Music Journalism Research Papers - Academia.edu (original) (raw)

instituto de etnomusicologia da Faculdade de ciências sociais e Humanas da universidade nova de lisboa (inet/ FcsH-unl) carlos cavalliNi instituto de etnomusicologia da Faculdade de ciências sociais e Humanas da universidade nova de... more

instituto de etnomusicologia da Faculdade de ciências sociais e Humanas da universidade nova de lisboa (inet/ FcsH-unl) carlos cavalliNi instituto de etnomusicologia da Faculdade de ciências sociais e Humanas da universidade nova de lisboa (inet/ FcsH-unl) resumo

Zur Langlebigkeit eines überkommenen Rezeptionsparadigmas

This study updates and expands the application of stereotyping and professional socialization to music journalism in a way that is generalizable to the United States music journalism industry, and seeks to understand the role women... more

This study updates and expands the application of stereotyping and professional socialization to music journalism in a way that is generalizable to the United States music journalism industry, and seeks to understand the role women journalists play in counteracting or perpetuating stereotyping of women musicians. A content analysis of 936 articles finds significant stereotyping of women musicians in major US music publications during 2016. The stories, randomly sampled from eight top US publications, were predominantly about men artists and by men authors, and were more likely to discuss women musicians' appearance and relationships, and used more sexualized and emotional language. Improvement was found in that articles were no more likely to discuss women musicians' age and youth than men's. Women journalists were just as likely to stereotype women musicians as men journalists were, and more so in one category. We expand stereotyping by incorporating insights from professional socialization and applying it to the "soft news" yet male-dominated field of music journalism, adding to our knowledge of hard news fields such as politics, business, and sports. It also updates the few studies of music journalism from decades ago, showing little progress in the blatant stereotyping of women musicians.

Utilizing the early career of Bruce Springsteen during the 1970s as an example, this article begins to theorize and historicize the relationship between hype as a communicative process and the field of rock criticism. I argue that hype... more

Utilizing the early career of Bruce Springsteen during the 1970s as an example, this article begins to theorize and historicize the relationship between hype as a communicative process and the field of rock criticism. I argue that hype should be understood in three distinct ways: as a result of material changes in the music industry of the period, as a multifaceted discursive process that involved the creation, circulation, and debate of journalistic writing; and as a rhetorical strategy employed by music critics to distance themselves from the aforementioned processes. In working toward a theory of hype, I suggest how it is a critical factor in coming to terms with how rock criticism became an element of promotional culture.

Naturally, this dissertation attempts to bridge the gap between the fields of popular music and history, by citing numerous case studies which illustrate the music press’ writings on political and topical issues throughout the age of... more

Naturally, this dissertation attempts to bridge the gap between the fields of popular music and history, by citing numerous case studies which illustrate the music press’ writings on political and topical issues throughout the age of Thatcher. Certainly both the NME and Melody Maker had considered political issues, as did several contemporary musicians. Put simply, what do these magazines suggest as a political insight into the age of Thatcher? Can we use music – and as such the music press - as a reflective manner of politics? Or as John Street suggests, is music simply a “footnote to politics”? This dissertation will explore the aforementioned points, taking into consideration a variety of literature and the writings of both the Melody Maker and the NME.

A global tool of transcendence, music's therapeutic benefits are receiving a great deal of attention. Music is sound and the sound is rooted in vibration. Healing with sound is immensely popular and well documented as an effective... more

