Untitled - Amherst College

996 Pages·2010·5.75 MB·English

IASPM03 - MONTREAL
Table of Contents
Desired Exotics: Icelandic and American Popular Musics in Contact 14
Stephen Amico
“For Rockin’ at the Sock Hop or Listenin’ to Liszt”: Marketing the Phonograph to Teen Girls in the 1950s 22
Steve Bailey
Praxis as Play: Singing and the Musical Practices of Pre-teen Girls 29
Sarah Baker
Popular Music and the End of Apartheid: The Case of Kwaito 34
Christopher Ballantine
Focus Shift: An Essay On the Overlooked Musical Influences in Québec Popular 41
Chanson of the 1960s
Luc Bellemare
American “Old time music” Mediation with French-Canadian Recordings 53
Sandria P. Bouliane
Ideology, Historiography, and the Rock and Roll Hall(s) of Fame: Writing Off Rush? 64
Durrell Bowman
You Walk Alone: Jandek and the Relationship Between Biography and Textuality in Popular 70
(and Not-So-Popular) Music
Kevin John Bozelka
What Does Their Music Mean: Argentinean Music for a Quebec Musician 77
Pascal Bujold
Understanding Contradictions Through Popular Music: An Analysis of Coplas and Canción De Autor 84
Mercedes Carbayo-Abengózar and Esther Pérez-Villalba
Skinny Ties and Valley Girls: Gender, Genre and the 1980s Teen Movie 100
Theo Cateforis
FinalScratch: Inaugurating a Virtual Authenticity? 107
Sara Wei-Ming Chan
Fresco or Freeway?: An Aural impression of Montreal’s Lachine Canal 114
Owen Chapman
Cultural Capital and Cultural Memory among Mexican Migrants in the United States: 118
The Performance of Corridos and Norteño Music among Migrants
Martha Chew
Mapping the Music Industry in Scotland: Building an Industry or Building an Empire? 129
Martin Cloonan and John Williamson
“Our Disagreement is a subtle one of Methodology”: Music Theory and the Clash of Ideologies 139
in Discourse on Popular Music
John S. Cotner
Dance Tribes and Club Cultures. Experiences, Imageries and Values 146
Concerning Dance Clubs in Rome
Francesco D’Amato
Some Reflexions on Song Theory, Signed Song and Traditional Song 156
Jean N. De Surmont
When No Sense Makes Sense. Voice, Words and Stars in Italian Pop: Elio e le Storie Tese occurrence 166
Angelo Di Mambro
Magic moments: the textuality of musical memory in contemporary Hollywood cinema 172
Dr Philip Drake
Scenes Dimensions of Karaoke in the U.S. 179
Rob Drew
Reloading the Matrix: A Perceptual Geography of Zion 187
Mark Evans
The Many Lives of Cotton Eyed Joe 195
Holly Everett
The Handmaiden’s Tale: Black Women Back Up Singers in White Rock 203
Susan Fast
The Practice of Popular Music at a Brazilian University: Challenges and Possibilities 211
Heloisa Feichas
Deep and/or soulful?: The Politics of House Music in New York City 218
Kai Fikentscher
Genre Subversions in “Everything Reminds Me of My Dog” by Jane Siberry 225
France Fledderus
Musical Performance and the Evolution of Television Conventions, 1948-1955 245
Murray Forman
Crossroads: Intertextual Strategies And Economic Relations In The Age Of Digital Music 256
Héctor Fouce
Broken Bottles and Barbed Wire: Performative Violence and the Boundaries of Fiction in Extreme Rock 263
Michael Free
Popular Songs as a Form of Knowledge and Gathering for People 271
Jorge Frozzini
You Gotta Work Your Jelly 290
Cynthia Fuchs
“Sneaking Into the Boys Club”: Gender and the Independent Record Shop 298
Lee Ann Fullington
‘Unbearable Intimacy’ and Jeff Buckley’s Transgendered Vocality 306
Shana Goldin-Perschbacher
“Boy Racer”: Morrissey at the Intersection of Nationality and Gender 316
Nicholas Greco
From rock in France to French rock: Towards the formation of an autonomous expression 322
Gérôme Guibert
Performing Musical Chronicles in Mexico 329
Eduardo Guízar
Vision Versus Sound: Media Competence as a Touchstone in the Tango Singing Contest 337
at the Seinäjoki Tango Festival
Yrjö Heinonen
The Case of New Fascist Rock Music in Germany: An Attempt to Distinguish Scalar and 344
Vectorial Sign Components
