A theoretical model for the sociomusicological analysis of popular musics

Bibliographic Data

ID4812019
AuthorsJohn Shepherd (0000-0003-1241-4182, corresponding author)
Year1982
Volume2
Pages145-177
Publication date1982-01-01
Peer ReviewedYes
Open AccessYes
TypeARTICLE
VenuePopular Music (JOURNAL)
Journal identifiersISSN: 0261-1430 • E-ISSN: 1474-0095
PublisherCambridge University Press (CUP) (PUBLISHER)
DOI10.1017/s0261143000001276
OpenAlexW2031842073
LanguageEN
Citations received26
References cited24

Henry Pleasants has argued that the significant revolution in musical style to occur at the turn of the century was not that represented by the works of composers such as Debussy, Stravinsky, Schoenberg and their successors but that constituted through the advent of Afro-American and Afro-American influenced musics and the very substantial impact that these musics subsequently made, not only on main stream Western culture, but on world culture as a whole (Pleasants 1969). Yet despite the radical shift in musical and social aesthetic that has been maintained since the turn of the century through successive waves of so-called 'popular' music, remarkably little attention has been paid to popular music as a cultural form. As Jenny Taylor and Dave Laing have remarked, 'popular music remains a poor relation in cultural theory, usually being tagged onto a list in which film or television takes pride of place'. A reason for this neglect, Taylor and Laing continue, 'is its lack of status ... which has the effect that rock is usually studied or taught in odd corners of the curriculum ... In addition', they conclude, 'music as such poses great problems in the determination of meaning and signification' (Taylor and Laing 1979, P. 43

Aesthetics · Art · Epistemology · Literature · Meaning (existential · Musical · Popular culture · Popular music · Pride · Relation (database · Sociology · Style (visual arts · Diverse Musicological Studies · History · Music History and Culture · Musicology and Musical Analysis · Philosophy

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