A global tool of transcendence, music's therapeutic benefits are receiving a great deal of attention. Music is sound and the sound is rooted in vibration. Healing with sound is immensely popular and well documented as an effective holistic treatment. Musical sounds unleash knots created on our body sensory organs caused by the routine exertion and yields pronounced, calm, and balanced life. Treatment by listening to music leads to enhanced and thinkable brain. Through musical involvement in the therapeutic context, patient's abilities are strengthened and transferred to constructive areas of their lives. Music therapy also provide avenues for communication that can be helpful to the introverts, who constantly repress their emotions. Dr. Tony Cicoria, a well-regarded orthopaedic surgeon and a former football Player, actually embraced death and returned to life, after being struck by the lightning while talking on the phone. This robust fellow developed several neurological syndromes as explained in the book Musicophilia by Dr. Oliver sacks. " I saw my own body on the ground. I said to myself, 'Oh shit, I'm dead.' …Then —slam! I was back. " recalls Dr. Cicoria, while reminiscing the incident. A couple of weeks later, although his memory problem persisted, life still returned to normal when suddenly in a few days, his insatiable desire to listen to the piano music aroused. He listened seriously for hours. He felt completely mindful and free from the disturbing past when eventually, he started to teach himself to play piano. In the third month after being struck, Cicoria was inspired, even possessed by music, and scarcely had time for anything else. Some years passed, he continued to work as a surgeon, but his heart and mind was now centered on music. He met a fearful motorcycle accident meanwhile, but made a complete recovery through his piano-playing and was back at work in two months. i Music and the human body It is known that approximately 70% of the body is water and sound travels faster in water than the air. Therefore, inculcating sound vibrations for healing is becoming essentially credited. In addition, there are seven glandular systems in our body and musical notes are also seven. Each note has a unique vibration which stimulates the energy centers and subsequently our body.

The reasons why this album has been declared “the greatest album of all time” are explored through their historical rationales, and these are compared with more straightforward aesthetic analyses of the album’s contents. A contrast is... more

The reasons why this album has been declared “the greatest album of all time” are explored through their historical rationales, and these are compared with more straightforward aesthetic analyses of the album’s contents. A contrast is drawn between the canonical centrality of Sgt Pepper to rock music in general, and its importance to The Beatles canon in particular. I demonstrate that the centrality of the Sgt Pepper to rock music is an American phenomenon, where it is seen as establishing the album form as the primary unit of rock-music art. In contrast, the British critical tradition has not generally awarded special importance to Sgt Pepper. However, the US perception of the album has infiltrated the British discourse and this has resulted in the perception that The Beatles canon is an album-based form.

For most of her life, Claudia Cassidy (1899–1996) was Chicago’s most prolific and widely read critic, and, as this paper argues, one of the most influential arts critics of the twentieth century. She began her career at the Chicago... more

LE PIANISTE: PARISIAN MUSIC JOURNALISM AND THE POLITICS OF THE PIANO, 1833-35

A critical review of how key texts since the 1960s have shaped journalistic and also academic representations of The Beatles. The chapter also includes discussion of a little-known area in The Beatles' history: their various affiliations... more

A critical review of how key texts since the 1960s have shaped journalistic and also academic representations of The Beatles. The chapter also includes discussion of a little-known area in The Beatles' history: their various affiliations with and possible debt to local black musicians working in Liverpool c.195801962.

Reviews the changing assessments of Schumann's Second Symphony, especially of the last movement. At the basis of these is a change of attitude towards Schumann's conviction that music embodies a transformational series of... more

Reviews the changing assessments of Schumann's Second Symphony, especially of the last movement. At the basis of these is a change of attitude towards Schumann's conviction that music embodies a transformational series of _Sellenzustände_ , that a symphony is in some sense a composed novel, appealing to plot archetypes present in a given culture. Using reviews and commentaries from the 1840s to the 1940s as well as personal biographical material the essay defends this point of view. Then proposes an analysis of especially the first and last movement based in these ideas.

The phenomenon of spontaneous canonization is examined here in relation to the standards of listening to music, accepted as a norm within Western cultural establishment. The same self-organization of the music market that led to formation... more

The phenomenon of spontaneous canonization is examined here in relation to the standards of listening to music, accepted as a norm within Western cultural establishment. The same self-organization of the music market that led to formation of canon in composition and performance affected the practice of consumption of music. The listener’s canon has been constructed and fixed through the interaction of professional criticism, music education, music journalism, and later, music records and radio broadcasting. This canon is documented in the music appreciation literature. More recent poll data suggests that the listener’s canon closely follows the performance canon. High degree of correspondence between the composer’s, performer’s and listener’s canons testifies to the futility of attempts to revise existing canons or introduce any new canons. This discussion is especially useful for understanding of the problems faced by concert agencies and record companies of today. The very same bug of “non-communication” that affects modern composition and modern performance is identified in modern practice of listening - as “non-communicative listening.” The roots of this problem are examined in light of cultural mismanagement of music by the record industry. Its ramifications in relation to both, classical and popular music are discussed.

