Rivista di Analisi e Teoria Musicale
Anno XXII nn. 1-2, 2016
Do we need “popular music”?
Critical perspectives from music studies
Abbiamo bisogno della “popular music”?
Prospettive critiche dagli studi musicali
Edited by / a cura di Alessandro Bratus
Alessandro Bratus, In che modo abbiamo bisogno della popular music? Riflessioni su interstizi e spazi disciplinari, in luogo di un’introduzione , pp. 7-32
Alessandro Bratus, Is not That We Don't Need Popular Music, but Rather How. Reflections on Disciplinary Spaces and Interstices, in Lieu of an Introduction, pp. 33-58
John Covach, The Way We Were: Rethinking the Popular in a Flat World, pp. 59-72
Stefano La Via, La canzone d’autore come terreno d’incontro tra “colto e “popolare" (con annotazioni critiche su alcune tendenze della popular musicology), pp. 73-104
Timothy D. Taylor, The Hip, the Cool, and the Edgy, or the Dominant Cultural Logic of Neoliberal Capitalism, pp. 105-124
Philippe Gonin, Popular or not Popular? The Late 1960s, Counterculture and the Avant-garde in Rock Music. The Example of Pink Floyd’s Ummagumma, pp. 125-150
Dietrich Helms, Do We Need “populäre Musik”? A German Perspective, pp. 151-178
Vincenzo Caporaletti, Quali basi epistemologiche per una musicologia della popular music?, pp. 179-206
Max Paddison, Critical Reflections on the Concept of Popular Music, pp. 207-225
Notes on Contributors / Notizie sugli autori, pp. 227-230
In che modo abbiamo bisogno della popular music? Riflessioni su interstizi e spazi disciplinari, in luogo di un’introduzione / Is not That We Don't Need Popular Music, but Rather How. Reflections on Disciplinary Spaces and Interstices, in Lieu of an Introduction
L’obiettivo di questo numero monografico è esaminare l’area di significati evocata dall’espressione “popular music”, mostrandone i risvolti e i sottintesi negli studi musicali attuali.
In the United States, the recent twenty years have seen the emergence of what might be defined as a “flat world” (Thomas L. Friedman) of musical styles – a reshaped cultural environment in which many listeners and scholars no longer view classical music as more sophisticated than other styles.
La canzone d’autore come terreno d’incontro tra “colto e “popolare” (con annotazioni critiche su alcune tendenze della popular musicology)
The study of the relationhips between verbal language and musical expression, if applied to the most various historical and cultural contexts, facilitates a critical- analytical and interdisciplinary-transversal approach, capable of seriously challen- ging the traditional dichotomy “art” / “popular” cultures (colto / popolare), as well as the most recent tendency – especially in Italy – to give different meanings to analogous terms such as popolare and popular.
Fredric Jameson’s 1984 essay “Postmodernism, or, the Cultural Logic of Late Capitalism”, was an enormously influential work that offered a way of attempting to understand cultural production in the era of “late capitalism”.
Popular or not Popular? The Late 1960s, Counterculture and the Avant-garde in “Rock Music”. The Example of Pink Floyd’s «Ummagumma»
From the USA (Frank Zappa, The Velvet Underground, The Grateful Dead) to the UK (AMM, Pink Floyd, The Beatles, Soft Machine), experimentation seemed to be one of the preoccupations of the pop “avant-garde” that arose in Anglo-American popular music at the end of the 1960s, under labels as diverse as progressive, art or psychedelic rock.
The question in the title of this special issue is hard to answer from a global perspective. Local scholarly and institutional traditions but also local definitions of the term “popular music” have a strong influence on our way of thought. This article discusses the conceptual history that is associated with the German “populäre Musik” in following it back to its origins in the 18th century
This article aims firstly to test the musicological resilience, and possibly probe the limits, of the epistemological field identified by the notion of “popular music” as an object of study.
Defining what is understood by the term “popular music” has always been problematic, and the term has tended to be used in a vague and indistinct way that can encompass a wide range of fundamentally different musics.