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Singing, Playing and Performing in Popular Music in the Age of Liquid Modernity

Research output: Contributions to collected editions/works › Chapter

Standard

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

Harvard

Barber-Kersovan, A 2023, Singing, Playing and Performing in Popular Music in the Age of Liquid Modernity. in H-W Heister, H Polk & B Rusam (eds), Word Art + Gesture Art = Tone Art. Springer, pp. 223-240. https://doi.org/10.1007/978-3-031-20109-7_14

APA

Barber-Kersovan, A. (2023). Singing, Playing and Performing in Popular Music in the Age of Liquid Modernity. In H.-W. Heister, H. Polk, & B. Rusam (Eds.), Word Art + Gesture Art = Tone Art (pp. 223-240). Springer. https://doi.org/10.1007/978-3-031-20109-7_14

Vancouver

Barber-Kersovan A. Singing, Playing and Performing in Popular Music in the Age of Liquid Modernity. In Heister HW, Polk H, Rusam B, editors, Word Art + Gesture Art = Tone Art. Springer. 2023. p. 223-240 doi: 10.1007/978-3-031-20109-7_14

Bibtex

@inbook{a34ab50332b046538a485a23f4225c66,
title = "Singing, Playing and Performing in Popular Music in the Age of Liquid Modernity",
abstract = "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-Fran{\c c}ois Lyotard{\textquoteright}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.",
keywords = "Sociology, Zygmunt Baumann, Blatnye pesni, Cantautori/Cantautrici, “Liedermacher”, {\textquoteleft}Musicking{\textquoteright}, “New Musicology”, Nueva Canci{\'o}n, Postmodernity, Political song, Protest song, Rap, “Risk society”, {\textquoteleft}Serious{\textquoteright} and {\textquoteleft}popular{\textquoteright} music",
author = "Alenka Barber-Kersovan",
note = "Publisher Copyright: {\textcopyright} The Editor(s) (if applicable) and The Author(s), under exclusive license to Springer Nature Switzerland AG 2023.",
year = "2023",
month = mar,
day = "7",
doi = "10.1007/978-3-031-20109-7_14",
language = "English",
isbn = "978-3-031-20108-0",
pages = "223--240",
editor = "Hans-Werner Heister and Hanjo Polk and Bernhard Rusam",
booktitle = "Word Art + Gesture Art = Tone Art",
publisher = "Springer",
address = "Germany",

}

RIS

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 -

DOI

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