Premio Cronista Cazabán 2013 del Instituto de Estudios Giennenses

Admit it, you too have sneered at art school kids. It's hard not to, with all their hip hair, funny antics and wild clothes. Who do they think they are, rock stars? Turns out, art school has been a fertile breeding ground for pop... more

Admit it, you too have sneered at art school kids. It's hard not to, with all their hip hair, funny antics and wild clothes. Who do they think they are, rock stars? Turns out, art school has been a fertile breeding ground for pop musicianship since the Rolling Stones. Because of this, the inclusion of “art-school” in pop biography, scholarship and criticism has taken on a strong set of connotations and is, by this time, a well worn but under analyzed cliché.
With an emphasis on conceptualism over skill, process over result, and creative amateurism over technical virtuosity, art school-trained musicians have become icons of a certain type of pop performance often negatively connoted as 'dilettante' by rock(its) audiences. When adding to their pedagogically-instilled predisposition towards appropriation and their often savvy eyes to the visual aspects of pop performance, these musicians often incur the ultimate insult in the rock fan lexicon: poseurs.
In my paper I will examine the prose record of words connoting art-school trained musicians as “dilettantes” or “poseurs” to show how hierarchies of value and the unspoken rules of rock tradition are challenged when art-theory and practice jump into pop sound and performance. What threat do amateurism, conceptualism, appropriation and the willful embrace of artifice pose to traditional concepts of popular music and musicianship, performance presence, gender and persona construction? And, when writers bite the artsy conceptualism/hype, does it lend them Avant garde status or make them big dupes? Only Fischerspooner knows for sure, and that's where my examination begins.

The Canadian band Nickelback has faced substantial negative feedback in the media. This article examines discourses constructed in the critiques of the band, focusing on the theme of authenticity, by analysing reviews of the band from... more

The Canadian band Nickelback has faced substantial negative feedback in the media. This article examines discourses constructed in the critiques of the band, focusing on the theme of authenticity, by analysing reviews of the band from Finnish media in the time frame of 2000-2014. Traditional discourses of authenticity are widely present in the critical reception, valuing uncommercialism, subversiveness, correspondence of art and persona, originality and truth in particular.

Longer, different version of the chapter 'Cutting Up A Glass Onion'. This literature review from a PhD (2010) reflects on the author's own interview research, and also considers the relationship between Music Journalism and Popular Music... more

Longer, different version of the chapter 'Cutting Up A Glass Onion'. This literature review from a PhD (2010) reflects on the author's own interview research, and also considers the relationship between Music Journalism and Popular Music Studies.

Though their cultural births coincided, punk and rap musicians performed in New York City for at least 7 years before they endeavored any substantial creative interactions. Musicians, critics, and fans referred to both punk and rap as... more

Though their cultural births coincided, punk and rap musicians performed in New York City for at least 7 years before they endeavored any substantial creative interactions. Musicians, critics, and fans referred to both punk and rap as ‘primitive’; however, this article compares the acceptance and celebration of punk as ‘primitive’ with inverted judgments of shared qualities in rap music. Specifically, this article considers New York punk in the 1970s as a white racial project. Persistent stereotypes in white music media, particularly rock criticism, constructed the discursive meanings of punk and rap, while institutional and political segregation structured this distinction. Artistic ‘amateurism’, thus, functions as a celebratory term only when we give such art the benefit of the doubt – that it is not mere ineptness, that it is fruitful, that it is intentional, or that it is subversive. This benefit, in this case, is a white privilege.

Music journalism is a practice that concerns the production of judgements and evaluations about music. As other forms of criticism, it deals with 'culture' in the sense of 'the works and practices of intellectual and especially artistic... more

Music journalism is a practice that concerns the production of judgements and evaluations about music. As other forms of criticism, it deals with 'culture' in the sense of 'the works and practices of intellectual and especially artistic activity' (Williams 1993, pp. 87-93).

