political intrigues, but what about its actual music? With more
than 1,500 songs in over 50 languages and a wide range of musical
styles since it began in 1956, Eurovision features the most
musically and linguistically diverse song repertoire in history.
Listening closely to its classic fan favorites but also to songs
that scored low because they were too different or too far ahead of
their time, this book delves into the musical tastes and cultural
values the contest engages through its international reach and
popular appeal. Chapters discuss the iconic fanfare that introduces
the broadcast, the supposed formulas for composing successful
contest entries, how composers balance aspects of sameness and
difference in their songs, and the tension between national genres
of European popular music and musical trends beyond the nation's
borders, especially the American influences on a show that is
supposed to celebrate an idealized pan-European identity. The book
also explores how audiences interact with the contest through
musicking experiences that bring people together to celebrate its
sounds and spectacles. What can seem like a silly song-and-dance
show offers valuable insights into the bonds between popular music
and cosmopolitan values for its many followers around the world.
From dance parties to flashmobs, parodies to plagiarisms, and
orchestras to artificial intelligence, Another Song for Europe will
be of particular interest to Eurovision fans, critics, and scholars
of popular music, popular culture, ethnomusicology, and European
studies.
Featuring a distinguished editorial team who have brought together
a group of international and reputable scholars. The collection is
interdisciplinary by design, encompassing cultural theory, gender
and race studies, musicology, and record production analysis
Offering analysis of tracks from the blues, hip-hop, R&B, pop,
Motown, funk, disco, rock, metal, and country An ideal companion to
William Moylan's previous work, Recording Analysis, which outlines
the framework upon which these analyses are developed
This book will be of interest to scholars, students and
practitioners in the fields of ethnomusicology, music education,
social learning and community music. It applies concepts and
approaches from these disciplines with ethnographic data to
identify a pedagogy for the learning and teaching of traditional
music in community-based organisations.
The Tragic Odes of Jerry Garcia and the Grateful Dead is a
multifaceted study of tragedy in the group's live performances
showing how Garcia brought about catharsis through dance by leading
songs of grief, mortality, and ironic fate in a collective
theatrical context. This musical, literary, and historical analysis
of thirty-five songs with tragic dimensions performed by Garcia in
concert with the Grateful Dead illustrates the syncretic approach
and acute editorial ear he applied in adapting songs of Robert
Hunter, Bob Dylan, and folk tradition. Tragically ironic situations
in which Garcia found himself when performing these songs are
revealed, including those related to his opiate addiction and final
decline. This book examines Garcia's musical craftsmanship and the
Grateful Dead's collective art in terms of the mystery-rites of
ancient Greece, Friedrich Nietzsche's Dionysus, 20th century
American music rooted in New Orleans, Hermann Hesse's Magic
Theater, and the Greek Theatre at Berkeley, offering a clear
prospect on an often misunderstood phenomenon. Featuring
interdisciplinary analysis, close attention to musical and poetic
strategies, and historical and critical contexts, this book will be
of interest to scholars and researchers of Popular Music,
Musicology, Cultural Studies, and American Studies, as well as to
the Grateful Dead's avid listeners.
The Eurovision Song Contest is famous for its camp spectacles and
political intrigues, but what about its actual music? With more
than 1,500 songs in over 50 languages and a wide range of musical
styles since it began in 1956, Eurovision features the most
musically and linguistically diverse song repertoire in history.
Listening closely to its classic fan favorites but also to songs
that scored low because they were too different or too far ahead of
their time, this book delves into the musical tastes and cultural
values the contest engages through its international reach and
popular appeal. Chapters discuss the iconic fanfare that introduces
the broadcast, the supposed formulas for composing successful
contest entries, how composers balance aspects of sameness and
difference in their songs, and the tension between national genres
of European popular music and musical trends beyond the nation's
borders, especially the American influences on a show that is
supposed to celebrate an idealized pan-European identity. The book
also explores how audiences interact with the contest through
musicking experiences that bring people together to celebrate its
sounds and spectacles. What can seem like a silly song-and-dance
show offers valuable insights into the bonds between popular music
and cosmopolitan values for its many followers around the world.
From dance parties to flashmobs, parodies to plagiarisms, and
orchestras to artificial intelligence, Another Song for Europe will
be of particular interest to Eurovision fans, critics, and scholars
of popular music, popular culture, ethnomusicology, and European
studies.
Featuring a distinguished editorial team who have brought together
a group of international and reputable scholars. The collection is
interdisciplinary by design, encompassing cultural theory, gender
and race studies, musicology, and record production analysis
Offering analysis of tracks from the blues, hip-hop, R&B, pop,
Motown, funk, disco, rock, metal, and country An ideal companion to
William Moylan's previous work, Recording Analysis, which outlines
the framework upon which these analyses are developed
Disruptive Divas: Feminism, Identity and Popular Music focuses on four female musicians who have marked contemporary popular culture in unexpected ways. Tori Amos, Courtney Love, Me'Shell Ndegéocello and P. J. Harvey have impelled and disturbed the boundaries of "acceptable" female musicianship. Burns and Lafrance give close readings to individual, representative songs by each of these artists, in order to make general statements about the role of women in popular music. The artists and songs selected explore a range of textural themes and musical studies. This book shows how this material has disrupted the general expectations of popular music style, performance and marketing and empowered women in their creativity.