Jan Hemming
Talking About Good and Bad Music 354
David Hesmondhalgh
“Got to Deconstruct”: The Theory and the Practice of Henry Cow’s “Bittern 366
Storm over Ulm”
Kevin Holm-Hudson
Killing the Music – Whodunnit? I: The Crime 375
Shane Homan
New Folk Music in Chinese Pop Music 381
Yang Hong
Atomic Primitivism: Akira Ifukube’s Sound Design for Godzilla 386
Shuhei Hosokawa
‘Revives’: Old Gold in Reggae 393
Hasse Huss
Lithuanian Audiences, Diasporic Texts 400
Bjorn Ingvoldstad
Human Nature? Madonna’s queer(ing) identities 406
Freya L Jarman-Ivens
Killing the Music: Whodunnit? The Criminal - First Interrogation 418
Bruce Johnson
Claiming Authority 426
Lars Kaijser
Is There Green Popular Music (Studies)?: Approaching the Question through Pulp’s Album We 434
Love Life
Kari Kallioniemi
“At Times, We May Have Gone a Bit Too Far”: Technologies of Spectacle in Pink Floyd’s P.U.L.S.E. 439
Stage Performance at Earl’s Court, London 1994
Kimi Kärki
Across the River: The Stage Performance Design Co-operation of Peter Gabriel and 447
Robert Lepage
Kimi Kärki
The Practice of Music Fandom on the Internet 454
Marjorie Kibby
The World Wide Web and Music Activity: Metaphor or Analogy? 464
Geoff King
Effects of effects: exploring the message behind the use of echoes on vocals 472
John Klepko
Tears and Screams: Performances of Pleasure and Pain in the Bolero 478
Dr Vanessa Knights
The Film Music of Tôru Takemitsu: Sound and Silence in Double Suicide 486
(Shinjû Ten no Amijima)
Kyoko Koizumi
Intertextuality as a Tool for the Analysis of Popular Music: Gérard Genette and the 494
Recorded Palimpsest
Serge Lacasse
Beyond the Yellow Submarine: Aspects of the Sublime in The Beatles’ “It’s All Too Much” 504
Jim LeBlanc
“Simulacra or “Stimulacra”?: Musical Inflections on Quasi-Realism and Parody 510
Claire Levy
Join the ranks! Québec’s Musical Union and “Emergent Musics”: A New Field of Cultural Activity? 517
Martin Lussier
Disco, House and Techno: rethinking the local and the global in Italian Electronic Music 535
Paolo Magaudda
Almost Famous: Finland’s Quest for International Popular Music Stardom, 1961–1999 552
Janne Mäkelä
Digital Recording Technologies and New Music-Making Practices: A Case Study of Young 559
Musicians in Rural Canada
Jan Marontate
Centre/Periphery Relationships in Connection with Cultural Flow and the ‘Problem’ of Local and 569
Ethnic Traits in Danish Popular Music since 1990
Henrik Marstal
Character and Popular Music in West Anderson’s The Royal Tenenbaums 578
Kari McDonald
Discommunication: Noise Music in Post-80’s Japan 587
Anne McKnight
Problems in Popular Music History Writing 605
Morten Michelsen
Girls on top, or Stealing the Phallus 613
Richard Middleton
Behind the Practices; 618
Catching Up With Depeche Mode 101: Verite Very
Tara Mimnagh
Liminal Sounds and Images: Transnational Chinese Popular Music 625
Tony Mitchell
Queering the Pitch: A Historical and Political Comment 636
Martha Mockus
Skill, Music, and Energy in Punk Performance 643
Eugene Montague
Practicing Formerly Popular Music: The Roots Music Community of Montreal 649
Craig Morrison
The Impact of New Technologies on Contemporary Music Management Practices 656
Guy Morrow
Great Big Mistake: Fandom as Magical Practice, Stockwell Day and Spoiled Identity 662
Peter Narváez
From the ‘Nay’ List to the Play List: Increasing Local Music Airplay in 670
New Zealand Without Enforced Regulation
Karen Neill
Dialed Tone: Signature Guitars as Cultural Signifiers 681
Wade Nelson
Night of a Thousand Stevies: Queer strategies and the forging of femininity 689
Jason Lee Oakes
Flowing together or alone?: On self-controlling music participants in the media society 697
Hiroshi Ogawa
“Tearoom” – A Programme for Young People Broadcast by a Culture-Oriented Station 706
in the Czech Republic
Ale! Opekar
South of the Border: Constructing A History of Rock in a Non Anglo Country; 714
The Case of Mexico
Julia E. Palacios