Search results

1

Musemes in affect. Philip Tagg’s model of music analysis

100%

Zielonka S.

Interdisciplinary Studies in Musicology

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2020

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issue 20

97-105

EN

The paper is an attempt to synthesize the most important aspects of a model of popular and film music analysis proposed by British musicologist Philip Tagg. Tagg, using the category of musemes – universal meaning units, isolated from the musical structure of the composition on the basis of criteria established for every given case – examines selected pieces using multi-level semiotic analysis. In his model Tagg takes into account both the importance of the broadly understood cultural context and the intertextuality of the piece. He also emphasizes the role of affect in musical communication, which is necessary to fully understand the meaning of a musical work.

2

Zaangażowanie, bierność i skandal. „Piosenkowe strategie” w konfliktach międzypokoleniowych

100%

Łukowicz M.

Facta Ficta. Journal of Theory, Narrative & Media

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2021

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vol. 8

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issue 2

319-332

EN

The article aims to present the analysis of three Polish songs that are treated in the social space as important statements by „voices of their generation”. Jacek Kaczmarski in Our Class [Nasza klasa], Zygmunt „Muniek” Staszczyk in the song This nurture [To wychowanie] and Michał „Mata” Matczak in Pathointeligency [Patointeligencja], expressing the problems of their peers, occupy a specific place towards the older generation, which is symbolized by the educational system. Using a different music genre and functioning in different socio-political realities, each of the artists also proposes a different strategy of „fighting” in a generational conflict, which ranges from (apparent) passivity, through commitment, to rebellion. The interpretation of the aforementioned cultural texts (the song is understood as a multi-code message with a solid performative potential) considers their verbal and musical content and the historical and performance context, and the dynamically changing reception. The analysis of the differences and common points of the mentioned texts is intended to capture the phenomenon of popularity of these three completely different songs, which confirm that the most fortuitous statements of specificity and generational distinctiveness in the art use the mechanism of dispute.

3

Legitimising Strategies in the Field of Independent Cultural Production: the Case of Reissue Record Labels in the USA

100%

Bowsher A.

International Review of Social Research

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2015

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vol. 5

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issue 2

102-112

EN

This article examines the cultural practice of effecting an independent marketplace for reissued music in the United States, based on ethnographic fieldwork in Austin, Texas with independent record labels and consumers. As the music industry is not a homogenous entity (Williamson and Cloonan, 2007), I argue that the practice of legitimising an independent marketplace requires the formulation of a ‘mainstream’ market to which the independent is opposed, and the erecting of marketplace myths (Arsel and Thompson, 2010) to substantiate the independent marketplace’s claims to differ from the mainstream. Legitimising strategies (Strachan, 2007) protect the investments made by producers and consumers of goods in their marketplace. To overcome the anxiety that commodified culture is inauthentic culture, the independent marketplace for reissued music is idealised as a realm of soft capitalism that enables the commodification of cultural goods without the stigmatisation of profiteering, exploitation and ‘inorganic’ music associated with the mainstream (Negus, 1992).

4

U źródeł sporu o wartości edukacyjne muzyki popularnej

100%

Michalak M.

Colloquium Wydziału Nauk Humanistycznych i Społecznych AMW

|

2014

|

issue 1

89-112

EN

The aim of the article is to present theoretical sources of the dispute concerning the educational values of popular music that has been going on since the sixties of the 20th century in the sphere of American as well as European pedagogy. Despite the essential role that popular musical genres such as rock, hip-hop and techno, have played (and have been still playing) in the process of shaping the cultural identity of many generations of youth, they have long been pushed outside school premises, or, at best, they have been placed on the margin of educational influences. The reasons for that were partially embedded in the exclusively aesthetic look on the part of pedagogues at popular pieces, deprived of references to their wider functions which they fulfill in the sphere of recipients` everyday lives. The author does not present the course of the very dispute. While outlining the main stands (aesthetic and sociocultural ones), he seeks roots of the mutually clashing convictions from philosophical, aesthetic, anthropological, sociological and psychosocial perspectives of the mass/popular culture which have been providing arguments for and against the presence of the up-to-date youth music in school curricula. The somewhat superficial (on account of the complexity of problematic aspects) overview of theories and outlooks, on the basis of which the controversy about educational values of popular music originated, opens up new areas of pedagogical activities, addressing various aspects of the contemporary complex and multidimensional culture.

