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() { var workId = 4690896; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_4690896"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_4690896 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="4690896"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 4690896; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=4690896]").text(description); $(".js-view-count-work_4690896").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_4690896").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="4690896"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">13</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="671" href="https://www.academia.edu/Documents/in/Music">Music</a>, <script data-card-contents-for-ri="671" type="text/json">{"id":671,"name":"Music","url":"https://www.academia.edu/Documents/in/Music?f_ri=1631","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="685" href="https://www.academia.edu/Documents/in/Music_History">Music History</a>, <script data-card-contents-for-ri="685" type="text/json">{"id":685,"name":"Music History","url":"https://www.academia.edu/Documents/in/Music_History?f_ri=1631","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1056" href="https://www.academia.edu/Documents/in/Popular_Music_Studies">Popular Music Studies</a>, <script data-card-contents-for-ri="1056" type="text/json">{"id":1056,"name":"Popular Music Studies","url":"https://www.academia.edu/Documents/in/Popular_Music_Studies?f_ri=1631","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1631" href="https://www.academia.edu/Documents/in/Popular_Music">Popular Music</a><script data-card-contents-for-ri="1631" type="text/json">{"id":1631,"name":"Popular Music","url":"https://www.academia.edu/Documents/in/Popular_Music?f_ri=1631","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=4690896]'), work: {"id":4690896,"title":"One, Two, Three: BBC Radio's formation of intercluded stations, from the Marriott report (1957) to the present.","created_at":"2013-10-06T04:22:47.994-07:00","url":"https://www.academia.edu/4690896/One_Two_Three_BBC_Radios_formation_of_intercluded_stations_from_the_Marriott_report_1957_to_the_present?f_ri=1631","dom_id":"work_4690896","summary":null,"downloadable_attachments":[{"id":32023890,"asset_id":4690896,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":346245,"first_name":"Richard","last_name":"Witts","domain_name":"edgehill","page_name":"RichardWitts","display_name":"Richard Witts","profile_url":"https://edgehill.academia.edu/RichardWitts?f_ri=1631","photo":"https://0.academia-photos.com/346245/94098/258410/s65_richard.witts.jpg"}],"research_interests":[{"id":671,"name":"Music","url":"https://www.academia.edu/Documents/in/Music?f_ri=1631","nofollow":false},{"id":685,"name":"Music History","url":"https://www.academia.edu/Documents/in/Music_History?f_ri=1631","nofollow":false},{"id":1056,"name":"Popular Music Studies","url":"https://www.academia.edu/Documents/in/Popular_Music_Studies?f_ri=1631","nofollow":false},{"id":1631,"name":"Popular Music","url":"https://www.academia.edu/Documents/in/Popular_Music?f_ri=1631","nofollow":false},{"id":2820,"name":"Bureaucracies \u0026 Bureaucratic Workers","url":"https://www.academia.edu/Documents/in/Bureaucracies_and_Bureaucratic_Workers?f_ri=1631"},{"id":4730,"name":"Mass Communication","url":"https://www.academia.edu/Documents/in/Mass_Communication?f_ri=1631"},{"id":6498,"name":"Radio","url":"https://www.academia.edu/Documents/in/Radio?f_ri=1631"},{"id":78388,"name":"Bureaucracy","url":"https://www.academia.edu/Documents/in/Bureaucracy?f_ri=1631"},{"id":101691,"name":"BBC","url":"https://www.academia.edu/Documents/in/BBC?f_ri=1631"},{"id":302331,"name":"History of the BBC","url":"https://www.academia.edu/Documents/in/History_of_the_BBC?f_ri=1631"},{"id":370129,"name":"Musicians' Union","url":"https://www.academia.edu/Documents/in/Musicians_Union?f_ri=1631"},{"id":742031,"name":"Pirate Radio","url":"https://www.academia.edu/Documents/in/Pirate_Radio?f_ri=1631"},{"id":806983,"name":"Postwar British History","url":"https://www.academia.edu/Documents/in/Postwar_British_History?f_ri=1631"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_25808370" data-work_id="25808370" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/25808370/Syllabus_Popular_Music_University_of_Virginia_Summer_2015_">Syllabus: Popular Music - University of Virginia (Summer 2015)</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div 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data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="793450" href="https://virginia.academia.edu/JarekErvin">Jarek Paul Ervin</a><script data-card-contents-for-user="793450" type="text/json">{"id":793450,"first_name":"Jarek Paul","last_name":"Ervin","domain_name":"virginia","page_name":"JarekErvin","display_name":"Jarek Paul Ervin","profile_url":"https://virginia.academia.edu/JarekErvin?f_ri=1631","photo":"https://0.academia-photos.com/793450/358667/15055409/s65_jarek_paul.ervin.jpg"}</script></span></span></li><li class="js-paper-rank-work_25808370 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" 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InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="25808370"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 25808370; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=25808370]").text(description); $(".js-view-count-work_25808370").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_25808370").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="25808370"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">4</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="390" href="https://www.academia.edu/Documents/in/American_Studies">American Studies</a>, <script data-card-contents-for-ri="390" type="text/json">{"id":390,"name":"American Studies","url":"https://www.academia.edu/Documents/in/American_Studies?f_ri=1631","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1056" href="https://www.academia.edu/Documents/in/Popular_Music_Studies">Popular Music Studies</a>, <script data-card-contents-for-ri="1056" type="text/json">{"id":1056,"name":"Popular Music Studies","url":"https://www.academia.edu/Documents/in/Popular_Music_Studies?f_ri=1631","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1631" href="https://www.academia.edu/Documents/in/Popular_Music">Popular Music</a>, <script data-card-contents-for-ri="1631" type="text/json">{"id":1631,"name":"Popular Music","url":"https://www.academia.edu/Documents/in/Popular_Music?f_ri=1631","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="798002" href="https://www.academia.edu/Documents/in/American_Popular_Music">American Popular Music</a><script data-card-contents-for-ri="798002" type="text/json">{"id":798002,"name":"American Popular Music","url":"https://www.academia.edu/Documents/in/American_Popular_Music?f_ri=1631","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=25808370]'), work: {"id":25808370,"title":"Syllabus: Popular Music - University of Virginia (Summer 2015)","created_at":"2016-06-02T10:09:46.202-07:00","url":"https://www.academia.edu/25808370/Syllabus_Popular_Music_University_of_Virginia_Summer_2015_?f_ri=1631","dom_id":"work_25808370","summary":null,"downloadable_attachments":[{"id":46172666,"asset_id":25808370,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":793450,"first_name":"Jarek 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data-work_id="38299021" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/38299021/Viewing_With_Your_Ears_Listening_With_Your_Eyes_Synching_Popular_Music_and_Cinema">Viewing With Your Ears, Listening With Your Eyes: Synching Popular Music and Cinema</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">Overview of the history of soundtracks in cinema.</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/38299021" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="91a78eb8bb9e843a23da5d7b9a84a03f" rel="nofollow" data-download="{"attachment_id":58346557,"asset_id":38299021,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/58346557/download_file?st=MTczMjc2NzcwMyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="40547075" href="https://brocku.academia.edu/ScottHenderson">Scott Henderson</a><script data-card-contents-for-user="40547075" type="text/json">{"id":40547075,"first_name":"Scott","last_name":"Henderson","domain_name":"brocku","page_name":"ScottHenderson","display_name":"Scott Henderson","profile_url":"https://brocku.academia.edu/ScottHenderson?f_ri=1631","photo":"https://0.academia-photos.com/40547075/11117736/12407111/s65_scott.henderson.jpg"}</script></span></span></li><li class="js-paper-rank-work_38299021 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="38299021"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 38299021, container: ".js-paper-rank-work_38299021", }); });</script></li><li class="js-percentile-work_38299021 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 38299021; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_38299021"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_38299021 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="38299021"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 38299021; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=38299021]").text(description); $(".js-view-count-work_38299021").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_38299021").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="38299021"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">3</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="1169" href="https://www.academia.edu/Documents/in/Sound_and_Image">Sound and Image</a>, <script data-card-contents-for-ri="1169" type="text/json">{"id":1169,"name":"Sound and Image","url":"https://www.academia.edu/Documents/in/Sound_and_Image?f_ri=1631","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1555" href="https://www.academia.edu/Documents/in/Film_Studies">Film Studies</a>, <script data-card-contents-for-ri="1555" type="text/json">{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies?f_ri=1631","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1631" href="https://www.academia.edu/Documents/in/Popular_Music">Popular Music</a><script data-card-contents-for-ri="1631" type="text/json">{"id":1631,"name":"Popular Music","url":"https://www.academia.edu/Documents/in/Popular_Music?f_ri=1631","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=38299021]'), work: {"id":38299021,"title":"Viewing With Your Ears, Listening With Your Eyes: Synching Popular Music and Cinema","created_at":"2019-02-06T10:39:37.793-08:00","url":"https://www.academia.edu/38299021/Viewing_With_Your_Ears_Listening_With_Your_Eyes_Synching_Popular_Music_and_Cinema?f_ri=1631","dom_id":"work_38299021","summary":"Overview of the history of soundtracks in cinema.","downloadable_attachments":[{"id":58346557,"asset_id":38299021,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":40547075,"first_name":"Scott","last_name":"Henderson","domain_name":"brocku","page_name":"ScottHenderson","display_name":"Scott Henderson","profile_url":"https://brocku.academia.edu/ScottHenderson?f_ri=1631","photo":"https://0.academia-photos.com/40547075/11117736/12407111/s65_scott.henderson.jpg"}],"research_interests":[{"id":1169,"name":"Sound and Image","url":"https://www.academia.edu/Documents/in/Sound_and_Image?f_ri=1631","nofollow":false},{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies?f_ri=1631","nofollow":false},{"id":1631,"name":"Popular Music","url":"https://www.academia.edu/Documents/in/Popular_Music?f_ri=1631","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_10339814 coauthored" data-work_id="10339814" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/10339814/Understanding_small_music_venues_An_interim_findings_report_for_the_Music_Venue_Trust_and_Arts_Council_England">Understanding small music venues: An interim findings report for the Music Venue Trust and Arts Council England</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">This report summarizes the interim findings of a research project undertaken by the Institute of Contemporary Music Performance (The Institute) investigating the experiences of small music venues in the UK. The project was commissioned by... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_10339814" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This report summarizes the interim findings of a research project undertaken by the Institute of Contemporary Music Performance (The Institute) investigating the experiences of small music venues in the UK. The project was commissioned by the Music Venue Trust (MVT) and funded by Arts Council England (ACE) via an allocation of a grant awarded to MVT (Grant for the Arts ref. 27555752) and by The Institute. A more extensive report is in preparation and will form part of a submission to Parliament on 9 March.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/10339814" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="1197db9d72241dbc93f400526973d27a" rel="nofollow" data-download="{"attachment_id":36405217,"asset_id":10339814,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/36405217/download_file?st=MTczMjc2NzcwMyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="1730671" href="https://mdx.academia.edu/MikeDines">Mike Dines</a><script data-card-contents-for-user="1730671" type="text/json">{"id":1730671,"first_name":"Mike","last_name":"Dines","domain_name":"mdx","page_name":"MikeDines","display_name":"Mike Dines","profile_url":"https://mdx.academia.edu/MikeDines?f_ri=1631","photo":"https://0.academia-photos.com/1730671/595886/16069711/s65_mike.dines.jpg"}</script></span></span><span class="u-displayInlineBlock InlineList-item-text"> and <span class="u-textDecorationUnderline u-clickable InlineList-item-text js-work-more-authors-10339814">+1</span><div class="hidden js-additional-users-10339814"><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://independent.academia.edu/MusicTrust">Music Trust</a></span></div></div></span><script>(function(){ var popoverSettings = { el: $('.js-work-more-authors-10339814'), placement: 'bottom', hide_delay: 200, html: true, content: function(){ return $('.js-additional-users-10339814').html(); 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It is also a workshop to introduce fundamental aspects of Iranian pop music and political dislocation to... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_36486155" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This is an introductory lecture about Iranian pop music in diaspora for undergrad students of INTRODUCTION TO POPULAR MUSIC. 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itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="22763163" href="https://independent.academia.edu/DESURMONTJeanNicolas">Jean Nicolas De Surmont</a><script data-card-contents-for-user="22763163" type="text/json">{"id":22763163,"first_name":"Jean Nicolas","last_name":"De Surmont","domain_name":"independent","page_name":"DESURMONTJeanNicolas","display_name":"Jean Nicolas De Surmont","profile_url":"https://independent.academia.edu/DESURMONTJeanNicolas?f_ri=1631","photo":"https://0.academia-photos.com/22763163/13985514/107912705/s65_jean_nicolas.de_surmont.jpg"}</script></span></span></li><li class="js-paper-rank-work_40768497 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="40768497"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 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Studies","url":"https://www.academia.edu/Documents/in/Canadian_Quebec_Studies?f_ri=1631"},{"id":229467,"name":"Littérature Francophone","url":"https://www.academia.edu/Documents/in/Litterature_Francophone?f_ri=1631"},{"id":397426,"name":"Canadian Music","url":"https://www.academia.edu/Documents/in/Canadian_Music?f_ri=1631"},{"id":604354,"name":"Relations Internationales","url":"https://www.academia.edu/Documents/in/Relations_Internationales?f_ri=1631"},{"id":614159,"name":"Histoire des relations internationales","url":"https://www.academia.edu/Documents/in/Histoire_des_relations_internationales?f_ri=1631"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_28695200" data-work_id="28695200" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/28695200/George_Clinton_and_David_Bowie_The_Space_Race_in_Black_and_White_Popular_Music_and_Society_39_5_563_578_2016_">George Clinton and David Bowie: The Space Race in Black and White. Popular Music and Society. 39/5: 563-578 (2016)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">This article explores space imagery in the music of George Clinton and David Bowie and argues that different horizons of Black and white terrestrial experience give rise to divergent astral imaginaries. Analysis of song lyrics, liner... