It bought and sold in the exigencies of a

It
was written by Halifu Osumare. The essay is about the American youth way of
life in relation to dance and style at the center of American culture that as a
result of involvement technology has become a global youth culture. She
explicates about the black music and dances that depict a transforming
afro-sonic styles that are bought and sold in the exigencies of a global supply
and demand a capitalist market place on a daily basis. She notes that the
steadily increasing extension of black music’s influence is gradually becoming
the world power and relates this to the fact that black music’s influence is
because of its exceptional cultural touch as it underlines the American
lifestyles and values in numerous diversities. She further highlights the fact
that black culture as being popular today and even further snared into larger
economic vicissitudes. She largely attributes this to the global hip hop youth
culture that has become phenomenon in marketing the black culture.

What is bluegrass anyway? Category
formation, debate and the framing of musical genre

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            This article was written by
Jotirokwel and observes a contested issue related to defining the genre of
bluegrass music. The writer attempts to come up with numerous formulas of
interpretation. He argues that interpreting this debate as a subjective negotiation
and re-negotiation of a category. The article underlines the musical and discursive
means through which bluegrass antologies are framed. As a result of this
attempt, this article adds some information to the growing body of literature
that asserts genre in popular music as extremely flexible to construct being
made up of both cultural formations and musical performance. The article starts
by exploring the ideas of blue grass expounded  by Bill Monroe and numerous blue grass
scholars there after invokes recent works on human cognition and categorization
as he attempts to analyze the genre debate among the bluegrass enthusiasts. He
asserts that such discourse notwithstanding its apparent futility can be viewed
as a vital means for or a genres self-perpetuation

On popular Music With assistance and Collaboration
of George Simpson. The Musical Material. The two spheres of music

            This article was written by Theodor
W. Adorno and mainly centers on how popular music is made. He provides his
investigations on popular music; he notes that popular music produces stimuli
and is usually characterized by numerous differences from serious music. He
attempts to explain why and how popular music is perceived and accepted by
people. He argues that the basic of standardization has not escaped attention
from current literature on popular music. He highlights the differences between
popular songs and serious or standard being the way lyrics and melody are
constructed within structural form or definite form while the lyric or poem of
a standard number has no structural confinements hence music free to interpret.
He notes that a popular song is custom built whereas the standard song allows
the composer freer play of interpretation and imagination.

Gender and Cultural Consecration in
Popular Music

            The research was made by Vaughn
Schmutz of Rollins College and Alison Faupel of Emory University. The research
mainly examines the gendered nature of cultural consecration and legitimacy in
popular music. The Authors majorly explore two related questions the first
being which factors affect the likelihood of female performance to achieve
consecrated status and secondly, how those decisions are discursively
legitimatized. This has been attempted at by invoking the use of numerous mixed
research design methods. The authors note that both indirectly and indirectly
gender suggestively shapes the performer’s likelihood of consecration which
largely leaves the female artists a disadvantage in this process. Furthermore,
the discursive solutions employed to validate artist’s inclusion among the all-time
greats are formulated by the present cultural frame works about gender and art
limiting n more indirect and subtle ways the volume and type of legitimacy
female artists accrue.

”Race records” and ”hillbilly
music”: institutional origins of racial categories in the American commercial
recording industry

This
essay was written by William G Roy and expounds the relationship between social
boundaries and artistic boundaries which are examined through construction of
the musical categories of hillybilly music and race records in commercial
music. The essay asserts that these categories were less a part of a larger
racial project than the business and institutional practices of the early
recording 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 and
Kasper Shilitiz. The authors argue that political activism carried out by pop musicians
and discussion of popular culture in international relations has of recent
increased. They note that on a closer scrutiny at the political meaning of
mainstream pop songs however is still lacking therefore the essay examines the
political world views that largely become a manifest in the lyrics of United
States and German top ten hits right from 1960 to 2009. The authors argue that
a remarkable feature of these of the world wide view represent rejection of
political organizations and actors in the mood of disenchantment and alienation
along with a strong appeal to constitute relating to responsibility of an
individual with intention to autonomously tackle societal related deficiencies.
This essay is based on a pronounced trust in people’s capacity to solve
problems jointly in exclusion of interference of institutions.

 The
Structural Functions of Stardom in the Recording Industry

            This article was written by Lee
Marshal. He asserts that stars are central to the experience of popular music
.a focal point for collective desire and individual for the interpretation of
the authorial intent. He notes that the social structure for stardom happens to
also be central to industrial organization off popular music. The essay begins
with a discussion of approach to stardom more generally and outlines key
functions played by popular music stardom in the structure of contemporary
recording industry and the power balance between record labels and stars
concluding that if the major labels become significantly less powerful then.