5

Muzyka w marketingu politycznym na przykładzie polskich kampanii prezydenckich (1995–2015)1

100%

Piecuch A.

Kwartalnik Młodych Muzykologów UJ

|

2018

|

issue 4(39)

79-104

EN

The purpose of this article is to present a broad spectrum of relations between music and politics on the example of Polish presidential campaigns (1995–2015). The first part will show a current state of research signalised by many researchers from different scientific disciplines: from musicologists to political scientists and sociologists, as well as explain the topicality of the described problem. The next part will introduce a short overview of ways of using music with political aims, mentioned, for example, by Iwona Massaka in her dissertation Music as an Instrument of Political Impact. In this context, the author will characterise the most distinctive form of existence of music in a so-called “election song” – also in relation to Adorno’s theory of popular music. The conclusion is that the most important role in presidential campaigns is played by popular music, especially in a form of song. In that case, music tends to advertise political candidates in a way, as it can emphasize their intended image and influence a growth of support for a politician in a campaign.

6

Music in the Political Marketing on the Example of Polish Presidential Campaigns (1995–2015)1

100%

Piecuch A.

Kwartalnik Młodych Muzykologów UJ

|

2018

|

issue 4(39) Eng

87-113

EN

The purpose of this article is to present a broad spectrum of relations between music and politics on the example of Polish presidential campaigns (1995–2015). The first part will show a current state of research signalised by many researchers from different scientific disciplines: from musicologists to political scientists and sociologists, as well as explain the topicality of the described problem. The next part will introduce a short overview of ways of using music with political aims, mentioned, for example, by Iwona Massaka in her dissertation Music as an Instrument of Political Impact. In this context, the author will characterise the most distinctive form of existence of music in a so-called “election song”—also in relation to Adorno’s theory of popular music. The conclusion is that the most important role in presidential campaigns is played by popular music, especially in a form of song. In that case, music tends to advertise political candidates in a way, as it can emphasize their intended image and influence a growth of support for a politician in a campaign.

7

Creative Commons Licensing and Relations of Production in the Sound Industry

88%

Miszczyński M.

Polish Sociological Review

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2021

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vol. 215

|

issue 3

253-368

EN

This article describes current production practices taking place in the sound industry, concentrating on the process of implementation and popularization of Creative Commons. Existing studies have considered the role of classical copyright in the creative industries, pointing at its functions in regulating the creative process, but so far have not extensively examined its relationship to alternative intellectual property frameworks. This paper uses the empirical example of the largest sound repository to describe the change occurring in cultural production. The article posits that mass popularization of Creative Commons provokes transformation within three key and intersecting areas of production, including the subjects of property (creators), objects of property (creations) and articulation of usage (source information). The paper theoretically frames and expands our understanding of change provoked by open licensing and its relationship to the creative production process.

8

Why does a creative city need its local music? A study of the contemporary Wroclaw jazz scene

88%

Kopaniecki J.

Interdisciplinary Studies in Musicology

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2021

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issue 21

23-38

EN

The aim of the article is to look at serious musical leisure activities in selected places in Wroclaw, in order to explain their significant contribution to making the capital of lower Silesia a creative city. Taking the perspective of research on music scenes and leisure studies, the author tries to demonstrate that the music scene in Wroclaw, although it didn’t develop its original sound, functions in a very effective way, providing a space for personal development, shaping the identity of individuals and the entire city. The discussed places not only serve as a physical space for a performance but primarily are communities based on internal and external cooperation. They are real “meeting places,” as the promotional slogan of Wroclaw says, for audiences and performers, amateurs, and professionals alike. The article is based on research on the Wroclaw music scene conducted since 2019. live performances that took place before the COvID-19 pandemic and between subsequent lockdowns were taken into account.

9

O fenómeno Amália – um capítulo crucial na história religiosa do Fado

88%

Jadwiszczak G.

Studia Iberystyczne

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2014

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vol. 13

535-549

EN

The present article treats “the phenomenon of Amália Rodrigues” in the perspective of religiousness of the Fado genre. The analysis of the fadista’s religious attitude is based on Amália’s image created by Vítor Pavão dos Santos in his book entitled Amália – Uma Biografia and presents some fundamental aspects of her devotion. The issues include: religion/catholicism, God, the Church, morality, religious practices, God’s Mother or freedom versus fatalism. The analysis attempts to discover concrete manifestations of the above listed issues and differentiate between what is typically Portuguese and what is specifically Amalian.