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_28695200" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This article explores space imagery in the music of George <br />Clinton and David Bowie and argues that different horizons of Black and <br />white terrestrial experience give rise to divergent astral imaginaries. <br />Analysis of song lyrics, liner notes, and statements by the artists in light <br />of their social contexts and the theoretical lens of Bakhtin’s grotesque <br />body shows that Bowie models white imaginations of evolutionary <br />transcendence in contrast to Clinton as provocateur of a Black <br />carnivalesque seeking liberation from lived inequality.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/28695200" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="2340f89a238956adbaacf4170863a292" rel="nofollow" data-download="{"attachment_id":49087742,"asset_id":28695200,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/49087742/download_file?st=MTczMjc2NzcwMyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="158614" href="https://sfsu.academia.edu/BradErickson">Brad Erickson</a><script data-card-contents-for-user="158614" type="text/json">{"id":158614,"first_name":"Brad","last_name":"Erickson","domain_name":"sfsu","page_name":"BradErickson","display_name":"Brad Erickson","profile_url":"https://sfsu.academia.edu/BradErickson?f_ri=1631","photo":"https://0.academia-photos.com/158614/40850/3685707/s65_brad.erickson.jpg"}</script></span></span></li><li class="js-paper-rank-work_28695200 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="28695200"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 28695200, container: ".js-paper-rank-work_28695200", }); 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$(".js-view-count[data-work-id=28695200]").text(description); $(".js-view-count-work_28695200").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_28695200").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="28695200"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">7</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="923" href="https://www.academia.edu/Documents/in/Technology">Technology</a>, <script data-card-contents-for-ri="923" type="text/json">{"id":923,"name":"Technology","url":"https://www.academia.edu/Documents/in/Technology?f_ri=1631","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1631" href="https://www.academia.edu/Documents/in/Popular_Music">Popular Music</a>, <script data-card-contents-for-ri="1631" type="text/json">{"id":1631,"name":"Popular Music","url":"https://www.academia.edu/Documents/in/Popular_Music?f_ri=1631","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="8694" href="https://www.academia.edu/Documents/in/Science_Fiction">Science Fiction</a>, <script data-card-contents-for-ri="8694" type="text/json">{"id":8694,"name":"Science Fiction","url":"https://www.academia.edu/Documents/in/Science_Fiction?f_ri=1631","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="15057" href="https://www.academia.edu/Documents/in/Black_Power">Black Power</a><script data-card-contents-for-ri="15057" type="text/json">{"id":15057,"name":"Black Power","url":"https://www.academia.edu/Documents/in/Black_Power?f_ri=1631","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=28695200]'), work: {"id":28695200,"title":"George Clinton and David Bowie: The Space Race in Black and White. Popular Music and Society. 39/5: 563-578 (2016)","created_at":"2016-09-24T09:49:10.434-07:00","url":"https://www.academia.edu/28695200/George_Clinton_and_David_Bowie_The_Space_Race_in_Black_and_White_Popular_Music_and_Society_39_5_563_578_2016_?f_ri=1631","dom_id":"work_28695200","summary":"This article explores space imagery in the music of George\r\nClinton and David Bowie and argues that different horizons of Black and\r\nwhite terrestrial experience give rise to divergent astral imaginaries.\r\nAnalysis of song lyrics, liner notes, and statements by the artists in light\r\nof their social contexts and the theoretical lens of Bakhtin’s grotesque\r\nbody shows that Bowie models white imaginations of evolutionary\r\ntranscendence in contrast to Clinton as provocateur of a Black\r\ncarnivalesque seeking liberation from lived inequality.","downloadable_attachments":[{"id":49087742,"asset_id":28695200,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":158614,"first_name":"Brad","last_name":"Erickson","domain_name":"sfsu","page_name":"BradErickson","display_name":"Brad Erickson","profile_url":"https://sfsu.academia.edu/BradErickson?f_ri=1631","photo":"https://0.academia-photos.com/158614/40850/3685707/s65_brad.erickson.jpg"}],"research_interests":[{"id":923,"name":"Technology","url":"https://www.academia.edu/Documents/in/Technology?f_ri=1631","nofollow":false},{"id":1631,"name":"Popular Music","url":"https://www.academia.edu/Documents/in/Popular_Music?f_ri=1631","nofollow":false},{"id":8694,"name":"Science Fiction","url":"https://www.academia.edu/Documents/in/Science_Fiction?f_ri=1631","nofollow":false},{"id":15057,"name":"Black Power","url":"https://www.academia.edu/Documents/in/Black_Power?f_ri=1631","nofollow":false},{"id":44423,"name":"Afrofuturism","url":"https://www.academia.edu/Documents/in/Afrofuturism?f_ri=1631"},{"id":52095,"name":"Bakhtin carnival and the grotesque body","url":"https://www.academia.edu/Documents/in/Bakhtin_carnival_and_the_grotesque_body?f_ri=1631"},{"id":125925,"name":"Whiteness","url":"https://www.academia.edu/Documents/in/Whiteness?f_ri=1631"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_46939167" data-work_id="46939167" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/46939167/Verstrickungen_von_Audismus_und_hearing_privileges_in_der_Diskussion_um_kulturelle_Aneignung_von_Geb%C3%A4rdensprache_eine_kritische_Diskursanalyse">Verstrickungen von Audismus und hearing privileges in der Diskussion um „kulturelle Aneignung“ von Gebärdensprache – eine kritische Diskursanalyse</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Die Auswirkungen struktureller Diskriminierung in Form von Audismus werden gegenwärtig gesellschaftlich und politisch unterschätzt. Privile-gien, die sich für Menschen durch die Fähigkeit, zu hören, ergeben, bleiben tauben Menschen... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_46939167" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Die Auswirkungen struktureller Diskriminierung in Form von Audismus werden gegenwärtig gesellschaftlich und politisch unterschätzt. Privile-gien, die sich für Menschen durch die Fähigkeit, zu hören, ergeben, bleiben tauben Menschen verwehrt. Es wird deshalb in der vorliegenden Arbeit an-genommen, dass die Lebensrealität hörender Menschen zu Nachteilen für taube Menschen führt. Die Diskriminierungen, die taube Menschen tagtäg-lich in vielen wichtigen Lebensbereichen innerhalb der hörenden Gesell-schaft erfahren, bleiben jedoch im Diskurs unsichtbar (Tuccoli 2008, 23 f.). Beispielhaft für die daraus anzunehmenden Spannungen zwischen der tau-ben sprachlich-kulturellen Minderheit und der hörenden Mehrheit soll im Folgenden das Phänomen der "kulturellen Aneignung" von Gebärdenspra-che und der diesbezügliche Diskurs-ausgelöst durch den Eurovision Song-contest (ESC) 2017-stehen und untersucht werden. Ziel der Arbeit ist es, eine wissenschaftliche Grundlage anzubieten, um auf deren Basis den Diskurs über "kulturelle Aneignung", Audismus und hearing privileges breiter und fundierter führen zu können. Sie greift das im Postkolonialismus geprägte Konzept der "kulturellen Aneignung" auf und beleuchtet dabei mithilfe der Kritischen Diskursanalyse nach Jäger (2015) die Reproduktion struktureller Diskriminierung. Die Analyse des Diskur-ses wirft Schlaglichter auf seine Aspekte und Argumente und versucht, die-se zu entschlüsseln. Dabei werden verschiedene Subjektpositionen sowie Diskursverschränkungen,-brüche und-verschiebungen sichtbar gemacht.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/46939167" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="809e153d70a3cadcdb2a67d057897df4" rel="nofollow" data-download="{"attachment_id":66298739,"asset_id":46939167,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/66298739/download_file?st=MTczMjc2NzcwMyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="101594189" href="https://independent.academia.edu/VivianeGr%C3%BCn">Viviane Grünberger</a><script data-card-contents-for-user="101594189" type="text/json">{"id":101594189,"first_name":"Viviane","last_name":"Grünberger","domain_name":"independent","page_name":"VivianeGrün","display_name":"Viviane Grünberger","profile_url":"https://independent.academia.edu/VivianeGr%C3%BCn?f_ri=1631","photo":"https://0.academia-photos.com/101594189/27920185/26182712/s65_viviane.gr_n.jpg"}</script></span></span></li><li class="js-paper-rank-work_46939167 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="46939167"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 46939167, container: ".js-paper-rank-work_46939167", }); });</script></li><li class="js-percentile-work_46939167 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 46939167; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_46939167"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_46939167 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="46939167"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 46939167; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=46939167]").text(description); $(".js-view-count-work_46939167").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_46939167").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="46939167"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">13</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="928" href="https://www.academia.edu/Documents/in/Media_Studies">Media Studies</a>, <script data-card-contents-for-ri="928" type="text/json">{"id":928,"name":"Media Studies","url":"https://www.academia.edu/Documents/in/Media_Studies?f_ri=1631","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1555" href="https://www.academia.edu/Documents/in/Film_Studies">Film Studies</a>, <script data-card-contents-for-ri="1555" type="text/json">{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies?f_ri=1631","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1631" href="https://www.academia.edu/Documents/in/Popular_Music">Popular Music</a>, <script data-card-contents-for-ri="1631" type="text/json">{"id":1631,"name":"Popular Music","url":"https://www.academia.edu/Documents/in/Popular_Music?f_ri=1631","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="2858" href="https://www.academia.edu/Documents/in/Popular_Culture">Popular Culture</a><script data-card-contents-for-ri="2858" type="text/json">{"id":2858,"name":"Popular Culture","url":"https://www.academia.edu/Documents/in/Popular_Culture?f_ri=1631","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=46939167]'), work: {"id":46939167,"title":"Verstrickungen von Audismus und hearing privileges in der Diskussion um „kulturelle Aneignung“ von Gebärdensprache – eine kritische Diskursanalyse","created_at":"2021-04-19T02:02:21.657-07:00","url":"https://www.academia.edu/46939167/Verstrickungen_von_Audismus_und_hearing_privileges_in_der_Diskussion_um_kulturelle_Aneignung_von_Geb%C3%A4rdensprache_eine_kritische_Diskursanalyse?f_ri=1631","dom_id":"work_46939167","summary":"Die Auswirkungen struktureller Diskriminierung in Form von Audismus werden gegenwärtig gesellschaftlich und politisch unterschätzt. Privile-gien, die sich für Menschen durch die Fähigkeit, zu hören, ergeben, bleiben tauben Menschen verwehrt. Es wird deshalb in der vorliegenden Arbeit an-genommen, dass die Lebensrealität hörender Menschen zu Nachteilen für taube Menschen führt. Die Diskriminierungen, die taube Menschen tagtäg-lich in vielen wichtigen Lebensbereichen innerhalb der hörenden Gesell-schaft erfahren, bleiben jedoch im Diskurs unsichtbar (Tuccoli 2008, 23 f.). Beispielhaft für die daraus anzunehmenden Spannungen zwischen der tau-ben sprachlich-kulturellen Minderheit und der hörenden Mehrheit soll im Folgenden das Phänomen der \"kulturellen Aneignung\" von Gebärdenspra-che und der diesbezügliche Diskurs-ausgelöst durch den Eurovision Song-contest (ESC) 2017-stehen und untersucht werden. Ziel der Arbeit ist es, eine wissenschaftliche Grundlage anzubieten, um auf deren Basis den Diskurs über \"kulturelle Aneignung\", Audismus und hearing privileges breiter und fundierter führen zu können. Sie greift das im Postkolonialismus geprägte Konzept der \"kulturellen Aneignung\" auf und beleuchtet dabei mithilfe der Kritischen Diskursanalyse nach Jäger (2015) die Reproduktion struktureller Diskriminierung. Die Analyse des Diskur-ses wirft Schlaglichter auf seine Aspekte und Argumente und versucht, die-se zu entschlüsseln. Dabei werden verschiedene Subjektpositionen sowie Diskursverschränkungen,-brüche und-verschiebungen sichtbar gemacht.","downloadable_attachments":[{"id":66298739,"asset_id":46939167,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":101594189,"first_name":"Viviane","last_name":"Grünberger","domain_name":"independent","page_name":"VivianeGrün","display_name":"Viviane Grünberger","profile_url":"https://independent.academia.edu/VivianeGr%C3%BCn?f_ri=1631","photo":"https://0.academia-photos.com/101594189/27920185/26182712/s65_viviane.gr_n.jpg"}],"research_interests":[{"id":928,"name":"Media Studies","url":"https://www.academia.edu/Documents/in/Media_Studies?f_ri=1631","nofollow":false},{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies?f_ri=1631","nofollow":false},{"id":1631,"name":"Popular Music","url":"https://www.academia.edu/Documents/in/Popular_Music?f_ri=1631","nofollow":false},{"id":2858,"name":"Popular Culture","url":"https://www.academia.edu/Documents/in/Popular_Culture?f_ri=1631","nofollow":false},{"id":6644,"name":"Sign Languages","url":"https://www.academia.edu/Documents/in/Sign_Languages?f_ri=1631"},{"id":7125,"name":"Culture","url":"https://www.academia.edu/Documents/in/Culture?f_ri=1631"},{"id":9246,"name":"Social Media","url":"https://www.academia.edu/Documents/in/Social_Media?f_ri=1631"},{"id":11639,"name":"Racism","url":"https://www.academia.edu/Documents/in/Racism?f_ri=1631"},{"id":51148,"name":"Power and privilege","url":"https://www.academia.edu/Documents/in/Power_and_privilege?f_ri=1631"},{"id":59995,"name":"Translation and Interpreting","url":"https://www.academia.edu/Documents/in/Translation_and_Interpreting?f_ri=1631"},{"id":572325,"name":"Audism","url":"https://www.academia.edu/Documents/in/Audism?f_ri=1631"},{"id":1349249,"name":"Gebärdensprache","url":"https://www.academia.edu/Documents/in/Gebardensprache?f_ri=1631"},{"id":2823508,"name":"Kulturelle Aneignung","url":"https://www.academia.edu/Documents/in/Kulturelle_Aneignung?f_ri=1631"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_37408970" data-work_id="37408970" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/37408970/A_Mediterranean_Triangle_Naples_Smyrna_Athens">A Mediterranean Triangle: Naples, Smyrna, Athens.</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Naples, Smyrna (Izmir), and Athens are currently among the most populous and modern cities in the Mediterranean. During the last two decades of the nineteenth century, when “classic” Neapolitan song was born, Naples was the former capital... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_37408970" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Naples, Smyrna (Izmir), and Athens are currently among the most populous and modern cities in the Mediterranean. During the last two decades of the nineteenth century, when “classic” Neapolitan song was born, Naples was the former capital of a backward-looking absolute monarchy evolving with the rest of the region into unified capitalist Italy; Smyrna was a cosmopolitan assembly of cultures and diverging imperialist interests; and Athens was little more than a small rural town.<br />It is feasible that Neapolitan songs—either performed by visiting Italian artists or in the form of gramophone records—were part of Smyrna’s lively musical scene at least until 1922, when the “Great Catastrophe” brought the cosmopolitan character of the city to an abrupt end. By 1923, about a million and a half Orthodox Greeks and former Ottoman citizens were forced to leave Asia Minor. Many came to live on the outskirts of Athens, which suddenly became a large city. Rebetiko, a marginal song genre apparently born in Ottoman Turkey and developed in suburban districts<br />around Athens and Piraeus, became the most popular urban-music style in Greece. From its supposedly original “oriental” (anatolikós, in Greek) character, rebetiko evolved in the 1940s and 1950s into a milder Westernized style, where song forms, harmony, and the singing style were influenced by Italian—mostly Neapolitan—models. Although ethnomusicologists and rebetiko historians seem to agree that<br />Italian and Neapolitan models were important in the stylistic evolution of the genre from the 1940s onward (Manuel 1989), it can also be argued that they had an influence even from the very beginning of the rebetiko era.