Session 2a – Australia and New Zealand. Chair: Eric Hung
The Architects of Culture: Developing the Concept of a ‘Shared Listening History’. James Cox (Macquarie University, Australia)
As Schloss (2006) has suggested, Hip Hop practitioners are mindful of the culture’s history and traditions. This is true of Hip Hop artists in Australia and New Zealand, who are keen to promote their knowledge and respect of the culture’s history and traditions.
This paper will examine the ideas behind such a conservative selection of cultural works that form the basis for Hip Hop music. As Dimitriadis (2009) has suggested, a Hip Hop identity is often “worked through” by a complex positioning and re-positioning of texts between peoples. The selection of such texts forms a ‘Shared Listening History’ among Hip Hop artists in Australia and New Zealand. This allows for the construction of a Hip Hop identity worked out through interaction with these texts. A point reiterated by Australian Hip Hop artist Dialect, “[my music is] straight up Hip Hop music, concerned with preserving and respecting the culture’s traditions and origins [as] laid out by the architects” (Tang 2011, p.22).
Drawing on ethnographic research with Hip Hop artists in Australia and New Zealand, the paper exemplifies how a ‘Shared Listening History’ provides an important structure within the genre. Australian and New Zealand Hip Hop artists engagement with the “architects” of the culture has important implications on the ways in which these artists then construct their music and remain “authentic”.
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Tin Pan Story, Keir Keightley (University of Western Ontario, Canada)
Between 1910 and 1919, a spate of stories set in Tin Pan Alley (the New York sheet-music publishing district) appeared in mass-circulation magazines, newspapers, and cinemas. These contributed to the growing popular knowledge about how popular music was manufactured and promoted; thus they can offer us useful views of the workings of the early music industry, from a perspective that differs somewhat from non-fictional accounts of this period. My paper will explore what these stories tell us in particular about the evaluation of popular music and its frequently fraudulent industrial practices. These largely “romantic” narratives are driven by a conception of Tin Pan Alley as a place where authentic love and authentic musical creation/production can become, against the odds, intertwined and interdependent. Here also we glimpse the rising prominence of “backstage” or insider accounts of cultural industries in the 1910s, prior to Hollywood’s mass of self-revelations and self-mystifications of the 1920s. Together, these insights can contribute to a broader historicisation of contemporary notions of authenticity in general, and of their mainstream, mediated roots in particular. This paper represents the next phase of my current work on a genealogy of “mainstream” authenticity, first presented at my Liverpool 2009 plenary, “Tin Pan Allegory”.
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To anyone who is involved in the academic discussion of popular music, Professor Simon Frith is perhaps one of our megastars. I was delighted to hear that he was the keynote speaker for this conference, as he is one of the driving forces behind IASPM itself and our journal – Popular Music. That this is his final conference (he intends to retire within the year) made his speech all the more poignant.
[with apologies to Simon for any inelegance or misrepresentation in the summative text below – I found the keynote extremely engaging, and have tried to balance my own interest in his points with the practical necessity of live blogging!].
Simon opened his keynote with a comment about his preference for the avoidance of nostalgia – and noted that Bruce Springsteen will be performing in Gijòn this week! He talked briefly about his influential book Performing Rites, written in the 1990s, and then discussed where popular music scholarship might be going today. His interest has always been partly located in the arguments of what constitutes ‘value’ in popular music, and notions of ‘good’ and ‘bad’ popular music. As an academic he takes what is still a very brave approach – of using academic tools to analyse highly contextual social considerations of aesthetic value in music.
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I’m here at the 2013 IASPM (International Society for the Study of Popular Music) biennial conference. I’m one of about 20 British popular musicologists and there are several hundred of us from all around the world. We’re at the magnificent Laboral Ciudad de la Cultura in Gijòn, Spain. I’ve attempted to blog the sessions – including the abstracts and a brief summary – here. I do so with apologies to the presenters for any unintentional misrepresentation.
Read More “IASPM 2013 – Gijòn, Spain – with Abbey Road and some Japanese Prog”