10

Muzyka soul – geneza, historia, uwarunkowania społeczno-kulturowe oraz rodzaje inspiracji tym stylem w twórczości rodzimej

88%

Jaczyński M.

Kwartalnik Młodych Muzykologów UJ

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2015

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issue 1(24)

46-69

EN

The theme of this study is a historical reconnaissance of soul music, taking into account the global context, with all the social and historical conditions that accompanied the development of the style. The main aim that the author set himself is to find sources of Polish musicians’ inspirations that can be found in American music from the 60s of the twentieth century. The main section of this paper is an attempt to define soul music and the characteristic of the style in a variety of shots – strictly musical, social, political, historical, racial and the general-culture one. The final chapter undertakes the task of showing the results of analysis of native music in terms of its membership to the style. In this section, a very broad meaning of the term ’soul’ has been assumed, which in this context is merely a reflection of the original phenomenon. The author hopes that this study will contribute to the dissemination of knowledge that soul music – both worldwide and in Poland – is an original and valuable style.

11

Nostalgia za dawnymi laty. Przypadek muzyki popularnej

88%

Jeziński M.

Kultura i Edukacja

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2014

|

issue 3(103)

248-262

EN

The category of nostalgia is the element of artistic message frequently used in popular music, which influences the reception of a particular song. In their activity musicians refer to the musical past by employing cultural references and utilise fashions present in a certain environment for their own benefit. This category is present in lyrics and music, in the stage shows (performing live, festivals, TV shows) and promotional activities (interviews, promotional video clips for the songs). Such referring to tradition became a constant element of artistic communication, anchoring the music in the past and taking into account the cultural specificities. Definitional capturing of nostalgia is not entirely possible: research into this category require approaches which take into account the aspects of context important for decoding the cultural content. Interpretive tools used by semiology or cultural studies allow to depict the elements included in the form and content of music and lyrics. They indicate the presence of nostalgia as a category determining the reception of artistic work.

12

Co począć z Beatlesami? Metodologia muzykologii wobec muzyki rockowej

88%

Mamczur P.

Kwartalnik Młodych Muzykologów UJ

|

2016

|

issue 4(31)

136-164

EN

The article presents the possible input of musicologists in terms of popular music studies. It describes basic differences between rock and classical music, being still in the centre of attention of traditional musicology, and underlines the necessity of analysing musical recordings instead of relying on score music. New terminology is proposed – both original and based on Western scholars’ experiences – especially relating to formal structure. The author also analyses different approaches to rhythmics (advocating that scholar himself needs to divide a song into bars), harmonics and melodics (presenting popular models), and instrumentation (underlining the importance of sound processing methods).

13

Istnienia poszczególne. Emigracja polskich muzyków jazzowych i rozrywkowych

75%

Piotrowski G.

Kultura Współczesna. Teoria. Interpretacje. Praktyka

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2018

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vol. 99

|

issue 1

168-175

EN

Jazz and pop music representatives are a particularly mobile group of musicians. This is mainly due to the fact of pop music market being dependent on financial factors, channels of distributions and technology. The hybridization of popular music faces it with the migrating, creative human element, and the migration itself undergoes numerous changes in the reality of global, digital world. The author focuses on the tendency of Polish jazz and pop musicians to emigrate. The phenomenon is analysed in the changing cultural, social and political contexts. By interpreting the different fates of musicians representing various generations (B. Kaper, H. Wars, Z. Seifert, M. Urbaniak, T. Stańko), the author distinguishes different waves of emigration and individual motivations, as well as more universal reasons for emigration.

14

Wirtualne symfonie dla każdego – muzyka w cyberprzestrzeni

75%

Skrzydlewski W.

Studia Edukacyjne

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2021

|

issue 62

137-146

EN

The article presents selected issues regarding the role of popular music. The following issues are addressed: the development of phonography from its mechanical form to the modern, virtual one, changes in professional music creation, the role of new media in functioning of musicians, and music as a medium of generational influence. Changes in the operation of show business in the context of the development of new media and pandemics were also shown.