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/37408970" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="b59b0be9009f03a35486a9a456258fd5" rel="nofollow" data-download="{"attachment_id":57372966,"asset_id":37408970,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/57372966/download_file?st=MTczMjc2NzcwMyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="2427951" href="https://hud.academia.edu/FrancoFabbri">Franco Fabbri</a><script data-card-contents-for-user="2427951" type="text/json">{"id":2427951,"first_name":"Franco","last_name":"Fabbri","domain_name":"hud","page_name":"FrancoFabbri","display_name":"Franco Fabbri","profile_url":"https://hud.academia.edu/FrancoFabbri?f_ri=1631","photo":"https://0.academia-photos.com/2427951/2177906/35063148/s65_franco.fabbri.jpg"}</script></span></span></li><li class="js-paper-rank-work_37408970 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="37408970"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 37408970, container: ".js-paper-rank-work_37408970", }); });</script></li><li class="js-percentile-work_37408970 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 37408970; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_37408970"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_37408970 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="37408970"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 37408970; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=37408970]").text(description); $(".js-view-count-work_37408970").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_37408970").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="37408970"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">3</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="685" href="https://www.academia.edu/Documents/in/Music_History">Music History</a>, <script data-card-contents-for-ri="685" type="text/json">{"id":685,"name":"Music History","url":"https://www.academia.edu/Documents/in/Music_History?f_ri=1631","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1631" href="https://www.academia.edu/Documents/in/Popular_Music">Popular Music</a>, <script data-card-contents-for-ri="1631" type="text/json">{"id":1631,"name":"Popular Music","url":"https://www.academia.edu/Documents/in/Popular_Music?f_ri=1631","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="325941" href="https://www.academia.edu/Documents/in/Rebetika">Rebetika</a><script data-card-contents-for-ri="325941" type="text/json">{"id":325941,"name":"Rebetika","url":"https://www.academia.edu/Documents/in/Rebetika?f_ri=1631","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=37408970]'), work: {"id":37408970,"title":"A Mediterranean Triangle: Naples, Smyrna, Athens.","created_at":"2018-09-14T02:10:37.856-07:00","url":"https://www.academia.edu/37408970/A_Mediterranean_Triangle_Naples_Smyrna_Athens?f_ri=1631","dom_id":"work_37408970","summary":"Naples, Smyrna (Izmir), and Athens are currently among the most populous and modern cities in the Mediterranean. During the last two decades of the nineteenth century, when “classic” Neapolitan song was born, Naples was the former capital of a backward-looking absolute monarchy evolving with the rest of the region into unified capitalist Italy; Smyrna was a cosmopolitan assembly of cultures and diverging imperialist interests; and Athens was little more than a small rural town.\nIt is feasible that Neapolitan songs—either performed by visiting Italian artists or in the form of gramophone records—were part of Smyrna’s lively musical scene at least until 1922, when the “Great Catastrophe” brought the cosmopolitan character of the city to an abrupt end. By 1923, about a million and a half Orthodox Greeks and former Ottoman citizens were forced to leave Asia Minor. Many came to live on the outskirts of Athens, which suddenly became a large city. Rebetiko, a marginal song genre apparently born in Ottoman Turkey and developed in suburban districts\naround Athens and Piraeus, became the most popular urban-music style in Greece. From its supposedly original “oriental” (anatolikós, in Greek) character, rebetiko evolved in the 1940s and 1950s into a milder Westernized style, where song forms, harmony, and the singing style were influenced by Italian—mostly Neapolitan—models. Although ethnomusicologists and rebetiko historians seem to agree that\nItalian and Neapolitan models were important in the stylistic evolution of the genre from the 1940s onward (Manuel 1989), it can also be argued that they had an influence even from the very beginning of the rebetiko era.","downloadable_attachments":[{"id":57372966,"asset_id":37408970,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":2427951,"first_name":"Franco","last_name":"Fabbri","domain_name":"hud","page_name":"FrancoFabbri","display_name":"Franco Fabbri","profile_url":"https://hud.academia.edu/FrancoFabbri?f_ri=1631","photo":"https://0.academia-photos.com/2427951/2177906/35063148/s65_franco.fabbri.jpg"}],"research_interests":[{"id":685,"name":"Music History","url":"https://www.academia.edu/Documents/in/Music_History?f_ri=1631","nofollow":false},{"id":1631,"name":"Popular Music","url":"https://www.academia.edu/Documents/in/Popular_Music?f_ri=1631","nofollow":false},{"id":325941,"name":"Rebetika","url":"https://www.academia.edu/Documents/in/Rebetika?f_ri=1631","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_49926857 coauthored" data-work_id="49926857" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/49926857/Introduction_Made_in_Nusantara_Studies_in_Popular_Music">Introduction - Made in Nusantara: Studies in Popular Music</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Made in Nusantara serves as a comprehensive introduction to the history, sociology, ethnography, and musicology of historical and contemporary popular music in maritime Southeast Asia. Each essay covers major fgures, styles, and social... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_49926857" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Made in Nusantara serves as a comprehensive introduction to the history, sociology, ethnography, and musicology of historical and contemporary popular music in maritime Southeast Asia. Each essay covers major fgures, styles, and social contexts of genres of a popular nature in the Nusantara region including Malaysia, Indonesia, Brunei, Singapore, and the Philippines. Trough a critical investigation of specifc genres and their spaces of performance, production, and consumption, the volume is organised into four thematic areas: 1) issues in Nusantara popular music; 2) history; 3) artists and genres; and 4) national vs. local industries. Written by scholars working in the region, Made in Nusantara brings local perspectives to the history and analysis of popular music and critically considers conceptualisations developed in the West, rendering it an intriguing read for students and scholars of popular and global music.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/49926857" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="122a242db9072c15bad5447ea2665b24" rel="nofollow" data-download="{"attachment_id":68102125,"asset_id":49926857,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/68102125/download_file?st=MTczMjc2NzcwMyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="850081" href="https://myum.academia.edu/AdilJohan">Adil Johan</a><script data-card-contents-for-user="850081" type="text/json">{"id":850081,"first_name":"Adil","last_name":"Johan","domain_name":"myum","page_name":"AdilJohan","display_name":"Adil Johan","profile_url":"https://myum.academia.edu/AdilJohan?f_ri=1631","photo":"https://0.academia-photos.com/850081/301543/48839457/s65_adil.johan.jpg"}</script></span></span><span class="u-displayInlineBlock InlineList-item-text"> and <span class="u-textDecorationUnderline u-clickable InlineList-item-text js-work-more-authors-49926857">+1</span><div class="hidden js-additional-users-49926857"><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://thol.academia.edu/MaycoSantaella">Mayco Santaella</a></span></div></div></span><script>(function(){ var popoverSettings = { el: $('.js-work-more-authors-49926857'), placement: 'bottom', hide_delay: 200, html: true, content: function(){ return $('.js-additional-users-49926857').html(); } } new HoverPopover(popoverSettings); })();</script></li><li class="js-paper-rank-work_49926857 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="49926857"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 49926857, container: ".js-paper-rank-work_49926857", }); });</script></li><li class="js-percentile-work_49926857 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 49926857; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_49926857"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_49926857 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="49926857"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 49926857; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=49926857]").text(description); $(".js-view-count-work_49926857").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_49926857").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="49926857"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">8</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="1631" href="https://www.academia.edu/Documents/in/Popular_Music">Popular Music</a>, <script data-card-contents-for-ri="1631" type="text/json">{"id":1631,"name":"Popular Music","url":"https://www.academia.edu/Documents/in/Popular_Music?f_ri=1631","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="6746" href="https://www.academia.edu/Documents/in/Southeast_Asia">Southeast Asia</a>, <script data-card-contents-for-ri="6746" type="text/json">{"id":6746,"name":"Southeast Asia","url":"https://www.academia.edu/Documents/in/Southeast_Asia?f_ri=1631","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="6818" href="https://www.academia.edu/Documents/in/Malaysia">Malaysia</a>, <script data-card-contents-for-ri="6818" type="text/json">{"id":6818,"name":"Malaysia","url":"https://www.academia.edu/Documents/in/Malaysia?f_ri=1631","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="8783" href="https://www.academia.edu/Documents/in/Indonesia">Indonesia</a><script data-card-contents-for-ri="8783" type="text/json">{"id":8783,"name":"Indonesia","url":"https://www.academia.edu/Documents/in/Indonesia?f_ri=1631","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=49926857]'), work: {"id":49926857,"title":"Introduction - Made in Nusantara: Studies in Popular Music","created_at":"2021-07-14T19:22:20.254-07:00","url":"https://www.academia.edu/49926857/Introduction_Made_in_Nusantara_Studies_in_Popular_Music?f_ri=1631","dom_id":"work_49926857","summary":"Made in Nusantara serves as a comprehensive introduction to the history, sociology, ethnography, and musicology of historical and contemporary popular music in maritime Southeast Asia. Each essay covers major fgures, styles, and social contexts of genres of a popular nature in the Nusantara region including Malaysia, Indonesia, Brunei, Singapore, and the Philippines. Trough a critical investigation of specifc genres and their spaces of performance, production, and consumption, the volume is organised into four thematic areas: 1) issues in Nusantara popular music; 2) history; 3) artists and genres; and 4) national vs. local industries. Written by scholars working in the region, Made in Nusantara brings local perspectives to the history and analysis of popular music and critically considers conceptualisations developed in the West, rendering it an intriguing read for students and scholars of popular and global music.","downloadable_attachments":[{"id":68102125,"asset_id":49926857,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":850081,"first_name":"Adil","last_name":"Johan","domain_name":"myum","page_name":"AdilJohan","display_name":"Adil Johan","profile_url":"https://myum.academia.edu/AdilJohan?f_ri=1631","photo":"https://0.academia-photos.com/850081/301543/48839457/s65_adil.johan.jpg"},{"id":95217589,"first_name":"Mayco","last_name":"Santaella","domain_name":"thol","page_name":"MaycoSantaella","display_name":"Mayco Santaella","profile_url":"https://thol.academia.edu/MaycoSantaella?f_ri=1631","photo":"https://0.academia-photos.com/95217589/24735461/23592907/s65_mayco.santaella.jpg"}],"research_interests":[{"id":1631,"name":"Popular Music","url":"https://www.academia.edu/Documents/in/Popular_Music?f_ri=1631","nofollow":false},{"id":6746,"name":"Southeast Asia","url":"https://www.academia.edu/Documents/in/Southeast_Asia?f_ri=1631","nofollow":false},{"id":6818,"name":"Malaysia","url":"https://www.academia.edu/Documents/in/Malaysia?f_ri=1631","nofollow":false},{"id":8783,"name":"Indonesia","url":"https://www.academia.edu/Documents/in/Indonesia?f_ri=1631","nofollow":false},{"id":8785,"name":"Philippines","url":"https://www.academia.edu/Documents/in/Philippines?f_ri=1631"},{"id":8787,"name":"Singapore","url":"https://www.academia.edu/Documents/in/Singapore?f_ri=1631"},{"id":38394,"name":"Nusantara","url":"https://www.academia.edu/Documents/in/Nusantara?f_ri=1631"},{"id":179193,"name":"Brunei","url":"https://www.academia.edu/Documents/in/Brunei?f_ri=1631"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_176511" data-work_id="176511" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/176511/Community_Music_A_Handbook">Community Music: A Handbook</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">This is a book of ideas, a catalogue of experience, a mass of personal stories, a collection of inspiring musical exercises, and a fascinating record of community music's roots and heritage. Community music making is exploding across... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_176511" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This is a book of ideas, a catalogue of experience, a mass of personal stories, a collection of inspiring musical exercises, and a fascinating record of community music's roots and heritage. Community music making is exploding across Britain and this book will help you develop new insights into the practice of: running workshops making new music with people, whatever their age, culture, skill or background. Rising out of a 10 year training programme organised by More Music in Morecambe this publication has drawn on the talents of many of the key players in British community music. An essential tool for community musicians, community arts workers, music teachers, musicians from drummers to singers, workshop leaders, people involved in activities from alternative informal) education to street performance. A how-to book that should have a place on the bookcase and the music stand. <br /> <br />The book also contains also a series of poems by Lemn Sissay. <br /> <br />Includes a chapter by McKay: <br />"The aim of this chapter is twofold. First, it traces the historical development of the idea of community music. It does this with particular emphasis on community music’s relation to aspects of the 1960s countercultural project and its legacy. This involves looking at the role of free jazz in music education, links with the burgeoning community arts movement, the radical politics and social ideas frequently claimed by those central to community music. Community music remains imbued with the spirit of improvisation, and I think it important to acknowledge the special role played by that particular music (as opposed to, say, classical music outreach teams, grassroots folk or more recent world music projects) in its development. Second it narrates the development of the More Music in Morecambe community music project through the 1990s, its successes and (mini-)crises, its beliefs and practices. It considers the origins of MMM in some of the earlier musical/theatrical performance practice of Welfare State International, and locates MMM in the context of the rise of community music as a social-cultural phenomenon in Britain. This involves discussion of ways in which the radicalism or idealism of some of early community music has been knocked and/or maintained."</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/176511" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="77a20f5759a7b21f4b2877fa23e902c1" rel="nofollow" data-download="{"attachment_id":40070320,"asset_id":176511,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/40070320/download_file?st=MTczMjc2NzcwMyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="33713" href="https://eastanglia.academia.edu/georgemckay">George McKay</a><script data-card-contents-for-user="33713" type="text/json">{"id":33713,"first_name":"George","last_name":"McKay","domain_name":"eastanglia","page_name":"georgemckay","display_name":"George McKay","profile_url":"https://eastanglia.academia.edu/georgemckay?f_ri=1631","photo":"https://0.academia-photos.com/33713/10995/81218027/s65_george.mckay.jpg"}</script></span></span></li><li class="js-paper-rank-work_176511 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="176511"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 176511, container: ".js-paper-rank-work_176511", }); 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$(".js-view-count[data-work-id=176511]").text(description); $(".js-view-count-work_176511").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_176511").