Perspectives in popular musicology
Music, Lennox, and meaning in 1990s pop
Bibliographic Data
| ID | 5031499 |
|---|---|
| Authors | Stan Hawkin, Stan Hawkins (corresponding author) |
| Year | 1996 |
| Volume | 15 |
| Issue | 1 |
| Pages | 17-36 |
| Publication date | 1996-01-01 |
| Peer Reviewed | Yes |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Popular Music (JOURNAL) |
| Journal identifiers | ISSN: 0261-1430 • E-ISSN: 1474-0095 |
| Publisher | Cambridge University Press (CUP) (PUBLISHER) |
| DOI | 10.1017/s0261143000007947 |
| OpenAlex | W2142058073 |
| Language | EN |
| Citations received | 5 |
| References cited | 11 |
Scholars of popular music in the 1990s are increasingly aware that traditional musicology has failed to recognise commercial pop music as a legitimate academic area of study. Intransigence on the part of many Western music institutions towards recognising the field of popular music study is attributable to issues that have been heatedly debated and discussed in most disciplines of popular music study. Even withstanding the expansion of critical approaches in the 1970s, which paved the way forward to the emergence of new musicological discourses by the late 1980s, musicologists engaged in popular music research have continued to feel some sense of isolation from the mainstream for obvious reasons. The implications of consumerism, commercialism, trend and hype, with the vigorous endorsement of modernist ideologies, have repeatedly curtailed any serious opportunity for studying popular music in Western music institutions. To start accommodating this area of music within any musicological discourse, scholars active within the field of popular music have had to branch out into new interdisciplinary directions to locate and interpret the ideological strands of meaning that bind pop music to its political, cultural and social context. Musical codes and idiolects are in the first instance culturally derived, with communication processes constructing the cultural norms that determine our cognition and emotional responses to musical sound (Ruud 1986). Any proposal of popular music analysis therefore needs to seek the junctures at which a range of texts interlock with musicology. Similarly, the point at which consumer demand and musical authenticity fuse requires careful consideration; it is the commodification of pop music that continues to problematise the process of its aesthetic evaluation within our Western culture
Aesthetics · Art · Call and response · Commodification · Ideology · Literature · Meaning (existential · Music education · Music history · Music theory · Musical · Musicology · Political science · Politics · Popular music · Rock music · Sociology · Visual arts · Diverse Musicological Studies · Law · Music · Music History and Culture · Musicology and Musical Analysis · Psychology
Women and music in cross-cultural perspective
Studying popular music
Postmodern Theory
The Lesbian and Gay Studies Reader
Are You Musical? Is It Queer to Be Queer? Philip Brett Charts the Rise of Gay Musicology
Music and meaning in the commercials
Prince
Popular music analysis and musicology
Analysing popular music
| Unique citing works | 5 |
|---|---|
| Citations per year | 0,19 |
| Citation span | 1999 - 2021 (23) |
| Citation velocity | historical |
| Highly cited | No |
| Citation types | Neutral: 5 |