Disruptive Divas: Feminism, Identity and Popular Music focuses on four female musicians who have marked contemporary popular culture in unexpected ways. Tori Amos, Courtney Love, Me'Shell Ndegéocello and P. J. Harvey have impelled and disturbed the boundaries of "acceptable" female musicianship. Burns and Lafrance give close readings to individual, representative songs by each of these artists, in order to make general statements about the role of women in popular music. The artists and songs selected explore a range of textural themes and musical studies. This book shows how this material has disrupted the general expectations of popular music style, performance and marketing and empowered women in their creativity.
The Tragic Odes of Jerry Garcia and the Grateful Dead is a
multifaceted study of tragedy in the group's live performances
showing how Garcia brought about catharsis through dance by leading
songs of grief, mortality, and ironic fate in a collective
theatrical context. This musical, literary, and historical analysis
of thirty-five songs with tragic dimensions performed by Garcia in
concert with the Grateful Dead illustrates the syncretic approach
and acute editorial ear he applied in adapting songs of Robert
Hunter, Bob Dylan, and folk tradition. Tragically ironic situations
in which Garcia found himself when performing these songs are
revealed, including those related to his opiate addiction and final
decline. This book examines Garcia's musical craftsmanship and the
Grateful Dead's collective art in terms of the mystery-rites of
ancient Greece, Friedrich Nietzsche's Dionysus, 20th century
American music rooted in New Orleans, Hermann Hesse's Magic
Theater, and the Greek Theatre at Berkeley, offering a clear
prospect on an often misunderstood phenomenon. Featuring
interdisciplinary analysis, close attention to musical and poetic
strategies, and historical and critical contexts, this book will be
of interest to scholars and researchers of Popular Music,
Musicology, Cultural Studies, and American Studies, as well as to
the Grateful Dead's avid listeners.
Teachers the world over are discovering the importance and benefits
of incorporating popular culture into the music classroom. The
cultural prevalence and the students' familiarity with recorded
music, videos, games, and other increasingly accessible multimedia
materials help enliven course content and foster interactive
learning and participation. Pop-Culture Pedagogy in the Music
Classroom: Teaching Tools from American Idol to YouTube provides
ideas and techniques for teaching music classes using elements of
popular culture that resonate with students' everyday lives. From
popular songs and genres to covers, mixes, and mashups; from video
games such as Dance Dance Revolution and Guitar Hero to television
shows like American Idol, this exciting collection offers
pedagogical models for incorporating pop culture and its associated
technologies into a wide variety of music courses. Biamonte has
collected well-rounded essays that consider a variety of
applications. After an introduction, the essays are organized in 3
sections. The first addresses general tools and technology that can
be incorporated into almost any music class: sound-mixing
techniques and the benefits of using iPods and YouTube. The middle
section uses popular songs, video games, or other aspects of pop
culture to demonstrate music-theory topics or to develop
ear-training and rhythmic skills. The final section examines the
musical, lyrical, or visual content in popular songs, genres, or
videos as a point of departure for addressing broader issues and
contexts. Each chapter contains notes and a bibliography, and two
comprehensive appendixes list popular song examples for teaching
harmony, melody, and rhythm. Two indexes cross-reference the
material by title and by general subject. While written with
college and secondary-school teachers in mind, the methods and
materials presented here can be adapted to any educational level.
Teachers the world over are discovering the importance and benefits
of incorporating popular culture into the music classroom. The
cultural prevalence and the students' familiarity with recorded
music, videos, games, and other increasingly accessible multimedia
materials help enliven course content and foster interactive
learning and participation. Pop-Culture Pedagogy in the Music
Classroom: Teaching Tools from American Idol to YouTube provides
ideas and techniques for teaching music classes using elements of
popular culture that resonate with students' everyday lives. From
popular songs and genres to covers, mixes, and mashups; from video
games such as Dance Dance Revolution and Guitar Hero to television
shows like American Idol, this exciting collection offers
pedagogical models for incorporating pop culture and its associated
technologies into a wide variety of music courses. Biamonte has
collected well-rounded essays that consider a variety of
applications. After an introduction, the essays are organized in 3
sections. The first addresses general tools and technology that can
be incorporated into almost any music class: sound-mixing
techniques and the benefits of using iPods and YouTube. The middle
section uses popular songs, video games, or other aspects of pop
culture to demonstrate music-theory topics or to develop
ear-training and rhythmic skills. The final section examines the
musical, lyrical, or visual content in popular songs, genres, or
videos as a point of departure for addressing broader issues and
contexts. Each chapter contains notes and a bibliography, and two
comprehensive appendixes list popular song examples for teaching
harmony, melody, and rhythm. Two indexes cross-reference the
material by title and by general subject. While written with
college and secondary-school teachers in mind, the methods and
materials presented here can be adapted to any educational level.
Within popular music there are entire genres (jazz 'standards'),
styles (hip hop), techniques (sampling), and practices (covers)
that rely heavily on musical intertextuality and references between
music of different styles and genres. This interdisciplinary
collection of essays covers a wide range of musical styles and
artists to investigate intertextuality-the shaping of one text by
another-in popular music. The Pop Palimpsest offers new
methodologies and frameworks for the analysis of intertextuality in
popular music, an emerging area of research that offers
musicologists an analytic lens for examining relationships between
a variety of texts both musical and non-musical. Providing
perspectives from multiple sub-disciplines, The Pop Palimpsest
considers a broad range of intertextual relationships in popular
music to explore creative practices and processes and the networks
that intertextual practices create between artists and listeners.
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