15

Singing accent Americanisation in the light of frequency effects: LOT unrounding and PRICE monophthongisation in focus

75%

Konert-Panek M., University of Warsaw, m.konert@uw.edu.pl

Research in Language

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2018

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vol. 16

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issue 2

EN

The paper investigates – within the framework of usage-based phonology – the significance of lexical frequency effects in singing accent Americanisation. The accent of Joe Elliott of a British band, Def Leppard is analysed with regard to LOT unrounding and PRICE monophthongisation. Both auditory and acoustic methods are employed; PRAAT is used to provide acoustic verification of the auditory analysis whenever isolated vocal tracks are available. The statistical significance of the obtained results is verified by means of a chi-square test. In both analysed cases the percentage of frequent words undergoing the change is higher compared with infrequent ones and in the case of PRICE monphthongisation the result is statistically significant, which suggests that word frequency may affect singing style variation.

16

A critical (and interdisciplinary) survey of popular music genre theories

75%

Merlini M.

Interdisciplinary Studies in Musicology

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2020

|

issue 20

79-94

EN

Genres are among the most discussed topics in popular music studies. The attempt to explain issues as complex and layered as how musical genres are born, how they work and what they ontologically are cannot avoid opening a box full of theoretical problems, questions and tools that need to be understood and used in order to say something significant on genre today. Despite the long story of this theoretical debate (roots of which can be traced back to ancient Greece) and the variety of disciplines involved (e.g. literature, music and film studies, but also philosophy, sociology, cultural studies and semiotics), it is difficult to find survey papers that can give an overview of such a rich research environment. This paper attempts to fill that void by trying to systematize the main (contemporary) perspectives on musical genre, in particular non-essentialist theories coming from the overlapping fields of musicology and sociology. Most importantly, its overview stresses the necessity of an interdisciplinary study of musical genre, which – as an exemplum of extraordinarily layered phenomenon of the human production of culture – intertwines technical, social, discursive, commercial, historical and other elements, thus requiring an approach capable of accounting for as much of its many layers of meaning as possible.

17

Singing Accent Americanisation in the Light of Frequency Effects: LOT Unrounding and PRICE Monophthongisation in Focus

75%

Konert-Panek M.

Research in Language

|

2018

|

vol. 16

|

issue 2

155-168

EN

The paper investigates – within the framework of usage-based phonology – the significance of lexical frequency effects in singing accent Americanisation. The accent of Joe Elliott of a British band, Def Leppard is analysed with regard to LOT unrounding and PRICE monophthongisation. Both auditory and acoustic methods are employed; PRAAT is used to provide acoustic verification of the auditory analysis whenever isolated vocal tracks are available. The statistical significance of the obtained results is verified by means of a chisquare test. In both analysed cases the percentage of frequent words undergoing the change is higher compared with infrequent ones and in the case of PRICE monphthongisation the result is statistically significant, which suggests that word frequency may affect singing style variation.

18

China in the Geopolitical Imaginations of the Polish Pop Music after 1989

75%

Macała J.

Polish Political Science Yearbook

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2020

|

issue 4 (49)

37-47

EN

This paper focuses on the issue of geopolitics in the pop culture interpretation as illustrated by the Polish pop music after the year 1989. Songs selected from various trends of the Polish popular music made the source material of the text. The primary study method involved the analysis of the lyrics discourse. The Polish geopolitical imaginations used to revolve around the basis axis of better West and worse East, symbolized mainly by Russia, but its image was transferred over entire Asia. Asia, including China, was scarcely present in the geopolitical imaginations contained in the pop music, which, at the same time, reflected the irrelevant interest of Polish elites in global problems. The discourses in the musical texts about China frequently adopted the West’s perspective, where Poland made part of as seen by our elites. The rhetoric strategy concerning China in popular music featured two essential views, which references Orientalism as specified by E. Said. It explains the frequent use of the postcolonial discourse by the Polish elites, also the music ones, which promoted the supremacy of the West over the rest of the world and the universal nature of the Western world values which were meant to be implemented into other civilizations and nations for their own sake. China was presented as a growing threat for the dominance of the West, the USA in the first place, as an alternative model of globalization and international deal putting offthe world by its cultural and geopolitical alienation, as well as indicating negative effects for Poland.