In Portugal, the establishment of a public opinion was only possible after the definitive instauration of the liberal regime, which would happen at the second half of the nineteen century, at queen Maria’s II reign (between 1834 and... more

In Portugal, the establishment of a public opinion was only possible after the definitive instauration of the liberal regime, which would happen at the second half of the nineteen century, at queen Maria’s II reign (between 1834 and 1853). The establishment of a public opinion and the abolishment of censorship made way to the spread of the press. In consequence there were more people reading newspapers and more readers were interested in knowing about the artistic life. Some newspapers, such as A Revolução de Setembro (1840), began to include articles about music with pedagogical and informative purposes. We also assist to the birth of specialized press, dedicated to theatrical subjects but with some pages about musical activity, like A Sentinella do Palco: semanário theatral (1840), Revista Universal Lisbonense (1841) and O Trovador: jornal musical, litterario e de variedades (1855). Only years later do we find the launching of specialized music periodicals that last more than a few numbers: one of the first was Amphion (1884), followed by A arte musical (1899) a decade later. It’s also at the last years of the nineteen century that the figure of the composer-critic becomes more common.
In this paper, I pretend to present some ideas about the first attempts of music criticism in Portugal by questioning who writes music criticism and how it was established. In particular I will focus at the contents and contributors of O Trovador: jornal musical, litterario e de variedades.

Obiettivo di questa breve ricerca è comprendere attraverso una rapida analisi del contesto sociale e culturale la nascita di una singola produzione musicale, un progetto che vede coinvolti un grande e carismatico personaggio come Delia... more

Obiettivo di questa breve ricerca è comprendere attraverso una rapida analisi del contesto sociale e culturale la nascita di una singola produzione musicale, un progetto che vede coinvolti un grande e carismatico personaggio come Delia Derbyshire, Brian Hodgson - suo collega presso il BBC Radiophonic Workshop - e David Vorhaus - all’epoca uno studente e musicista statunitense appassionato di ingegneria ed elettronica: dal loro incontro nel 1968 a Londra nacque la band di musica elettronica-sperimentale conosciuta come White Noise, il cui primo disco An Electric Storm costituisce una pietra miliare per tutta la musica elettronica e psichedelica.
Nello specifico si vuole indagare come, attraverso l’esperienza di un personaggio unico quale Delia Derbyshire, venisse percepito tra gli anni ’60 e ’70 il mondo della musica elettronica, e quanta influenza abbia avuto un lavoro unico nel suo genere come An Electric Storm sulle generazioni successive.

Book composed of several chapters written by international specialists on the issue. The book covers and gathers thematic contents not previously treated. It is innovative. It is an ideal instrument for consultation and use of professors... more

Book composed of several chapters written by international specialists on the issue. The book covers and gathers thematic contents not previously treated. It is innovative. It is an ideal instrument for consultation and use of professors and students of Journalism. The book has been edited by Editorial Universitas, Madrid, 2018. It can also be purchased on other digital platforms.

The chance to interview Blixa Bargeld comes but once in a lifetime. As leader of German industrial rock pioneers Einstürzende Neubauten, his uncompromising reputation has often preceded him. Known as a precarious interview subject, Herr... more

The chance to interview Blixa Bargeld comes but once in a lifetime. As leader of German industrial rock pioneers Einstürzende Neubauten, his uncompromising reputation has often preceded him. Known as a precarious interview subject, Herr Bargeld’s contempt of music journalism is now the stuff of legend. Skyping from his home in Berlin, Blixa soon alleviates any feelings of trepidation, speaking candidly about Neubauten’s first Australian tour in some 20 years, using turbines as instruments and why he really left the Bad Seeds.

Introducción al dossier "Las músicas populares y el periodismo: ejemplos desde España, Portugal y Brasil" en el que reflexionamos sobre las principales corrientes y teorías en torno a los estudios sobre periodismo musical.

Zellner (Zagreb, 1823-Vienna, 1894) founded <Blätter für Theater, Musik und Bildende Kunst> in 1855, and was its editor and publisher until 1868, when Ludwig Oppenheimer took it over and continued until 1873. At the time, the paper was... more