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="176511"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">4</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="671" href="https://www.academia.edu/Documents/in/Music">Music</a>, <script data-card-contents-for-ri="671" type="text/json">{"id":671,"name":"Music","url":"https://www.academia.edu/Documents/in/Music?f_ri=1631","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="683" href="https://www.academia.edu/Documents/in/Music_Education">Music Education</a>, <script data-card-contents-for-ri="683" type="text/json">{"id":683,"name":"Music Education","url":"https://www.academia.edu/Documents/in/Music_Education?f_ri=1631","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1631" href="https://www.academia.edu/Documents/in/Popular_Music">Popular Music</a>, <script data-card-contents-for-ri="1631" type="text/json">{"id":1631,"name":"Popular Music","url":"https://www.academia.edu/Documents/in/Popular_Music?f_ri=1631","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="15217" href="https://www.academia.edu/Documents/in/Community_Music">Community Music</a><script data-card-contents-for-ri="15217" type="text/json">{"id":15217,"name":"Community Music","url":"https://www.academia.edu/Documents/in/Community_Music?f_ri=1631","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=176511]'), work: {"id":176511,"title":"Community Music: A Handbook","created_at":"2009-03-27T09:06:42.674-07:00","url":"https://www.academia.edu/176511/Community_Music_A_Handbook?f_ri=1631","dom_id":"work_176511","summary":"This is a book of ideas, a catalogue of experience, a mass of personal stories, a collection of inspiring musical exercises, and a fascinating record of community music's roots and heritage. Community music making is exploding across Britain and this book will help you develop new insights into the practice of: running workshops making new music with people, whatever their age, culture, skill or background. Rising out of a 10 year training programme organised by More Music in Morecambe this publication has drawn on the talents of many of the key players in British community music. An essential tool for community musicians, community arts workers, music teachers, musicians from drummers to singers, workshop leaders, people involved in activities from alternative informal) education to street performance. A how-to book that should have a place on the bookcase and the music stand. \r\n\r\nThe book also contains also a series of poems by Lemn Sissay.\r\n\r\nIncludes a chapter by McKay: \r\n\"The aim of this chapter is twofold. First, it traces the historical development of the idea of community music. It does this with particular emphasis on community music’s relation to aspects of the 1960s countercultural project and its legacy. This involves looking at the role of free jazz in music education, links with the burgeoning community arts movement, the radical politics and social ideas frequently claimed by those central to community music. Community music remains imbued with the spirit of improvisation, and I think it important to acknowledge the special role played by that particular music (as opposed to, say, classical music outreach teams, grassroots folk or more recent world music projects) in its development. Second it narrates the development of the More Music in Morecambe community music project through the 1990s, its successes and (mini-)crises, its beliefs and practices. It considers the origins of MMM in some of the earlier musical/theatrical performance practice of Welfare State International, and locates MMM in the context of the rise of community music as a social-cultural phenomenon in Britain. This involves discussion of ways in which the radicalism or idealism of some of early community music has been knocked and/or maintained.\"","downloadable_attachments":[{"id":40070320,"asset_id":176511,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":33713,"first_name":"George","last_name":"McKay","domain_name":"eastanglia","page_name":"georgemckay","display_name":"George McKay","profile_url":"https://eastanglia.academia.edu/georgemckay?f_ri=1631","photo":"https://0.academia-photos.com/33713/10995/81218027/s65_george.mckay.jpg"}],"research_interests":[{"id":671,"name":"Music","url":"https://www.academia.edu/Documents/in/Music?f_ri=1631","nofollow":false},{"id":683,"name":"Music Education","url":"https://www.academia.edu/Documents/in/Music_Education?f_ri=1631","nofollow":false},{"id":1631,"name":"Popular Music","url":"https://www.academia.edu/Documents/in/Popular_Music?f_ri=1631","nofollow":false},{"id":15217,"name":"Community Music","url":"https://www.academia.edu/Documents/in/Community_Music?f_ri=1631","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_35535398" data-work_id="35535398" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/35535398/L_industria_musicale_Carocci_2006_">L’industria musicale (Carocci, 2006)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Il volume analizza l’industria musicale nelle sue strutture: un sistema di professionisti e di routine produttive il cui obiettivo è la realizzazione del prodotto musicale, dalla sua incisione in studio alla sua vendita su supporti... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_35535398" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Il volume analizza l’industria musicale nelle sue strutture: un sistema di professionisti e di routine produttive il cui obiettivo è la realizzazione del prodotto musicale, dalla sua incisione in studio alla sua vendita su supporti fonografici, alla sua performance in concerto, alla sua diffusione sui media.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/35535398" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a 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type="text/json">{"id":1631,"name":"Popular Music","url":"https://www.academia.edu/Documents/in/Popular_Music?f_ri=1631","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="17035" href="https://www.academia.edu/Documents/in/Music_Industry">Music Industry</a>, <script data-card-contents-for-ri="17035" type="text/json">{"id":17035,"name":"Music Industry","url":"https://www.academia.edu/Documents/in/Music_Industry?f_ri=1631","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="54277" href="https://www.academia.edu/Documents/in/Media_Production">Media Production</a><script data-card-contents-for-ri="54277" type="text/json">{"id":54277,"name":"Media Production","url":"https://www.academia.edu/Documents/in/Media_Production?f_ri=1631","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=35535398]'), work: {"id":35535398,"title":"L’industria musicale 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Studies","url":"https://www.academia.edu/Documents/in/Media_Studies?f_ri=1631","nofollow":false},{"id":1631,"name":"Popular Music","url":"https://www.academia.edu/Documents/in/Popular_Music?f_ri=1631","nofollow":false},{"id":17035,"name":"Music Industry","url":"https://www.academia.edu/Documents/in/Music_Industry?f_ri=1631","nofollow":false},{"id":54277,"name":"Media Production","url":"https://www.academia.edu/Documents/in/Media_Production?f_ri=1631","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_43669766" data-work_id="43669766" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/43669766/Letterariet%C3%A0_del_progressive_rock_italiano">Letterarietà del progressive rock italiano</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/43669766" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="7ef96a51aed8fd722d1d55e57bb51e22" rel="nofollow" data-download="{"attachment_id":63971126,"asset_id":43669766,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/63971126/download_file?st=MTczMjc2NzcwMyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa 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data-has-card-for-ri="1631" href="https://www.academia.edu/Documents/in/Popular_Music">Popular Music</a>, <script data-card-contents-for-ri="1631" type="text/json">{"id":1631,"name":"Popular Music","url":"https://www.academia.edu/Documents/in/Popular_Music?f_ri=1631","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="17549" href="https://www.academia.edu/Documents/in/Italian_Music">Italian Music</a>, <script data-card-contents-for-ri="17549" type="text/json">{"id":17549,"name":"Italian Music","url":"https://www.academia.edu/Documents/in/Italian_Music?f_ri=1631","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="51469" href="https://www.academia.edu/Documents/in/Progressive_rock">Progressive rock</a>, <script data-card-contents-for-ri="51469" type="text/json">{"id":51469,"name":"Progressive rock","url":"https://www.academia.edu/Documents/in/Progressive_rock?f_ri=1631","nofollow":false}</script><a class="InlineList-item-text" 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Masi","profile_url":"https://uksw.academia.edu/LeonardoMasi?f_ri=1631","photo":"/images/s65_no_pic.png"}],"research_interests":[{"id":1631,"name":"Popular Music","url":"https://www.academia.edu/Documents/in/Popular_Music?f_ri=1631","nofollow":false},{"id":17549,"name":"Italian Music","url":"https://www.academia.edu/Documents/in/Italian_Music?f_ri=1631","nofollow":false},{"id":51469,"name":"Progressive rock","url":"https://www.academia.edu/Documents/in/Progressive_rock?f_ri=1631","nofollow":false},{"id":174941,"name":"Rock Music","url":"https://www.academia.edu/Documents/in/Rock_Music?f_ri=1631","nofollow":false},{"id":290653,"name":"Italian Songs","url":"https://www.academia.edu/Documents/in/Italian_Songs?f_ri=1631"},{"id":613158,"name":"Song Lyrics","url":"https://www.academia.edu/Documents/in/Song_Lyrics?f_ri=1631"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_38633526" data-work_id="38633526" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/38633526/De_Cera_y_Goma_Laca_La_producci%C3%B3n_de_m%C3%BAsica_espa%C3%B1ola_en_la_industria_fonogr%C3%A1fica_estadounidense_1896_1914_">De Cera y Goma-Laca. La producción de música española en la industria fonográfica estadounidense (1896-1914)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">En el año 1889 se comercializaron en EEUU los primeros cilindros de cera que contenían grabaciones musicales. Estas grabaciones podían escucharse con auriculares de tubo mediante el fonógrafo de Edison en salones fonográficos y otros... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_38633526" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">En el año 1889 se comercializaron en EEUU los primeros cilindros de cera que contenían grabaciones musicales. Estas grabaciones podían escucharse con auriculares de tubo mediante el fonógrafo de Edison en salones fonográficos y otros espacios urbanos ubicados en las zonas de ocio de numerosas ciudades del país. Sin embargo, fue a partir de 1896 cuando estos reproductores musicales comenzaron a tener un uso doméstico. Aprovechando la presencia de artistas españoles en el continente americano, la National Phonograph Company y la Columbia Phonograph Company realizaron numerosas grabaciones que contienen música extraída de la zarzuela, el género chico,  la canción de salón y el folclore regional. <br />Con el título De cera y Goma Laca. La producción de música española en la industria fonográfica estadounidense (1896-1914), Kiko Mora, profesor de semiótica audiovisual de la Universidad de Alicante, elabora un estudio preliminar, con entronque cuantitativo e historiográfico, de la producción musical española de carácter comercial en la primera mitad de su etapa acústica en los Estados Unidos de América.<br />¿Cuál fue el volumen total de producción musical y cuáles fueron los años más relevantes? ¿En qué ciudades se grabaron las piezas musicales y cuáles fueron sus contextos de producción? ¿Quiénes fueron los artistas y los compositores españoles más prolíficos? ¿Qué géneros y piezas musicales fueron los predominantes? Este libro ofrece respuestas a estas preguntas y abre un nuevo itinerario para otros estudios relacionados con la presencia de la música española y su interacción con otras músicas en los inicios de la industria discográfica más más influyente del siglo XX.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/38633526" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="eccee8d0c3086627d1b79d43026db6be" rel="nofollow" data-download="{"attachment_id":58711437,"asset_id":38633526,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/58711437/download_file?st=MTczMjc2NzcwMyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="722009" href="https://alicante.academia.edu/KikoMora">Kiko Mora</a><script data-card-contents-for-user="722009" type="text/json">{"id":722009,"first_name":"Kiko","last_name":"Mora","domain_name":"alicante","page_name":"KikoMora","display_name":"Kiko Mora","profile_url":"https://alicante.academia.edu/KikoMora?f_ri=1631","photo":"https://0.academia-photos.com/722009/246748/12070215/s65_kiko.mora.jpg"}</script></span></span></li><li class="js-paper-rank-work_38633526 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="38633526"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 38633526, container: ".js-paper-rank-work_38633526", }); 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$(".js-view-count[data-work-id=38633526]").text(description); $(".js-view-count-work_38633526").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_38633526").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="38633526"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">20</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="787" href="https://www.academia.edu/Documents/in/Folklore">Folklore</a>, <script data-card-contents-for-ri="787" type="text/json">{"id":787,"name":"Folklore","url":"https://www.academia.edu/Documents/in/Folklore?f_ri=1631","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1056" href="https://www.academia.edu/Documents/in/Popular_Music_Studies">Popular Music Studies</a>, <script data-card-contents-for-ri="1056" type="text/json">{"id":1056,"name":"Popular Music Studies","url":"https://www.academia.edu/Documents/in/Popular_Music_Studies?f_ri=1631","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1631" href="https://www.academia.edu/Documents/in/Popular_Music">Popular Music</a>, <script data-card-contents-for-ri="1631" type="text/json">{"id":1631,"name":"Popular Music","url":"https://www.academia.edu/Documents/in/Popular_Music?f_ri=1631","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="2337" href="https://www.academia.edu/Documents/in/Performance_Studies">Performance Studies</a><script data-card-contents-for-ri="2337" type="text/json">{"id":2337,"name":"Performance Studies","url":"https://www.academia.edu/Documents/in/Performance_Studies?f_ri=1631","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=38633526]'), work: {"id":38633526,"title":"De Cera y Goma-Laca. La producción de música española en la industria fonográfica estadounidense (1896-1914)","created_at":"2019-03-26T01:55:06.819-07:00","url":"https://www.academia.edu/38633526/De_Cera_y_Goma_Laca_La_producci%C3%B3n_de_m%C3%BAsica_espa%C3%B1ola_en_la_industria_fonogr%C3%A1fica_estadounidense_1896_1914_?f_ri=1631","dom_id":"work_38633526","summary":"En el año 1889 se comercializaron en EEUU los primeros cilindros de cera que contenían grabaciones musicales. Estas grabaciones podían escucharse con auriculares de tubo mediante el fonógrafo de Edison en salones fonográficos y otros espacios urbanos ubicados en las zonas de ocio de numerosas ciudades del país. Sin embargo, fue a partir de 1896 cuando estos reproductores musicales comenzaron a tener un uso doméstico. Aprovechando la presencia de artistas españoles en el continente americano, la National Phonograph Company y la Columbia Phonograph Company realizaron numerosas grabaciones que contienen música extraída de la zarzuela, el género chico, la canción de salón y el folclore regional. \nCon el título De cera y Goma Laca. La producción de música española en la industria fonográfica estadounidense (1896-1914), Kiko Mora, profesor de semiótica audiovisual de la Universidad de Alicante, elabora un estudio preliminar, con entronque cuantitativo e historiográfico, de la producción musical española de carácter comercial en la primera mitad de su etapa acústica en los Estados Unidos de América.