Pushing the Popular, or, Toward a Compositional Popular Aesthetics.
In this essay, I explore the possibility of a refashioning of the broader category of “the popular,” and further, of “popular music,” which, because of its obvious link to mass consumer culture, presents a challenge for any claims as to its transformative potential and capacity for resistance. This...
| Publicado en: | Popular Music & Society Vol. 29; no. 1; pp. 91 - 109 |
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| Formato: | Artículo |
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Taylor & Francis Ltd
Feb2006
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=19063203&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 19063203 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 03007766 POA jtl: Popular Music & Society issn: 03007766 maglogo: Y pubinfo: dt: Feb2006 vid: 29 iid: 1 pid: 377 pub: Taylor & Francis Ltd artinfo: ui: 19063203 10.1080/03007760500167289 ppf: 91 ppct: 18 formats: fmt: – @attributes: type: T – @attributes: type: P size: 179KB tig: atl: Pushing the Popular, or, Toward a Compositional Popular Aesthetics. aug: au: Székely, Michael su: Musical composition Music history Mass (Musical form) Attali, Jacques Popular music sug: subj: Musical composition Music history Mass (Musical form) Attali, Jacques Popular music ab: In this essay, I explore the possibility of a refashioning of the broader category of “the popular,” and further, of “popular music,” which, because of its obvious link to mass consumer culture, presents a challenge for any claims as to its transformative potential and capacity for resistance. This effort must follow the lead of various cultural theorists, who espouse something of an aesthetics of the popular, beyond, above, but also what we witness in contemporary pop and commercial artifacts, not only in terms of what's “hot” and what's not, but also in terms of the genres and artists themselves. This inevitably involves a peculiar paradox whereby we valorize, but also undermine, the popular. We embrace it, but also push its limits. To this end, I draw upon both Chris Cutler's taxonomy and criticism of the more traditional approaches to assessing the popular with respect to music and Jacques Attali's notion of “composition” to show how a reconstituted “popular” music is not only applicable to a broad understanding of music's situatedness, but can also have a significantly transformative social and political impact as well. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Popular Music & Society is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Popular Music & Society holder: Taylor & Francis Ltd dt: @attributes: year: 2006 holdings: @attributes: islocal: N |
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