Marco Biasioli
Biographic Data
| ID | 5664869 |
|---|---|
| NAME | Marco Biasioli |
| GIVEN NAMES | Marco |
| FAMILY NAME | Biasioli |
| SIGNATURE | BIASIOLI M |
| AFFILIATIONS | University of Manchester |
| ORCID | 0000-0001-5116-6949 |
| VERIFIED | Yes |
| TOTAL WORKS | 9 |
| TOTAL CITATIONS | 11 |
| WORKS AS AUTHOR | 9 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2019 |
| LATEST PUBLICATION YEAR | 2026 |
| H-INDEX | 2 |
Dropping out of Putinism
This article examines Russian music practitioners who relocated to Tbilisi, Georgia, following Russia's full-scale invasion of Ukraine. Drawing parallels with late Soviet-era resistance, the study focuses on the participants' efforts to navigate personal, professional and cultural dislocation, highlighting the condition of in-betweenness of Russian music relocants in relation to their experiences of migration, perceived colonial legacies of Russi…
Independent Music in Russia
From the margins and back
Ukrainian Popular Music in Times of War
This article investigates the ways in which Ukrainian independent popular music after February 2022 has contributed to domestic nation-building and international nation-branding. Taking as case studies six artists who have extensively toured abroad with their musical projects, the article traces the evolution of the internal imaginings and external projections of Ukrainian identity enabled via musical activity. The article shows that the war has …
Molchat Doma and the Birth of the Influencer
The article investigates the transnational reception, circulation and remediation of music on TikTok, taking as a case study the Belarusian band Molchat Doma (The Houses Are Silent), whose song ‘Sudno’ became viral in 2020 in conjunction with the first wave of the coronavirus pandemic. The article argues that: a) TikTok users generally disregard the author’s encoded meaning for their own self-expression; b) depoliticize and memeify Molchat doma’s…
Songwashing
This article investigates how the Russian state apparatus, in its diverse, loose, and undercoordinated points of affiliation, used contemporary popular music to its own advantage during Vladimir Putin’s fourth term and before the full‐scale war in Ukraine. I propose that the different state branches’ efforts at appropriating music in order to distract audiences can be grouped into a single, novel framework of “songwashing.” This entails the state…
Russophone or Anglophone? The Politics of Identity in Contemporary Russian Indie Music
This article reveals the connections between Russian nationalism and Russian indie music. It argues that indie trendsetters’ views on music converge, perhaps unconsciously, with the state’s promotion of an assertive nationalism and its cultural implications, following the same politically inspired defensive mechanisms. In support of this argument, the article analyses the reaction by some music intermediaries in public discourse in the 2010s to t…
We also can. We're not worse”
This article analyses the main cultural and political factors that contributed to the emergence of local Anglophone music in Russia between 2008 and 2012. While Russian indie groups had extensively sung in English before (with scarce public recognition), a conjunction of circumstances encouraged the appearance of a conspicuous Russian Anglophone music scene in the Medvedev years. These were a perceived political relaxation, internally and in East…
Crosstown Traffic Conference – a review
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content
Songwashing
This article investigates how the Russian state apparatus, in its diverse, loose, and undercoordinated points of affiliation, used contemporary popular music to its own advantage during Vladimir Putin’s fourth term and before the full‐scale war in Ukraine. I propose that the different state branches’ efforts at appropriating music in order to distract audiences can be grouped into a single, novel framework of “songwashing.” This entails the state…
We also can. We're not worse”
This article analyses the main cultural and political factors that contributed to the emergence of local Anglophone music in Russia between 2008 and 2012. While Russian indie groups had extensively sung in English before (with scarce public recognition), a conjunction of circumstances encouraged the appearance of a conspicuous Russian Anglophone music scene in the Medvedev years. These were a perceived political relaxation, internally and in East…
Molchat Doma and the Birth of the Influencer
The article investigates the transnational reception, circulation and remediation of music on TikTok, taking as a case study the Belarusian band Molchat Doma (The Houses Are Silent), whose song ‘Sudno’ became viral in 2020 in conjunction with the first wave of the coronavirus pandemic. The article argues that: a) TikTok users generally disregard the author’s encoded meaning for their own self-expression; b) depoliticize and memeify Molchat doma’s…
Russophone or Anglophone? The Politics of Identity in Contemporary Russian Indie Music
This article reveals the connections between Russian nationalism and Russian indie music. It argues that indie trendsetters’ views on music converge, perhaps unconsciously, with the state’s promotion of an assertive nationalism and its cultural implications, following the same politically inspired defensive mechanisms. In support of this argument, the article analyses the reaction by some music intermediaries in public discourse in the 2010s to t…
Crosstown Traffic Conference – a review
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content
Russophone or Anglophone? The Politics of Identity in Contemporary Russian Indie Music
This article reveals the connections between Russian nationalism and Russian indie music. It argues that indie trendsetters’ views on music converge, perhaps unconsciously, with the state’s promotion of an assertive nationalism and its cultural implications, following the same politically inspired defensive mechanisms. In support of this argument, the article analyses the reaction by some music intermediaries in public discourse in the 2010s to t…
We also can. We're not worse”
This article analyses the main cultural and political factors that contributed to the emergence of local Anglophone music in Russia between 2008 and 2012. While Russian indie groups had extensively sung in English before (with scarce public recognition), a conjunction of circumstances encouraged the appearance of a conspicuous Russian Anglophone music scene in the Medvedev years. These were a perceived political relaxation, internally and in East…
Songwashing
This article investigates how the Russian state apparatus, in its diverse, loose, and undercoordinated points of affiliation, used contemporary popular music to its own advantage during Vladimir Putin’s fourth term and before the full‐scale war in Ukraine. I propose that the different state branches’ efforts at appropriating music in order to distract audiences can be grouped into a single, novel framework of “songwashing.” This entails the state…
Ukrainian Popular Music in Times of War
This article investigates the ways in which Ukrainian independent popular music after February 2022 has contributed to domestic nation-building and international nation-branding. Taking as case studies six artists who have extensively toured abroad with their musical projects, the article traces the evolution of the internal imaginings and external projections of Ukrainian identity enabled via musical activity. The article shows that the war has …
Molchat Doma and the Birth of the Influencer
The article investigates the transnational reception, circulation and remediation of music on TikTok, taking as a case study the Belarusian band Molchat Doma (The Houses Are Silent), whose song ‘Sudno’ became viral in 2020 in conjunction with the first wave of the coronavirus pandemic. The article argues that: a) TikTok users generally disregard the author’s encoded meaning for their own self-expression; b) depoliticize and memeify Molchat doma’s…
Independent Music in Russia
From the margins and back
Dropping out of Putinism
This article examines Russian music practitioners who relocated to Tbilisi, Georgia, following Russia's full-scale invasion of Ukraine. Drawing parallels with late Soviet-era resistance, the study focuses on the participants' efforts to navigate personal, professional and cultural dislocation, highlighting the condition of in-betweenness of Russian music relocants in relation to their experiences of migration, perceived colonial legacies of Russi…
Diverse Musicological Studies (4 works) · Law (4 works) · Political science (4 works) · Politics (4 works) · Sociology (4 works) · History (3 works) · Law (3 works) · Media studies (3 works) · Music History and Culture (3 works) · Aesthetics (2 works)