\n¿Cuál fue el volumen total de producción musical y cuáles fueron los años más relevantes? ¿En qué ciudades se grabaron las piezas musicales y cuáles fueron sus contextos de producción? ¿Quiénes fueron los artistas y los compositores españoles más prolíficos? ¿Qué géneros y piezas musicales fueron los predominantes? Este libro ofrece respuestas a estas preguntas y abre un nuevo itinerario para otros estudios relacionados con la presencia de la música española y su interacción con otras músicas en los inicios de la industria discográfica más más influyente del siglo XX. \n","downloadable_attachments":[{"id":58711437,"asset_id":38633526,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":722009,"first_name":"Kiko","last_name":"Mora","domain_name":"alicante","page_name":"KikoMora","display_name":"Kiko Mora","profile_url":"https://alicante.academia.edu/KikoMora?f_ri=1631","photo":"https://0.academia-photos.com/722009/246748/12070215/s65_kiko.mora.jpg"}],"research_interests":[{"id":787,"name":"Folklore","url":"https://www.academia.edu/Documents/in/Folklore?f_ri=1631","nofollow":false},{"id":1056,"name":"Popular Music Studies","url":"https://www.academia.edu/Documents/in/Popular_Music_Studies?f_ri=1631","nofollow":false},{"id":1631,"name":"Popular Music","url":"https://www.academia.edu/Documents/in/Popular_Music?f_ri=1631","nofollow":false},{"id":2337,"name":"Performance Studies","url":"https://www.academia.edu/Documents/in/Performance_Studies?f_ri=1631","nofollow":false},{"id":9043,"name":"Performance","url":"https://www.academia.edu/Documents/in/Performance?f_ri=1631"},{"id":16213,"name":"Folk Music","url":"https://www.academia.edu/Documents/in/Folk_Music?f_ri=1631"},{"id":17035,"name":"Music Industry","url":"https://www.academia.edu/Documents/in/Music_Industry?f_ri=1631"},{"id":21945,"name":"Spanish Music","url":"https://www.academia.edu/Documents/in/Spanish_Music?f_ri=1631"},{"id":32412,"name":"Art Song","url":"https://www.academia.edu/Documents/in/Art_Song?f_ri=1631"},{"id":47389,"name":"Flamenco","url":"https://www.academia.edu/Documents/in/Flamenco?f_ri=1631"},{"id":56377,"name":"Recording Industry History","url":"https://www.academia.edu/Documents/in/Recording_Industry_History?f_ri=1631"},{"id":85544,"name":"Zarzuela","url":"https://www.academia.edu/Documents/in/Zarzuela?f_ri=1631"},{"id":88523,"name":"Musicology, Spanish Music Historiography","url":"https://www.academia.edu/Documents/in/Musicology_Spanish_Music_Historiography?f_ri=1631"},{"id":95141,"name":"Spanish Dance and Music (incl. Flamenco)","url":"https://www.academia.edu/Documents/in/Spanish_Dance_and_Music_incl._Flamenco_?f_ri=1631"},{"id":151305,"name":"(etno)musicologia","url":"https://www.academia.edu/Documents/in/_etno_musicologia?f_ri=1631"},{"id":178719,"name":"Songs","url":"https://www.academia.edu/Documents/in/Songs?f_ri=1631"},{"id":288762,"name":"Singers","url":"https://www.academia.edu/Documents/in/Singers?f_ri=1631"},{"id":595972,"name":"Indústria Fonográfica","url":"https://www.academia.edu/Documents/in/Industria_Fonografica?f_ri=1631"},{"id":608920,"name":"Fonografia","url":"https://www.academia.edu/Documents/in/Fonografia?f_ri=1631"},{"id":931493,"name":"ópera","url":"https://www.academia.edu/Documents/in/%C3%B3pera?f_ri=1631"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_1773457" data-work_id="1773457" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/1773457/Kingstonss_Dancehall">Kingstons's Dancehall</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/1773457" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="cd5c9e6cadb9e1def7418d6ee9add034" rel="nofollow" data-download="{"attachment_id":23647800,"asset_id":1773457,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm 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Niaah","profile_url":"https://mona-uwi.academia.edu/SonjahStanleyNIaah?f_ri=1631","photo":"https://0.academia-photos.com/2083724/680695/10826947/s65_sonjah.stanley_niaah.jpg"}</script></span></span></li><li class="js-paper-rank-work_1773457 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="1773457"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 1773457, container: ".js-paper-rank-work_1773457", }); });</script></li><li class="js-percentile-work_1773457 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 1773457; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = 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data-has-card-for-ri="144002" href="https://www.academia.edu/Documents/in/Dancehall_culture_Jamaican_music_politics">Dancehall culture Jamaican music politics</a><script data-card-contents-for-ri="144002" type="text/json">{"id":144002,"name":"Dancehall culture Jamaican music politics","url":"https://www.academia.edu/Documents/in/Dancehall_culture_Jamaican_music_politics?f_ri=1631","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=1773457]'), work: {"id":1773457,"title":"Kingstons's Dancehall","created_at":"2012-07-08T00:28:31.530-07:00","url":"https://www.academia.edu/1773457/Kingstonss_Dancehall?f_ri=1631","dom_id":"work_1773457","summary":null,"downloadable_attachments":[{"id":23647800,"asset_id":1773457,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":2083724,"first_name":"Sonjah","last_name":"Stanley 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class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/1537800/Everything_Was_Forever_Until_It_Was_No_More_The_Last_Soviet_Generation_Everything_Was_Forever_Until_It_Was_No_More_The_Last_Soviet_Generation">Everything Was Forever, Until It Was No More: The Last Soviet Generation: Everything Was Forever, Until It Was No More: The Last Soviet Generation</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/1537800" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a 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data-work_id="35535380" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/35535380/I_Linguaggi_della_Musica_Pop_Bompiani_2003_">I Linguaggi della Musica Pop (Bompiani, 2003)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Il volume parte da una ricostruzione del contesto socioculturale della musica pop, per arrivare, attraverso un'analisi delle questioni, dei metodi e dei termini in gioco, a offrire uno sguardo inedito su questo oggetto ubiquo, uno dei... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_35535380" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Il volume parte da una ricostruzione del contesto socioculturale della musica pop, per arrivare, attraverso un'analisi delle questioni, dei metodi e dei termini in gioco, a offrire uno sguardo inedito su questo oggetto ubiquo, uno dei maggiori ''racconti sociali'' del nostro tempo.<br />La musica pop è un fenomeno narrativo intertestuale e intermediale, che rivela tutto il suo potere comunicativo modificando i propri linguaggi a seconda dei contesti in cui appare: partendo da questo assunto, e con una metodologia che incrocia semiotica dei media e narratologia, il volume offre quindi un'interpretazione dettagliata dei sei ''luoghi'' di diffusione della musica pop: la canzone registrata, la performance, la stampa, la radio, gli audiovisivi e i new media. La trattazione è integrata da analisi di numerosi casi della musica degli ultimi cinquant'anni, da Elvis Presley (la prima star musicale a sfruttare sistematicamente la TV) a Bruce Springsteen, dagli U2 a Robbie Williams, da MTV a Napster.<br />Chiude il volume una discografia di riferimento, che si affianca alla tradizionale bibliografia.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/35535380" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="bdd82e1c808730163a00a5a10c62c117" rel="nofollow" data-download="{"attachment_id":55400783,"asset_id":35535380,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/55400783/download_file?st=MTczMjc2NzcwMyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="73304394" href="https://unicat.academia.edu/GianniSibilla">Gianni Sibilla</a><script data-card-contents-for-user="73304394" type="text/json">{"id":73304394,"first_name":"Gianni","last_name":"Sibilla","domain_name":"unicat","page_name":"GianniSibilla","display_name":"Gianni Sibilla","profile_url":"https://unicat.academia.edu/GianniSibilla?f_ri=1631","photo":"https://0.academia-photos.com/73304394/18693787/34780714/s65_gianni.sibilla.jpg"}</script></span></span></li><li class="js-paper-rank-work_35535380 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="35535380"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 35535380, container: ".js-paper-rank-work_35535380", }); });</script></li><li class="js-percentile-work_35535380 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 35535380; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_35535380"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_35535380 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="35535380"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 35535380; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=35535380]").text(description); $(".js-view-count-work_35535380").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_35535380").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="35535380"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">3</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="928" href="https://www.academia.edu/Documents/in/Media_Studies">Media Studies</a>, <script data-card-contents-for-ri="928" type="text/json">{"id":928,"name":"Media Studies","url":"https://www.academia.edu/Documents/in/Media_Studies?f_ri=1631","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1631" href="https://www.academia.edu/Documents/in/Popular_Music">Popular Music</a>, <script data-card-contents-for-ri="1631" type="text/json">{"id":1631,"name":"Popular Music","url":"https://www.academia.edu/Documents/in/Popular_Music?f_ri=1631","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="17035" href="https://www.academia.edu/Documents/in/Music_Industry">Music Industry</a><script data-card-contents-for-ri="17035" type="text/json">{"id":17035,"name":"Music Industry","url":"https://www.academia.edu/Documents/in/Music_Industry?f_ri=1631","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=35535380]'), work: {"id":35535380,"title":"I Linguaggi della Musica Pop (Bompiani, 2003)","created_at":"2017-12-29T05:15:54.188-08:00","url":"https://www.academia.edu/35535380/I_Linguaggi_della_Musica_Pop_Bompiani_2003_?f_ri=1631","dom_id":"work_35535380","summary":"Il volume parte da una ricostruzione del contesto socioculturale della musica pop, per arrivare, attraverso un'analisi delle questioni, dei metodi e dei termini in gioco, a offrire uno sguardo inedito su questo oggetto ubiquo, uno dei maggiori ''racconti sociali'' del nostro tempo.\nLa musica pop è un fenomeno narrativo intertestuale e intermediale, che rivela tutto il suo potere comunicativo modificando i propri linguaggi a seconda dei contesti in cui appare: partendo da questo assunto, e con una metodologia che incrocia semiotica dei media e narratologia, il volume offre quindi un'interpretazione dettagliata dei sei ''luoghi'' di diffusione della musica pop: la canzone registrata, la performance, la stampa, la radio, gli audiovisivi e i new media. La trattazione è integrata da analisi di numerosi casi della musica degli ultimi cinquant'anni, da Elvis Presley (la prima star musicale a sfruttare sistematicamente la TV) a Bruce Springsteen, dagli U2 a Robbie Williams, da MTV a Napster.\nChiude il volume una discografia di riferimento, che si affianca alla tradizionale bibliografia.","downloadable_attachments":[{"id":55400783,"asset_id":35535380,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":73304394,"first_name":"Gianni","last_name":"Sibilla","domain_name":"unicat","page_name":"GianniSibilla","display_name":"Gianni Sibilla","profile_url":"https://unicat.academia.edu/GianniSibilla?f_ri=1631","photo":"https://0.academia-photos.com/73304394/18693787/34780714/s65_gianni.sibilla.jpg"}],"research_interests":[{"id":928,"name":"Media Studies","url":"https://www.academia.edu/Documents/in/Media_Studies?f_ri=1631","nofollow":false},{"id":1631,"name":"Popular Music","url":"https://www.academia.edu/Documents/in/Popular_Music?f_ri=1631","nofollow":false},{"id":17035,"name":"Music Industry","url":"https://www.academia.edu/Documents/in/Music_Industry?f_ri=1631","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_410085" data-work_id="410085" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/410085/Jews_Race_and_Popular_Music">Jews, Race and Popular Music</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/410085" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="96e7b3b6e49d603adc090df5049c808a" rel="nofollow" data-download="{"attachment_id":48819208,"asset_id":410085,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/48819208/download_file?st=MTczMjc2NzcwMyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="80299" href="https://unisa-au.academia.edu/JonStratton">Jon Stratton</a><script data-card-contents-for-user="80299" type="text/json">{"id":80299,"first_name":"Jon","last_name":"Stratton","domain_name":"unisa-au","page_name":"JonStratton","display_name":"Jon Stratton","profile_url":"https://unisa-au.academia.edu/JonStratton?f_ri=1631","photo":"https://0.academia-photos.com/80299/10981588/12288288/s65_jon.stratton.jpg"}</script></span></span></li><li class="js-paper-rank-work_410085 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="410085"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 410085, container: ".js-paper-rank-work_410085", }); });</script></li><li class="js-percentile-work_410085 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 410085; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_410085"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_410085 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="410085"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 410085; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=410085]").text(description); $(".js-view-count-work_410085").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_410085").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="410085"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">3</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="188" href="https://www.academia.edu/Documents/in/Cultural_Studies">Cultural Studies</a>, <script data-card-contents-for-ri="188" type="text/json">{"id":188,"name":"Cultural Studies","url":"https://www.academia.edu/Documents/in/Cultural_Studies?f_ri=1631","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="983" href="https://www.academia.edu/Documents/in/Jewish_Studies">Jewish Studies</a>, <script data-card-contents-for-ri="983" type="text/json">{"id":983,"name":"Jewish Studies","url":"https://www.academia.edu/Documents/in/Jewish_Studies?f_ri=1631","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1631" href="https://www.academia.edu/Documents/in/Popular_Music">Popular Music</a><script data-card-contents-for-ri="1631" type="text/json">{"id":1631,"name":"Popular Music","url":"https://www.academia.edu/Documents/in/Popular_Music?f_ri=1631","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=410085]'), work: {"id":410085,"title":"Jews, Race and Popular Music","created_at":"2011-01-12T10:11:14.284-08:00","url":"https://www.academia.edu/410085/Jews_Race_and_Popular_Music?f_ri=1631","dom_id":"work_410085","summary":null,"downloadable_attachments":[{"id":48819208,"asset_id":410085,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":80299,"first_name":"Jon","last_name":"Stratton","domain_name":"unisa-au","page_name":"JonStratton","display_name":"Jon Stratton","profile_url":"https://unisa-au.academia.edu/JonStratton?f_ri=1631","photo":"https://0.academia-photos.com/80299/10981588/12288288/s65_jon.stratton.jpg"}],"research_interests":[{"id":188,"name":"Cultural Studies","url":"https://www.academia.edu/Documents/in/Cultural_Studies?f_ri=1631","nofollow":false},{"id":983,"name":"Jewish Studies","url":"https://www.academia.edu/Documents/in/Jewish_Studies?f_ri=1631","nofollow":false},{"id":1631,"name":"Popular Music","url":"https://www.academia.edu/Documents/in/Popular_Music?f_ri=1631","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_2317202" data-work_id="2317202" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/2317202/Music_in_Mexico_Experiencing_Music_Expressing_Culture">Music in Mexico. Experiencing Music, Expressing Culture</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">The complex legacy of Mexico's ethnic past and geographic location have shaped the country and its culture. In Music in Mexico, Alejandro L. Madrid uses extensive fieldwork, interviews with performers, eyewitness accounts of performances,... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_2317202" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The complex legacy of Mexico's ethnic past and geographic location have shaped the country and its culture. In Music in Mexico, Alejandro L. Madrid uses extensive fieldwork, interviews with performers, eyewitness accounts of performances, and vivid illustrations to guide students through modern-day music practices. Applying three themes-ethnic identity, migration, and media influences-the text explores the music that Mexicans grow up listening to and shows how these traditions are the result of long-standing transnational dialogues. Packaged with a 40-minute audio CD containing musical examples, the text features numerous listening activities that engage students with the music.