19

Estrada i liryka. Szlagier w poezji międzywojennej

75%

Łuszczykiewicz P.

Acta Universitatis Lodziensis. Folia Litteraria Polonica

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2012

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vol. 15

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issue 1

105-113

EN

In the essay the author enquires into the references to popular song in the lyric poetry of the first decades of 20th century, treating the birth of the popular music as the beginning of perceiving a hit single as the integral piece meant to be shown to the public. The re-searcher asks about acceptability and, eventually, the consequences of the artistic flirt of highbrow literature with egalitarian word-music tradition. Moreover, the author shows various scenario of treating hit song impulses, beginning with total ignorance shown by Young Poland artists (Jan Kasprowicz, Bolesław Leśmian, Leopold Staff), through the separation of serious creativity from stage gainful employment, as in the case of Skamander members fearing being given the label of cabaret entertainers (Julian Tuwim, Antoni Słonimski or Marian Hemar), until the liquidation of barriers between serious and jocular muse domains, as in Konstanty Ildefons Gałczyński’s lyric poetry. In this article, there are dozens of allusion, quotations, paraphrases, all invoking not only the most popular hit singles of the Interbellum, but also songs which were less known and therefore nowadays seem to be more difficult to identify. The list of the poets is extended by such personages as Bruno Jasieński, Maria Pawlikowska, and finally Czesław Miłosz.

20

Forschendes Lehren und Lernen (FLL) in Angewandter Linguistik und Sprachdidaktik Muttersprache Deutsch: Praxiserfahrungen mit dem FLL-Beispiel Informelles Lernen in Szenen: Soziosemiotik des (Heavy) Metal

66%

Lang E.

Glottodidactica

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2014

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vol. 41

|

issue 2

23-46

EN

Teaching and learning research appears to be both a suitable and sustainable means to achieve an up-to-date competence for university students in applied linguistics. The understanding of and dealing with new multimodal ‘glocal’ semiotic systems and codes has thus emerged as a new core competence in that field. Since formal educational institutions still adhere to traditional contents, goals and methods, it has turned out to become necessary to focus on informal learning, especially when experienced in subcultures. This approach will lead to acquiring better sociosemiotic competences. The present contribution is based on data and results of imparting of knowledge about informal socio-semiotic learning at the university Wuppertal (Germany), using documents used advanced in seminars of German studies.

Refine search results

Musemes in affect. Philip Tagg’s model of music analysis

Zaangażowanie, bierność i skandal. „Piosenkowe strategie” w konfliktach międzypokoleniowych

Legitimising Strategies in the Field of Independent Cultural Production: the Case of Reissue Record Labels in the USA

U źródeł sporu o wartości edukacyjne muzyki popularnej

Muzyka w marketingu politycznym na przykładzie polskich kampanii prezydenckich (1995–2015)1

Music in the Political Marketing on the Example of Polish Presidential Campaigns (1995–2015)1

Creative Commons Licensing and Relations of Production in the Sound Industry

Why does a creative city need its local music? A study of the contemporary Wroclaw jazz scene

O fenómeno Amália – um capítulo crucial na história religiosa do Fado

Muzyka soul – geneza, historia, uwarunkowania społeczno-kulturowe oraz rodzaje inspiracji tym stylem w twórczości rodzimej

Nostalgia za dawnymi laty. Przypadek muzyki popularnej

Co począć z Beatlesami? Metodologia muzykologii wobec muzyki rockowej

Istnienia poszczególne. Emigracja polskich muzyków jazzowych i rozrywkowych

Wirtualne symfonie dla każdego – muzyka w cyberprzestrzeni

Singing accent Americanisation in the light of frequency effects: LOT unrounding and PRICE monophthongisation in focus

A critical (and interdisciplinary) survey of popular music genre theories

Singing Accent Americanisation in the Light of Frequency Effects: LOT Unrounding and PRICE Monophthongisation in Focus

China in the Geopolitical Imaginations of the Polish Pop Music after 1989

Estrada i liryka. Szlagier w poezji międzywojennej

Forschendes Lehren und Lernen (FLL) in Angewandter Linguistik und Sprachdidaktik Muttersprache Deutsch: Praxiserfahrungen mit dem FLL-Beispiel Informelles Lernen in Szenen: Soziosemiotik des (Heavy) Metal