Itwas written by Halifu Osumare. The essay is about the American youth way oflife in relation to dance and style at the center of American culture that as aresult of involvement technology has become a global youth culture. Sheexplicates about the black music and dances that depict a transformingafro-sonic styles that are bought and sold in the exigencies of a global supplyand demand a capitalist market place on a daily basis. She notes that thesteadily increasing extension of black music’s influence is gradually becomingthe world power and relates this to the fact that black music’s influence isbecause of its exceptional cultural touch as it underlines the Americanlifestyles and values in numerous diversities. She further highlights the factthat black culture as being popular today and even further snared into largereconomic vicissitudes. She largely attributes this to the global hip hop youthculture that has become phenomenon in marketing the black culture. What is bluegrass anyway? Categoryformation, debate and the framing of musical genre This article was written byJotirokwel and observes a contested issue related to defining the genre ofbluegrass music.
The writer attempts to come up with numerous formulas ofinterpretation. He argues that interpreting this debate as a subjective negotiationand re-negotiation of a category. The article underlines the musical and discursivemeans through which bluegrass antologies are framed. As a result of thisattempt, this article adds some information to the growing body of literaturethat asserts genre in popular music as extremely flexible to construct beingmade up of both cultural formations and musical performance. The article startsby exploring the ideas of blue grass expounded by Bill Monroe and numerous blue grassscholars there after invokes recent works on human cognition and categorizationas he attempts to analyze the genre debate among the bluegrass enthusiasts. Heasserts that such discourse notwithstanding its apparent futility can be viewedas a vital means for or a genres self-perpetuation On popular Music With assistance and Collaborationof George Simpson. The Musical Material.
The two spheres of music This article was written by TheodorW. Adorno and mainly centers on how popular music is made. He provides hisinvestigations on popular music; he notes that popular music produces stimuliand is usually characterized by numerous differences from serious music. Heattempts to explain why and how popular music is perceived and accepted bypeople.
He argues that the basic of standardization has not escaped attentionfrom current literature on popular music. He highlights the differences betweenpopular songs and serious or standard being the way lyrics and melody areconstructed within structural form or definite form while the lyric or poem ofa standard number has no structural confinements hence music free to interpret.He notes that a popular song is custom built whereas the standard song allowsthe composer freer play of interpretation and imagination.Gender and Cultural Consecration inPopular Music The research was made by VaughnSchmutz of Rollins College and Alison Faupel of Emory University. The researchmainly examines the gendered nature of cultural consecration and legitimacy inpopular music. The Authors majorly explore two related questions the firstbeing which factors affect the likelihood of female performance to achieveconsecrated status and secondly, how those decisions are discursivelylegitimatized. This has been attempted at by invoking the use of numerous mixedresearch design methods.
The authors note that both indirectly and indirectlygender suggestively shapes the performer’s likelihood of consecration whichlargely leaves the female artists a disadvantage in this process. Furthermore,the discursive solutions employed to validate artist’s inclusion among the all-timegreats are formulated by the present cultural frame works about gender and artlimiting n more indirect and subtle ways the volume and type of legitimacyfemale artists accrue.”Race records” and ”hillbillymusic”: institutional origins of racial categories in the American commercialrecording industryThisessay was written by William G Roy and expounds the relationship between socialboundaries and artistic boundaries which are examined through construction ofthe musical categories of hillybilly music and race records in commercialmusic. The essay asserts that these categories were less a part of a largerracial project than the business and institutional practices of the earlyrecording industry even though once established become self-perpetuating.
“They Don’t Really Care About Us!” On Political Worldviews in Popular Music The essay was authored by Ulrich andKasper Shilitiz. The authors argue that political activism carried out by pop musiciansand discussion of popular culture in international relations has of recentincreased. They note that on a closer scrutiny at the political meaning ofmainstream pop songs however is still lacking therefore the essay examines thepolitical world views that largely become a manifest in the lyrics of UnitedStates and German top ten hits right from 1960 to 2009. The authors argue thata remarkable feature of these of the world wide view represent rejection ofpolitical organizations and actors in the mood of disenchantment and alienationalong with a strong appeal to constitute relating to responsibility of anindividual with intention to autonomously tackle societal related deficiencies.
This essay is based on a pronounced trust in people’s capacity to solveproblems jointly in exclusion of interference of institutions. TheStructural Functions of Stardom in the Recording Industry This article was written by LeeMarshal. He asserts that stars are central to the experience of popular music.
a focal point for collective desire and individual for the interpretation ofthe authorial intent. He notes that the social structure for stardom happens toalso be central to industrial organization off popular music. The essay beginswith a discussion of approach to stardom more generally and outlines keyfunctions played by popular music stardom in the structure of contemporaryrecording industry and the power balance between record labels and starsconcluding that if the major labels become significantly less powerful then.