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/2317202" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="e8d50f32b5738f6b278de1b19b16ca12" rel="nofollow" data-download="{"attachment_id":39165324,"asset_id":2317202,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/39165324/download_file?st=MTczMjc2NzcwNCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="1618313" href="https://harvard.academia.edu/AlejandroLMadrid">Alejandro L. Madrid</a><script data-card-contents-for-user="1618313" type="text/json">{"id":1618313,"first_name":"Alejandro L.","last_name":"Madrid","domain_name":"harvard","page_name":"AlejandroLMadrid","display_name":"Alejandro L. Madrid","profile_url":"https://harvard.academia.edu/AlejandroLMadrid?f_ri=1631","photo":"https://0.academia-photos.com/1618313/564421/703133/s65_alejandro.madrid.jpg"}</script></span></span></li><li class="js-paper-rank-work_2317202 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="2317202"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 2317202, container: ".js-paper-rank-work_2317202", }); });</script></li><li class="js-percentile-work_2317202 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 2317202; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_2317202"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_2317202 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="2317202"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 2317202; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=2317202]").text(description); $(".js-view-count-work_2317202").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_2317202").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="2317202"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">5</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="388" href="https://www.academia.edu/Documents/in/Latin_American_Studies">Latin American Studies</a>, <script data-card-contents-for-ri="388" type="text/json">{"id":388,"name":"Latin American Studies","url":"https://www.academia.edu/Documents/in/Latin_American_Studies?f_ri=1631","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="390" href="https://www.academia.edu/Documents/in/American_Studies">American Studies</a>, <script data-card-contents-for-ri="390" type="text/json">{"id":390,"name":"American Studies","url":"https://www.academia.edu/Documents/in/American_Studies?f_ri=1631","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1056" href="https://www.academia.edu/Documents/in/Popular_Music_Studies">Popular Music Studies</a>, <script data-card-contents-for-ri="1056" type="text/json">{"id":1056,"name":"Popular Music Studies","url":"https://www.academia.edu/Documents/in/Popular_Music_Studies?f_ri=1631","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1631" href="https://www.academia.edu/Documents/in/Popular_Music">Popular Music</a><script data-card-contents-for-ri="1631" type="text/json">{"id":1631,"name":"Popular Music","url":"https://www.academia.edu/Documents/in/Popular_Music?f_ri=1631","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=2317202]'), work: {"id":2317202,"title":"Music in Mexico. Experiencing Music, Expressing Culture","created_at":"2012-12-21T00:19:20.285-08:00","url":"https://www.academia.edu/2317202/Music_in_Mexico_Experiencing_Music_Expressing_Culture?f_ri=1631","dom_id":"work_2317202","summary":"The complex legacy of Mexico's ethnic past and geographic location have shaped the country and its culture. In Music in Mexico, Alejandro L. Madrid uses extensive fieldwork, interviews with performers, eyewitness accounts of performances, and vivid illustrations to guide students through modern-day music practices. Applying three themes-ethnic identity, migration, and media influences-the text explores the music that Mexicans grow up listening to and shows how these traditions are the result of long-standing transnational dialogues. Packaged with a 40-minute audio CD containing musical examples, the text features numerous listening activities that engage students with the music.","downloadable_attachments":[{"id":39165324,"asset_id":2317202,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":1618313,"first_name":"Alejandro L.","last_name":"Madrid","domain_name":"harvard","page_name":"AlejandroLMadrid","display_name":"Alejandro L. Madrid","profile_url":"https://harvard.academia.edu/AlejandroLMadrid?f_ri=1631","photo":"https://0.academia-photos.com/1618313/564421/703133/s65_alejandro.madrid.jpg"}],"research_interests":[{"id":388,"name":"Latin American Studies","url":"https://www.academia.edu/Documents/in/Latin_American_Studies?f_ri=1631","nofollow":false},{"id":390,"name":"American Studies","url":"https://www.academia.edu/Documents/in/American_Studies?f_ri=1631","nofollow":false},{"id":1056,"name":"Popular Music Studies","url":"https://www.academia.edu/Documents/in/Popular_Music_Studies?f_ri=1631","nofollow":false},{"id":1631,"name":"Popular Music","url":"https://www.academia.edu/Documents/in/Popular_Music?f_ri=1631","nofollow":false},{"id":2395,"name":"Mexican Studies","url":"https://www.academia.edu/Documents/in/Mexican_Studies?f_ri=1631"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_13180323" data-work_id="13180323" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/13180323/_The_Innocent_and_the_Runaway_Kanye_West_Taylor_Swift_Racial_Melodrama_and_the_Epistemology_of_Ignorance_">"The Innocent and the Runaway: Kanye West, Taylor Swift, Racial Melodrama, and the Epistemology of Ignorance"</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">During the 2009 MTV Video Music Awards, Kanye West famously interrupted Taylor Swift's acceptance speech for "Best Female Video." A year later both performers returned to the VMAs with songs that responded directly to the original... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_13180323" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">During the 2009 MTV Video Music Awards, Kanye West famously interrupted Taylor Swift's acceptance speech for "Best Female Video." A year later both performers returned to the VMAs with songs that responded directly to the original incident. In the meantime, the U.S. media and record-buying public had come to interpret the original incident using the stock scripts and characters of what Linda Williams has called “U.S. racial melodrama,” the fact of which both performers seemed aware. In this way, the Swift-West “incident” had come to reflect and mimic larger racial tensions, especially between black men and white women, as they had specifically come to be understood and portrayed during the Obama presidency, which many commentators have hastily and incorrectly identified as a symptom of “post-racialism.” This essay discusses how Kanye West and Taylor Swift reflect on and revise the tropes of racial melodrama, in the latter case to reinforce what Charles Mills calls "the epistemology of ignorance" when it comes to racism in America, and in the former case to challenge it.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/13180323" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="e27576d528fd8c82b69bab87db3dc756" rel="nofollow" data-download="{"attachment_id":43455507,"asset_id":13180323,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/43455507/download_file?st=MTczMjc2NzcwNCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="4115691" href="https://mtsu.academia.edu/ShaunCullen">Shaun Cullen</a><script data-card-contents-for-user="4115691" type="text/json">{"id":4115691,"first_name":"Shaun","last_name":"Cullen","domain_name":"mtsu","page_name":"ShaunCullen","display_name":"Shaun Cullen","profile_url":"https://mtsu.academia.edu/ShaunCullen?f_ri=1631","photo":"https://0.academia-photos.com/4115691/1592418/3071818/s65_shaun.cullen.jpg"}</script></span></span></li><li class="js-paper-rank-work_13180323 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="13180323"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 13180323, container: ".js-paper-rank-work_13180323", }); });</script></li><li class="js-percentile-work_13180323 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 13180323; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_13180323"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_13180323 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="13180323"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 13180323; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=13180323]").text(description); $(".js-view-count-work_13180323").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_13180323").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="13180323"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">24</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="8" href="https://www.academia.edu/Documents/in/Critical_Theory">Critical Theory</a>, <script data-card-contents-for-ri="8" type="text/json">{"id":8,"name":"Critical Theory","url":"https://www.academia.edu/Documents/in/Critical_Theory?f_ri=1631","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="296" href="https://www.academia.edu/Documents/in/Black_Studies_Or_African_American_Studies">Black Studies Or African American Studies</a>, <script data-card-contents-for-ri="296" type="text/json">{"id":296,"name":"Black Studies Or African American Studies","url":"https://www.academia.edu/Documents/in/Black_Studies_Or_African_American_Studies?f_ri=1631","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="975" href="https://www.academia.edu/Documents/in/Sex_and_Gender">Sex and Gender</a>, <script data-card-contents-for-ri="975" type="text/json">{"id":975,"name":"Sex and Gender","url":"https://www.academia.edu/Documents/in/Sex_and_Gender?f_ri=1631","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1056" href="https://www.academia.edu/Documents/in/Popular_Music_Studies">Popular Music Studies</a><script data-card-contents-for-ri="1056" type="text/json">{"id":1056,"name":"Popular Music Studies","url":"https://www.academia.edu/Documents/in/Popular_Music_Studies?f_ri=1631","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=13180323]'), work: {"id":13180323,"title":"\"The Innocent and the Runaway: Kanye West, Taylor Swift, Racial Melodrama, and the Epistemology of Ignorance\"","created_at":"2015-06-22T11:13:34.658-07:00","url":"https://www.academia.edu/13180323/_The_Innocent_and_the_Runaway_Kanye_West_Taylor_Swift_Racial_Melodrama_and_the_Epistemology_of_Ignorance_?f_ri=1631","dom_id":"work_13180323","summary":"During the 2009 MTV Video Music Awards, Kanye West famously interrupted Taylor Swift's acceptance speech for \"Best Female Video.\" A year later both performers returned to the VMAs with songs that responded directly to the original incident. In the meantime, the U.S. media and record-buying public had come to interpret the original incident using the stock scripts and characters of what Linda Williams has called “U.S. racial melodrama,” the fact of which both performers seemed aware. In this way, the Swift-West “incident” had come to reflect and mimic larger racial tensions, especially between black men and white women, as they had specifically come to be understood and portrayed during the Obama presidency, which many commentators have hastily and incorrectly identified as a symptom of “post-racialism.” This essay discusses how Kanye West and Taylor Swift reflect on and revise the tropes of racial melodrama, in the latter case to reinforce what Charles Mills calls \"the epistemology of ignorance\" when it comes to racism in America, and in the former case to challenge it. ","downloadable_attachments":[{"id":43455507,"asset_id":13180323,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":4115691,"first_name":"Shaun","last_name":"Cullen","domain_name":"mtsu","page_name":"ShaunCullen","display_name":"Shaun Cullen","profile_url":"https://mtsu.academia.edu/ShaunCullen?f_ri=1631","photo":"https://0.academia-photos.com/4115691/1592418/3071818/s65_shaun.cullen.jpg"}],"research_interests":[{"id":8,"name":"Critical Theory","url":"https://www.academia.edu/Documents/in/Critical_Theory?f_ri=1631","nofollow":false},{"id":296,"name":"Black Studies Or African American Studies","url":"https://www.academia.edu/Documents/in/Black_Studies_Or_African_American_Studies?f_ri=1631","nofollow":false},{"id":975,"name":"Sex and Gender","url":"https://www.academia.edu/Documents/in/Sex_and_Gender?f_ri=1631","nofollow":false},{"id":1056,"name":"Popular Music Studies","url":"https://www.academia.edu/Documents/in/Popular_Music_Studies?f_ri=1631","nofollow":false},{"id":1631,"name":"Popular Music","url":"https://www.academia.edu/Documents/in/Popular_Music?f_ri=1631"},{"id":2432,"name":"Critical Race Studies","url":"https://www.academia.edu/Documents/in/Critical_Race_Studies?f_ri=1631"},{"id":2858,"name":"Popular Culture","url":"https://www.academia.edu/Documents/in/Popular_Culture?f_ri=1631"},{"id":3141,"name":"Music Video","url":"https://www.academia.edu/Documents/in/Music_Video?f_ri=1631"},{"id":3277,"name":"Race and Racism","url":"https://www.academia.edu/Documents/in/Race_and_Racism?f_ri=1631"},{"id":4917,"name":"Gender and Sexuality","url":"https://www.academia.edu/Documents/in/Gender_and_Sexuality?f_ri=1631"},{"id":5247,"name":"Critical Race Theory","url":"https://www.academia.edu/Documents/in/Critical_Race_Theory?f_ri=1631"},{"id":5453,"name":"Race and Ethnicity","url":"https://www.academia.edu/Documents/in/Race_and_Ethnicity?f_ri=1631"},{"id":6408,"name":"Country Music","url":"https://www.academia.edu/Documents/in/Country_Music?f_ri=1631"},{"id":9343,"name":"Melodrama","url":"https://www.academia.edu/Documents/in/Melodrama?f_ri=1631"},{"id":14904,"name":"Hip-Hop/Rap","url":"https://www.academia.edu/Documents/in/Hip-Hop_Rap?f_ri=1631"},{"id":14912,"name":"African American Studies","url":"https://www.academia.edu/Documents/in/African_American_Studies?f_ri=1631"},{"id":16069,"name":"Critical Race Theory and Whiteness theory","url":"https://www.academia.edu/Documents/in/Critical_Race_Theory_and_Whiteness_theory?f_ri=1631"},{"id":34139,"name":"Hip-Hop Studies","url":"https://www.academia.edu/Documents/in/Hip-Hop_Studies?f_ri=1631"},{"id":103711,"name":"Hip hop","url":"https://www.academia.edu/Documents/in/Hip_hop?f_ri=1631"},{"id":131068,"name":"Hip Hop Culture","url":"https://www.academia.edu/Documents/in/Hip_Hop_Culture?f_ri=1631"},{"id":203528,"name":"Country","url":"https://www.academia.edu/Documents/in/Country?f_ri=1631"},{"id":216894,"name":"American Country Music","url":"https://www.academia.edu/Documents/in/American_Country_Music?f_ri=1631"},{"id":292728,"name":"Country Music Studies","url":"https://www.academia.edu/Documents/in/Country_Music_Studies?f_ri=1631"},{"id":429773,"name":"Kanye West","url":"https://www.academia.edu/Documents/in/Kanye_West?f_ri=1631"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_80909300" data-work_id="80909300" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/80909300/An_experimental_evaluation_of_music_involvement_measures_and_their_relationship_with_consumer_purchasing_behavior">An experimental evaluation of music involvement measures and their relationship with consumer purchasing behavior</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">... a usage or behavioral (self-report) framework, while the literature concerning the consumption of aesthetic products uses an experientially-based approach to ascertain music involvement. The behavioral format yielded two measures, one... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_80909300" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">... a usage or behavioral (self-report) framework, while the literature concerning the consumption of aesthetic products uses an experientially-based approach to ascertain music involvement. The behavioral format yielded two measures, one based on purchase (active), and the ...</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/80909300" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="33832962" href="https://independent.academia.edu/PamelaPerrew%C3%A9">Pamela Perrewé</a><script data-card-contents-for-user="33832962" type="text/json">{"id":33832962,"first_name":"Pamela","last_name":"Perrewé","domain_name":"independent","page_name":"PamelaPerrewé","display_name":"Pamela Perrewé","profile_url":"https://independent.academia.edu/PamelaPerrew%C3%A9?f_ri=1631","photo":"/images/s65_no_pic.png"}</script></span></span></li><li class="js-paper-rank-work_80909300 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="80909300"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 80909300, container: ".js-paper-rank-work_80909300", }); });</script></li><li class="js-percentile-work_80909300 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 80909300; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_80909300"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_80909300 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="80909300"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 80909300; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=80909300]").text(description); $(".js-view-count-work_80909300").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_80909300").