Singing, Playing and Performing in Popular Music in the Age of Liquid Modernity
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Singing, Playing and Performing in Popular Music in the Age of Liquid Modernity. / Barber-Kersovan, Alenka.
Word Art + Gesture Art = Tone Art. ed. / Hans-Werner Heister; Hanjo Polk; Bernhard Rusam. Springer, 2023. p. 223-240.Research output: Contributions to collected editions/works › Chapter
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TY - CHAP
T1 - Singing, Playing and Performing in Popular Music in the Age of Liquid Modernity
AU - Barber-Kersovan, Alenka
N1 - Publisher Copyright: © The Editor(s) (if applicable) and The Author(s), under exclusive license to Springer Nature Switzerland AG 2023.
PY - 2023/3/7
Y1 - 2023/3/7
N2 - This contribution reflects on some chosen aspects of singing, playing and performing as they present themselves at the beginning of the 21st century in a field which is referred to as popular music. The theoretical framing of the present discourse represents postmodernism, especially the work by Zygmunt Bauman and his thesis about the liquid society as a metaphor for the social conditions of beginning of the third millennium, Jean-François Lyotard’s observations about the collapse of the “great narratives”, paradigmatical shifts as implemented by New Musicology and the Popular Music Studies and the musicing approach by Christopher Small, outlining the active character of musical practices. The main aspects explicated refer to the extreme overproduction of cultural artefacts, new reception patters, the excessive commodification and commercialisation of popular music as well as the accelerated digitalisation of the musical field, causing essential changes in all spheres of production, distribution and consumption. New technologies make new ways of making music possible and stipulate postmodern techniques such as de-construction, bricolage, sampling, mixing, and mashup. They also open the way to previously unknown aesthetic worlds of multimedia and Virtual Reality and induce significant changes in the musical perception. Further, several demarcation lines that were believed to be stable before, began to crumble (art versus entertainment; live versus mediated; staged versus authentic; real versus virtual; producers versus consumers) and the lack of new musical impulses is being compensated by retro-trends, revivals and the hologramic re-staging of (dead) artists.
AB - This contribution reflects on some chosen aspects of singing, playing and performing as they present themselves at the beginning of the 21st century in a field which is referred to as popular music. The theoretical framing of the present discourse represents postmodernism, especially the work by Zygmunt Bauman and his thesis about the liquid society as a metaphor for the social conditions of beginning of the third millennium, Jean-François Lyotard’s observations about the collapse of the “great narratives”, paradigmatical shifts as implemented by New Musicology and the Popular Music Studies and the musicing approach by Christopher Small, outlining the active character of musical practices. The main aspects explicated refer to the extreme overproduction of cultural artefacts, new reception patters, the excessive commodification and commercialisation of popular music as well as the accelerated digitalisation of the musical field, causing essential changes in all spheres of production, distribution and consumption. New technologies make new ways of making music possible and stipulate postmodern techniques such as de-construction, bricolage, sampling, mixing, and mashup. They also open the way to previously unknown aesthetic worlds of multimedia and Virtual Reality and induce significant changes in the musical perception. Further, several demarcation lines that were believed to be stable before, began to crumble (art versus entertainment; live versus mediated; staged versus authentic; real versus virtual; producers versus consumers) and the lack of new musical impulses is being compensated by retro-trends, revivals and the hologramic re-staging of (dead) artists.
KW - Sociology
KW - Zygmunt Baumann
KW - Blatnye pesni
KW - Cantautori/Cantautrici
KW - “Liedermacher”
KW - ‘Musicking’
KW - “New Musicology”
KW - Nueva Canción
KW - Postmodernity
KW - Political song
KW - Protest song
KW - Rap
KW - “Risk society”
KW - ‘Serious’ and ‘popular’ music
UR - https://www.mendeley.com/catalogue/51776b80-c53a-3ade-8115-f64deea27384/
UR - http://www.scopus.com/inward/record.url?scp=85170161968&partnerID=8YFLogxK
U2 - 10.1007/978-3-031-20109-7_14
DO - 10.1007/978-3-031-20109-7_14
M3 - Chapter
SN - 978-3-031-20108-0
SN - 978-3-031-20111-0
SP - 223
EP - 240
BT - Word Art + Gesture Art = Tone Art
A2 - Heister, Hans-Werner
A2 - Polk, Hanjo
A2 - Rusam, Bernhard
PB - Springer
ER -