Zellner (Zagreb, 1823-Vienna, 1894) founded <Blätter für Theater, Musik und Bildende Kunst> in 1855, and was its editor and publisher until 1868, when Ludwig Oppenheimer took it over and continued until 1873. At the time, the paper was the most important Viennese periodical for theater, music, and art events, having contributions from the city, the monarchy, and centers in other countries. Concerning news from Croatia, the <Blätter> reflects the interests of the Viennese readership about the lands surrounding Austria as well as the state of music journalism in Zagreb and other Croatian centers. Only those Croatian musicians who were otherwise well known to the Viennese readership (Irma De Murska, Ludmila Weiser, Ivan Zajc), or well-known personalities (Karlo Hilleprand-Prandau) made the news. News from Croatian towns was irregular, usually taken from . Brief information was included about the opening of most theater buildings during the period (Split, 1860; Dubrovnik, 1865; Osijek, 1868; and Zadar, 1870), but that was not followed with reports on shows staged there. During the paper's early period, large-scale articles were included on the new Walker organ at the Zagreb cathedral (1855) written by Zellner himself, and on the organ at the Prandau estate in Valpovo (1857) written by Ivan Nepomuk Hummel (1820-96). In the mid-1860s there were several larger articles summarizing music events in Zagreb.

O Workshop Géneros Jornalísticos sobre Música tem como objetivo apresentar e discutir modelos de categorização de formatos discursivos sobre música, os seus limites e desafios. O âmbito cinge-se à produção discursiva realizada no contexto... more

O Workshop Géneros Jornalísticos sobre Música tem como objetivo apresentar e discutir modelos de categorização de formatos discursivos sobre música, os seus limites e desafios. O âmbito cinge-se à produção discursiva realizada no contexto português.

I made the mistake of seeing them perform and looking them in the eyes. My life was no longer my own. Wallet and passport…I am so sorry. I am a Babymetal fan, though fan is a bit of a soft word. A born-again Babymetal evangelical is more... more

I made the mistake of seeing them perform and looking them in the eyes. My life was no longer my own. Wallet and passport…I am so sorry. I am a Babymetal fan, though fan is a bit of a soft word. A born-again Babymetal evangelical is more accurate. I had become obsessed with this culturally and musically confounding Japanese idol-metal Frankenstein of cuteness and brutality and flew to Paris to see the act's first show outside of Asia, kicking off their 2014 world tour. The greatest 90 minutes of my life ensued. On the way out of the beautiful and sold-out La Cigale theater, a mötley looking crüe of metalheads, J-pop aficionados, anime nerds, and happy families streamed onto boulevard de Rochechouart in a state of euphoria and awe. One über German metalhead with a Slayer tattoo and a beard of

Aunque reconoce que tiene melodías en la cabeza, pero no puede emitirlas correctamente, Zoila Lapique Becali, esta erudita investigadora sería la acompañante predilecta para retrotraernos a cualquier función de arte lírico en el siglo XIX... more

Aunque reconoce que tiene melodías en la cabeza, pero no puede emitirlas correctamente, Zoila Lapique Becali, esta erudita investigadora sería la acompañante predilecta para retrotraernos a cualquier función de arte lírico en el siglo XIX cubano. «Confieso sin rubor que me hubiera gustado ser dueña de una potente y bien timbrada voz, y cantar todo lo que me apasiona del teatro lírico (...) Pero Dios no me dotó con ninguna de esas cualidades, así que me he resignado a oír y estudiar la música».

The upsurge of academic interest in the genre known as progressive rock has take little account of how discourses surrounding the term were deployed in popular culture in the past, especially within the music press. To address this, we... more

The upsurge of academic interest in the genre known as progressive rock has take little account of how discourses surrounding the term were deployed in popular culture in the past, especially within the music press. To address this, we analyze three British weekly music papers of the 1960s and 1970s: Melody Maker, New Musical Express and Sounds. We find relatively little consensus regarding the use and meaning of the term 'progressive' in these papers, though its most common uses are to signify musical quality and to indicate a move away from the 'underground' scene of the late 1960s.

Die Musikkritik gehört seit dem 18. Jahrhundert zu den gängigen Formen der Reflexion über Musik und war zunächst Gegenstand wissenschaftlicher Betrachtungen in der Kunstkritik als Teildisziplin der philosophischen Ästhetik sowie in der... more

Die Musikkritik gehört seit dem 18. Jahrhundert zu den gängigen Formen der Reflexion über Musik und war zunächst Gegenstand wissenschaftlicher Betrachtungen in der Kunstkritik als Teildisziplin der philosophischen Ästhetik sowie in der historischen Musikwissenschaft. Die empirische und durch methodische Grundsätze der Sozialwissenschaft beeinflusste Auseinandersetzung mit Aspekten der Musikkritik findet erst seit jüngster Zeit statt.