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="80909300"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">3</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="26" href="https://www.academia.edu/Documents/in/Business">Business</a>, <script data-card-contents-for-ri="26" type="text/json">{"id":26,"name":"Business","url":"https://www.academia.edu/Documents/in/Business?f_ri=1631","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1631" href="https://www.academia.edu/Documents/in/Popular_Music">Popular Music</a>, <script data-card-contents-for-ri="1631" type="text/json">{"id":1631,"name":"Popular Music","url":"https://www.academia.edu/Documents/in/Popular_Music?f_ri=1631","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="356312" href="https://www.academia.edu/Documents/in/Popular_Music_and_Society">Popular Music and Society</a><script data-card-contents-for-ri="356312" type="text/json">{"id":356312,"name":"Popular Music and Society","url":"https://www.academia.edu/Documents/in/Popular_Music_and_Society?f_ri=1631","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=80909300]'), work: {"id":80909300,"title":"An experimental evaluation of music involvement measures and their relationship with consumer purchasing behavior","created_at":"2022-06-07T03:45:57.145-07:00","url":"https://www.academia.edu/80909300/An_experimental_evaluation_of_music_involvement_measures_and_their_relationship_with_consumer_purchasing_behavior?f_ri=1631","dom_id":"work_80909300","summary":"... a usage or behavioral (self-report) framework, while the literature concerning the consumption of aesthetic products uses an experientially-based approach to ascertain music involvement. The behavioral format yielded two measures, one based on purchase (active), and the ...","downloadable_attachments":[],"ordered_authors":[{"id":33832962,"first_name":"Pamela","last_name":"Perrewé","domain_name":"independent","page_name":"PamelaPerrewé","display_name":"Pamela Perrewé","profile_url":"https://independent.academia.edu/PamelaPerrew%C3%A9?f_ri=1631","photo":"/images/s65_no_pic.png"}],"research_interests":[{"id":26,"name":"Business","url":"https://www.academia.edu/Documents/in/Business?f_ri=1631","nofollow":false},{"id":1631,"name":"Popular Music","url":"https://www.academia.edu/Documents/in/Popular_Music?f_ri=1631","nofollow":false},{"id":356312,"name":"Popular Music and Society","url":"https://www.academia.edu/Documents/in/Popular_Music_and_Society?f_ri=1631","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_39734204" data-work_id="39734204" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/39734204/Nel_segno_del_film_nel_segno_della_canzone_la_situazione_italiana_I_casi_di_Claudio_Baglioni_e_di_Nanni_Moretti">Nel segno del film, nel segno della canzone: la situazione italiana. I casi di Claudio Baglioni e di Nanni Moretti</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">In questo lavoro è stata svolta una ricerca parallela tra cinema e canzone in Italia: film e canzoni sono stati considerati come prodotti culturali, oggetti intermediali, forme artistiche e categorie estetiche che entrambe concorrono alla... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_39734204" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">In questo lavoro è stata svolta una ricerca parallela tra cinema e canzone in Italia: film e canzoni sono stati considerati come prodotti culturali, oggetti intermediali, forme artistiche e categorie estetiche che entrambe concorrono alla creazione dell'immaginario pop e del paesaggio intermediale italiano. Nella prima parte della ricerca si è indagata la mutua e reciproca interazione e intersezione tra mondo del cinema e mondo della canzone da un punto di vista cronologico (sincronico e diacronico, periodizzazioni), teorico, semiotico e formale, indagando la presenza del cinema nella canzone italiana e della canzone italiana nel cinema italiano. Nella seconda parte si analizzano come prodotti culturali alcune opere significative di due casi studio, un regista (Nanni Moretti) e un cantautore (Claudio Baglioni), che rispettivamente si sono serviti del campo artistico opposto al proprio (Moretti della canzone, Baglioni del cinema), ampliando così le possibilità espressive e di significazione del proprio medium, ed espletando a livello intermediale la propria poetica. Questa trattazione dimostra dunque che nei casi di Baglioni e Moretti canzone e cinema hanno mutuamente collaborato tra di loro scambiandosi forme e materiali, concorrendo a creare l'immaginario pop-culturale italiano che caratterizza la nostra contemporaneità.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/39734204" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="33b936f8a0c4cc2d2f113e448b46dfe3" rel="nofollow" data-download="{"attachment_id":59912454,"asset_id":39734204,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/59912454/download_file?st=MTczMjc2NzcwNCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="43990128" href="https://univp.academia.edu/LucaBertoloni">Luca Bertoloni</a><script data-card-contents-for-user="43990128" type="text/json">{"id":43990128,"first_name":"Luca","last_name":"Bertoloni","domain_name":"univp","page_name":"LucaBertoloni","display_name":"Luca Bertoloni","profile_url":"https://univp.academia.edu/LucaBertoloni?f_ri=1631","photo":"https://0.academia-photos.com/43990128/18776170/27188791/s65_luca.bertoloni.jpeg"}</script></span></span></li><li class="js-paper-rank-work_39734204 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="39734204"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 39734204, container: ".js-paper-rank-work_39734204", }); 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Nella seconda parte si analizzano come prodotti culturali alcune opere significative di due casi studio, un regista (Nanni Moretti) e un cantautore (Claudio Baglioni), che rispettivamente si sono serviti del campo artistico opposto al proprio (Moretti della canzone, Baglioni del cinema), ampliando così le possibilità espressive e di significazione del proprio medium, ed espletando a livello intermediale la propria poetica. Questa trattazione dimostra dunque che nei casi di Baglioni e Moretti canzone e cinema hanno mutuamente collaborato tra di loro scambiandosi forme e materiali, concorrendo a creare l'immaginario pop-culturale italiano che caratterizza la nostra contemporaneità.","downloadable_attachments":[{"id":59912454,"asset_id":39734204,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":43990128,"first_name":"Luca","last_name":"Bertoloni","domain_name":"univp","page_name":"LucaBertoloni","display_name":"Luca Bertoloni","profile_url":"https://univp.academia.edu/LucaBertoloni?f_ri=1631","photo":"https://0.academia-photos.com/43990128/18776170/27188791/s65_luca.bertoloni.jpeg"}],"research_interests":[{"id":98,"name":"Semiotics","url":"https://www.academia.edu/Documents/in/Semiotics?f_ri=1631","nofollow":false},{"id":188,"name":"Cultural 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href="https://www.academia.edu/3173144/Criticism_Lighting_His_Fire_Perspectives_on_Jim_Morrison_from_the_Los_Angeles_Free_Press_Down_Beat_and_The_Miami_Herald">Criticism Lighting His Fire: Perspectives on Jim Morrison from the Los Angeles Free Press, Down Beat, and The Miami Herald</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/3173144" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="d2f65dbe1a317b41f4f0c4454b805698" rel="nofollow" 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data-card-contents-for-ri="687" type="text/json">{"id":687,"name":"Musicology","url":"https://www.academia.edu/Documents/in/Musicology?f_ri=1631","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="859" href="https://www.academia.edu/Documents/in/Communication">Communication</a>, <script data-card-contents-for-ri="859" type="text/json">{"id":859,"name":"Communication","url":"https://www.academia.edu/Documents/in/Communication?f_ri=1631","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="928" href="https://www.academia.edu/Documents/in/Media_Studies">Media Studies</a><script data-card-contents-for-ri="928" type="text/json">{"id":928,"name":"Media Studies","url":"https://www.academia.edu/Documents/in/Media_Studies?f_ri=1631","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=3173144]'), work: {"id":3173144,"title":"Criticism Lighting His 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love ideal are familiar themes in medieval songs and romances. This essay challenges the legitimacy of these themes, tracing an archeology of courtly love as a scholarly and cultural... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_42193332" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">ABSTRACT: Portrayals of noblewomen and the courtly love ideal are familiar themes in medieval songs and romances. This essay challenges the legitimacy of these themes, tracing an archeology of courtly love as a scholarly and cultural construct: a medievalism in and of itself, with origins in the nineteenth century. Using the Arthurian tradition as a case study, the essay explores reinterpretations of medieval portrayals of love in postmedieval cultures from Restoration Britain to the Swinging Sixties. As women increasingly occupied public and private spaces that were once exclusively men’s domain, male musicians in these settings employed the character of Guinevere and the idea of courtly love to address contemporary cultural anxieties about gender.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/42193332" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="883febc74a81cfb93f744f305f3955c1" rel="nofollow" data-download="{"attachment_id":63425068,"asset_id":42193332,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/63425068/download_file?st=MTczMjc2NzcwNCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="927862" href="https://edinburgh.academia.edu/GillianGower">Gillian L Gower</a><script data-card-contents-for-user="927862" type="text/json">{"id":927862,"first_name":"Gillian","last_name":"Gower","domain_name":"edinburgh","page_name":"GillianGower","display_name":"Gillian L Gower","profile_url":"https://edinburgh.academia.edu/GillianGower?f_ri=1631","photo":"https://0.academia-photos.com/927862/347969/30601384/s65_gillian.gower.jpg"}</script></span></span></li><li class="js-paper-rank-work_42193332 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="42193332"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 42193332, container: ".js-paper-rank-work_42193332", }); 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(2020) Frammenti di un disco incantato. Teorie semiotiche, testualità e generi musicali (Aracne, I saggi di Lexia 41, Roma) [PREVIEW 80 pp.]</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">La musica si offre al nostro orecchio e al nostro esserne gli interpreti bilanciando sempre quelle che sembrano essere le sue due qualità distintive e contrapposte: l’ineffabilità e la capacità di comunicare sensazioni, atmosfere, storie... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_44507454" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">La musica si offre al nostro orecchio e al nostro esserne gli interpreti bilanciando sempre quelle che sembrano essere le sue due qualità distintive e contrapposte: l’ineffabilità e la capacità di comunicare sensazioni, atmosfere, storie in maniera chirurgica. La faccenda si complica ulteriormente quando abbiamo a che fare con la musica che ascoltiamo tutti i giorni, attraverso quelli che ci ostiniamo a chiamare dischi. È la musica che chiamiamo registrata e che, però, quasi mai è registrata e basta. La musica rappresenta un problema per la semiotica, che come tale l’ha sempre trattata. Al punto che è forse questo il suo campo di applicazione più trascurato. Il significato della musica è stratificato: ha a che fare tanto con i suoni che essa contiene, e che ci sottopone in presa diretta o in forma mediata, quanto con le parole e le pratiche che costruiamo attorno a questi suoni, e che finiscono per orientarne profondamente il senso. Questo libro si concentra su alcune questioni centrali per una semiotica della musica che voglia comprenderla come fatto comunicativo, proponendo alcuni modelli per provare ad attraversare questo campo con uno sguardo — un orecchio — nuovo: la mediazione e il linguaggio fonografico; l’enunciazione e le sue diverse configurazioni; la nozione di genere e i generi musicali intesi come sistema discorsivo, dove la musica si dà appieno nella sua dimensione sociale e al cui interno tradizione e innovazione finiscono per sciogliersi l’una nell’altra.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/44507454" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="47ba8abcadf778309dafcceff24488ca" rel="nofollow" data-download="{"attachment_id":64945725,"asset_id":44507454,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/64945725/download_file?st=MTczMjc2NzcwNCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="163145430" href="https://unito.academia.edu/GabrieleMarino">Gabriele Marino</a><script data-card-contents-for-user="163145430" type="text/json">{"id":163145430,"first_name":"Gabriele","last_name":"Marino","domain_name":"unito","page_name":"GabrieleMarino","display_name":"Gabriele Marino","profile_url":"https://unito.academia.edu/GabrieleMarino?f_ri=1631","photo":"https://0.academia-photos.com/163145430/46813699/97846896/s65_gabriele.marino.jpg"}</script></span></span></li><li class="js-paper-rank-work_44507454 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="44507454"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 44507454, container: ".js-paper-rank-work_44507454", }); 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(2020) Frammenti di un disco incantato. Teorie semiotiche, testualità e generi musicali (Aracne, I saggi di Lexia 41, Roma) [PREVIEW 80 pp.]","created_at":"2020-11-15T19:01:02.141-08:00","url":"https://www.academia.edu/44507454/Marino_G_2020_Frammenti_di_un_disco_incantato_Teorie_semiotiche_testualit%C3%A0_e_generi_musicali_Aracne_I_saggi_di_Lexia_41_Roma_PREVIEW_80_pp_?f_ri=1631","dom_id":"work_44507454","summary":"La musica si offre al nostro orecchio e al nostro esserne gli interpreti bilanciando sempre quelle che sembrano essere le sue due qualità distintive e contrapposte: l’ineffabilità e la capacità di comunicare sensazioni, atmosfere, storie in maniera chirurgica. La faccenda si complica ulteriormente quando abbiamo a che fare con la musica che ascoltiamo tutti i giorni, attraverso quelli che ci ostiniamo a chiamare dischi. È la musica che chiamiamo registrata e che, però, quasi mai è registrata e basta. La musica rappresenta un problema per la semiotica, che come tale l’ha sempre trattata. Al punto che è forse questo il suo campo di applicazione più trascurato. Il significato della musica è stratificato: ha a che fare tanto con i suoni che essa contiene, e che ci sottopone in presa diretta o in forma mediata, quanto con le parole e le pratiche che costruiamo attorno a questi suoni, e che finiscono per orientarne profondamente il senso. Questo libro si concentra su alcune questioni centrali per una semiotica della musica che voglia comprenderla come fatto comunicativo, proponendo alcuni modelli per provare ad attraversare questo campo con uno sguardo — un orecchio — nuovo: la mediazione e il linguaggio fonografico; l’enunciazione e le sue diverse configurazioni; la nozione di genere e i generi musicali intesi come sistema discorsivo, dove la musica si dà appieno nella sua dimensione sociale e al cui interno tradizione e innovazione finiscono per sciogliersi l’una nell’altra.","downloadable_attachments":[{"id":64945725,"asset_id":44507454,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":163145430,"first_name":"Gabriele","last_name":"Marino","domain_name":"unito","page_name":"GabrieleMarino","display_name":"Gabriele Marino","profile_url":"https://unito.academia.edu/GabrieleMarino?f_ri=1631","photo":"https://0.academia-photos.com/163145430/46813699/97846896/s65_gabriele.marino.jpg"}],"research_interests":[{"id":98,"name":"Semiotics","url":"https://www.academia.edu/Documents/in/Semiotics?f_ri=1631","nofollow":false},{"id":1056,"name":"Popular Music Studies","url":"https://www.academia.edu/Documents/in/Popular_Music_Studies?f_ri=1631","nofollow":false},{"id":1631,"name":"Popular Music","url":"https://www.academia.edu/Documents/in/Popular_Music?f_ri=1631","nofollow":false},{"id":3903,"name":"Cultural Semiotics","url":"https://www.academia.edu/Documents/in/Cultural_Semiotics?f_ri=1631","nofollow":false},{"id":10339,"name":"Semiotics of Music","url":"https://www.academia.edu/Documents/in/Semiotics_of_Music?f_ri=1631"},{"id":14890,"name":"Musical Semiotics","url":"https://www.academia.edu/Documents/in/Musical_Semiotics?f_ri=1631"},{"id":15767,"name":"Sociosemiotics","url":"https://www.academia.edu/Documents/in/Sociosemiotics?f_ri=1631"},{"id":16965,"name":"Phonography","url":"https://www.academia.edu/Documents/in/Phonography?f_ri=1631"},{"id":17631,"name":"Semiotics Of Culture","url":"https://www.academia.edu/Documents/in/Semiotics_Of_Culture?f_ri=1631"},{"id":137020,"name":"Semiotica","url":"https://www.academia.edu/Documents/in/Semiotica?f_ri=1631"},{"id":157696,"name":"Music Genre Classification","url":"https://www.academia.edu/Documents/in/Music_Genre_Classification?f_ri=1631"},{"id":308934,"name":"Popular Music Genres","url":"https://www.academia.edu/Documents/in/Popular_Music_Genres?f_ri=1631"},{"id":674297,"name":"Sociosemiotica","url":"https://www.academia.edu/Documents/in/Sociosemiotica?f_ri=1631"},{"id":710996,"name":"Semiotica Della Cultura","url":"https://www.academia.edu/Documents/in/Semiotica_Della_Cultura?f_ri=1631"},{"id":892344,"name":"Semiotica Musica","url":"https://www.academia.edu/Documents/in/Semiotica_Musica?f_ri=1631"},{"id":1118179,"name":"Music Genres","url":"https://www.academia.edu/Documents/in/Music_Genres?f_ri=1631"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_35450133" data-work_id="35450133" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/35450133/_I_got_I_got_I_got_I_got_History_Identity_Memory_inside_my_DNA">“I got, I got, I got, I got”: History, Identity, Memory, inside my DNA</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">This paper explores the importance of Kendrick Lamar in the entertainment industry, in hip-hop and in American History. The essence of this paper explores his celebrity black body in relation to history, identity and his contribution to... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_35450133" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This paper explores the importance of Kendrick Lamar in the entertainment industry, in hip-hop and in American History. The essence of this paper explores his celebrity black body in relation to history, identity and his contribution to rich black historical archives on the black experience. At large, this paper examines his performance in his DNA music video, to see how his lived body, equipped with its historical DNA, informs our modern perception of the black body. <br /><br />This paper, written from a feminist perspective, seeks to understand the oppressed black body in popular culture to see how public figures like Kendrick Lamar are reclaiming their history. By creating a rich archive of soulful music and meaningful videos, Kendrick is mainstreaming the black reality in a time where the African-American body is at a political crossroads. <br /><br />Kendrick Lamar is writing history with his embodied performances and his profound written reflections and ensuring that future generations have a reference point in understanding, participating with and learning from their collective history.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/35450133" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="21c4a23ed374813657a57974111bc98a" rel="nofollow" data-download="{"attachment_id":55311808,"asset_id":35450133,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/55311808/download_file?st=MTczMjc2NzcwNCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="12378499" href="https://yorku.academia.edu/BrandonBoileau">Brandon Boileau</a><script data-card-contents-for-user="12378499" type="text/json">{"id":12378499,"first_name":"Brandon","last_name":"Boileau","domain_name":"yorku","page_name":"BrandonBoileau","display_name":"Brandon Boileau","profile_url":"https://yorku.academia.edu/BrandonBoileau?f_ri=1631","photo":"https://0.academia-photos.com/12378499/10741297/18654909/s65_brandon.boileau.jpg"}</script></span></span></li><li class="js-paper-rank-work_35450133 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="35450133"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 35450133, container: ".js-paper-rank-work_35450133", }); 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$(".js-view-count[data-work-id=35450133]").text(description); $(".js-view-count-work_35450133").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_35450133").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="35450133"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">26</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="128" href="https://www.academia.edu/Documents/in/History">History</a>, <script data-card-contents-for-ri="128" type="text/json">{"id":128,"name":"History","url":"https://www.academia.edu/Documents/in/History?f_ri=1631","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="136" href="https://www.academia.edu/Documents/in/Cultural_History">Cultural History</a>, <script data-card-contents-for-ri="136" type="text/json">{"id":136,"name":"Cultural History","url":"https://www.academia.edu/Documents/in/Cultural_History?f_ri=1631","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="188" href="https://www.academia.edu/Documents/in/Cultural_Studies">Cultural Studies</a>, <script data-card-contents-for-ri="188" type="text/json">{"id":188,"name":"Cultural Studies","url":"https://www.academia.edu/Documents/in/Cultural_Studies?f_ri=1631","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="296" href="https://www.academia.edu/Documents/in/Black_Studies_Or_African_American_Studies">Black Studies Or African American Studies</a><script data-card-contents-for-ri="296" type="text/json">{"id":296,"name":"Black Studies Or African American Studies","url":"https://www.academia.edu/Documents/in/Black_Studies_Or_African_American_Studies?f_ri=1631","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=35450133]'), work: {"id":35450133,"title":"“I got, I got, I got, I got”: History, Identity, Memory, inside my DNA","created_at":"2017-12-17T07:22:49.203-08:00","url":"https://www.academia.edu/35450133/_I_got_I_got_I_got_I_got_History_Identity_Memory_inside_my_DNA?f_ri=1631","dom_id":"work_35450133","summary":"This paper explores the importance of Kendrick Lamar in the entertainment industry, in hip-hop and in American History. The essence of this paper explores his celebrity black body in relation to history, identity and his contribution to rich black historical archives on the black experience. At large, this paper examines his performance in his DNA music video, to see how his lived body, equipped with its historical DNA, informs our modern perception of the black body. \n\nThis paper, written from a feminist perspective, seeks to understand the oppressed black body in popular culture to see how public figures like Kendrick Lamar are reclaiming their history. By creating a rich archive of soulful music and meaningful videos, Kendrick is mainstreaming the black reality in a time where the African-American body is at a political crossroads. \n\nKendrick Lamar is writing history with his embodied performances and his profound written reflections and ensuring that future generations have a reference point in understanding, participating with and learning from their collective history.","downloadable_attachments":[{"id":55311808,"asset_id":35450133,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":12378499,"first_name":"Brandon","last_name":"Boileau","domain_name":"yorku","page_name":"BrandonBoileau","display_name":"Brandon Boileau","profile_url":"https://yorku.academia.edu/BrandonBoileau?f_ri=1631","photo":"https://0.academia-photos.com/12378499/10741297/18654909/s65_brandon.boileau.jpg"}],"research_interests":[{"id":128,"name":"History","url":"https://www.academia.edu/Documents/in/History?f_ri=1631","nofollow":false},{"id":136,"name":"Cultural History","url":"https://www.academia.edu/Documents/in/Cultural_History?f_ri=1631","nofollow":false},{"id":188,"name":"Cultural Studies","url":"https://www.academia.edu/Documents/in/Cultural_Studies?f_ri=1631","nofollow":false},{"id":296,"name":"Black Studies Or African American Studies","url":"https://www.academia.edu/Documents/in/Black_Studies_Or_African_American_Studies?f_ri=1631","nofollow":false},{"id":671,"name":"Music","url":"https://www.academia.edu/Documents/in/Music?f_ri=1631"},{"id":685,"name":"Music History","url":"https://www.academia.edu/Documents/in/Music_History?f_ri=1631"},{"id":972,"name":"Self and Identity","url":"https://www.academia.edu/Documents/in/Self_and_Identity?f_ri=1631"},{"id":1631,"name":"Popular Music","url":"https://www.academia.edu/Documents/in/Popular_Music?f_ri=1631"},{"id":2938,"name":"Black/African Diaspora","url":"https://www.academia.edu/Documents/in/Black_African_Diaspora?f_ri=1631"},{"id":3141,"name":"Music Video","url":"https://www.academia.edu/Documents/in/Music_Video?f_ri=1631"},{"id":3277,"name":"Race and Racism","url":"https://www.academia.edu/Documents/in/Race_and_Racism?f_ri=1631"},{"id":3870,"name":"African Diaspora Studies","url":"https://www.academia.edu/Documents/in/African_Diaspora_Studies?f_ri=1631"},{"id":5044,"name":"Embodiment","url":"https://www.academia.edu/Documents/in/Embodiment?f_ri=1631"},{"id":5272,"name":"Identity (Culture)","url":"https://www.academia.edu/Documents/in/Identity_Culture_?f_ri=1631"},{"id":5453,"name":"Race and Ethnicity","url":"https://www.academia.edu/Documents/in/Race_and_Ethnicity?f_ri=1631"},{"id":6527,"name":"Celebrity Culture","url":"https://www.academia.edu/Documents/in/Celebrity_Culture?f_ri=1631"},{"id":7216,"name":"The Body","url":"https://www.academia.edu/Documents/in/The_Body?f_ri=1631"},{"id":7513,"name":"Archives","url":"https://www.academia.edu/Documents/in/Archives?f_ri=1631"},{"id":14904,"name":"Hip-Hop/Rap","url":"https://www.academia.edu/Documents/in/Hip-Hop_Rap?f_ri=1631"},{"id":15567,"name":"Diaspora Studies","url":"https://www.academia.edu/Documents/in/Diaspora_Studies?f_ri=1631"},{"id":26227,"name":"Entertainment","url":"https://www.academia.edu/Documents/in/Entertainment?f_ri=1631"},{"id":34139,"name":"Hip-Hop Studies","url":"https://www.academia.edu/Documents/in/Hip-Hop_Studies?f_ri=1631"},{"id":59346,"name":"Blackness","url":"https://www.academia.edu/Documents/in/Blackness?f_ri=1631"},{"id":131068,"name":"Hip Hop Culture","url":"https://www.academia.edu/Documents/in/Hip_Hop_Culture?f_ri=1631"},{"id":182936,"name":"Oppression","url":"https://www.academia.edu/Documents/in/Oppression?f_ri=1631"},{"id":1856584,"name":"Kendrick Lamar","url":"https://www.academia.edu/Documents/in/Kendrick_Lamar?f_ri=1631"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_44601769" data-work_id="44601769" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/44601769/Gender_Sexuality_and_Popular_Culture">Gender, Sexuality, and Popular Culture</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">This course explores how popular culture generates and articulates our understandings of gender and sexuality and their intersections with race and class. The weekly themes cohere around two correlated topics: 1. “Celebrity” and its... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_44601769" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This course explores how popular culture generates and articulates our understandings of gender and sexuality and their intersections with race and class. The weekly themes cohere around two correlated topics: 1. “Celebrity” and its imbrications with 2. “Media Scandals, Controversies and Contentious Debates.” This syllabus reflects the premise that popular culture is never simply entertainment or a diversion for audiences. Instead, “pop” culture provides us with stories, images and scripts through which we imagine and practice femininities, masculinities, and sexualities. Popular culture provides us with models of how to understand our own racial, gender and sexual identities. This course allows us to critically analyze images, practices, and narratives that perpetuate and/or disrupt these norms. By the end of the course, you should have the skills and tools to perform such analyses on your own.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/44601769" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="10133fe24be642bdcdb67884deb9c461" rel="nofollow" data-download="{"attachment_id":65063336,"asset_id":44601769,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/65063336/download_file?st=MTczMjc2NzcwNCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="3668150" href="https://aboutmcdonalds.academia.edu/DinahHoltzman">Dinah E Holtzman</a><script data-card-contents-for-user="3668150" type="text/json">{"id":3668150,"first_name":"Dinah","last_name":"Holtzman","domain_name":"aboutmcdonalds","page_name":"DinahHoltzman","display_name":"Dinah E Holtzman","profile_url":"https://aboutmcdonalds.academia.edu/DinahHoltzman?f_ri=1631","photo":"https://0.academia-photos.com/3668150/1297440/17949072/s65_dinah.holtzman.jpg"}</script></span></span></li><li class="js-paper-rank-work_44601769 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="44601769"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 44601769, container: ".js-paper-rank-work_44601769", }); 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The weekly themes cohere around two correlated topics: 1. “Celebrity” and its imbrications with 2. “Media Scandals, Controversies and Contentious Debates.” This syllabus reflects the premise that popular culture is never simply entertainment or a diversion for audiences. Instead, “pop” culture provides us with stories, images and scripts through which we imagine and practice femininities, masculinities, and sexualities. Popular culture provides us with models of how to understand our own racial, gender and sexual identities. This course allows us to critically analyze images, practices, and narratives that perpetuate and/or disrupt these norms. 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href="https://www.academia.edu/31793726/LA_TROVA_YUCATECA_COMO_EXPERIENCIA_DE_RECEPCI%C3%93N_Y_CONSUMO_CULTURAL_EN_LAS_FAMILIAS_YUCATECAS">LA TROVA YUCATECA COMO EXPERIENCIA DE RECEPCIÓN Y CONSUMO CULTURAL EN LAS FAMILIAS YUCATECAS</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">En este estudio es producto de una investigación realizada entre 2010-2012 en el que se analiza el consumo cultural de la trova yucateca en Mérida, a partir de ver los procesos de recepción en tres generaciones de oyentes en las familias... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_31793726" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">En este estudio es producto de una investigación realizada entre 2010-2012 en el que se analiza el consumo cultural de la trova yucateca en Mérida, a partir de ver los procesos de recepción en tres generaciones de oyentes en las familias de esta ciudad.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/31793726" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="170119986360709d86245a7a67de6e73" rel="nofollow" data-download="{"attachment_id":52094163,"asset_id":31793726,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" 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href="https://www.academia.edu/Documents/in/Music">Music</a>, <script data-card-contents-for-ri="671" type="text/json">{"id":671,"name":"Music","url":"https://www.academia.edu/Documents/in/Music?f_ri=1631","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="685" href="https://www.academia.edu/Documents/in/Music_History">Music History</a><script data-card-contents-for-ri="685" type="text/json">{"id":685,"name":"Music History","url":"https://www.academia.edu/Documents/in/Music_History?f_ri=1631","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=12345975]'), work: {"id":12345975,"title":"Şerif Muhiddin Targan : As The Actor and Indicator of Modern 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class="clearfix u-pv7x u-mb0x js-work-card work_2084143" data-work_id="2084143" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/2084143/Rethinking_Globalization_Through_Music">Rethinking Globalization Through Music</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/2084143" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="8f765e9b4d88879074792286dca667c9" rel="nofollow" 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I identify here two subgenres of indie and electronic music scenes and... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_11832067" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The focus of this comparative, pan-Iberian study is on the negotiation of identity and hybrid cultural production in early twenty-first-century Spain and Portugal. I identify here two subgenres of indie and electronic music scenes and analyze how the handful of musicians that comprise these burgeoning movements are fighting to keep their respective national cultural traditions alive in the face of iTunes, mp3s, and P2P filesharing that have universalized a certain form of pop music which cuts across languages and cultures. The hybrid musicians I interviewed for this project combine flamenco or fado with a variety of indie sounds: rock, pop, power pop, hip hop, trip hop, post punk, spaghetti western, shoegaze, or experimental electronic. The end result is a musical production which simultaneously attempts to voice their nationality as well as their generation. They are the torchbearers of tradition for an Iberian generation raised on The Velvet Underground, David Bowie, The Clash, The Replacements, Nirvana, and The Strokes. Their music references these and other global indie bands alongside those of twentieth century Iberian urban folk icons--Bambino, Camarón de la Isla, Enrique Morente, Amália Rodrigues, Alfredo Marceneiro, and Carlos do Carmo. I have developed a framework with which to contextualize and conceptualize the various issues addressed by these bands: authenticity, globalization, nostalgia, cultural capital, national-gender identity, and the economic crisis plaguing contemporary Europe.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/11832067" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="03f983a83ea5f9ae610cb7c714cb9837" rel="nofollow" data-download="{"attachment_id":37234710,"asset_id":11832067,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/37234710/download_file?st=MTczMjc2NzcwNCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="291663" href="https://umn.academia.edu/MichaelArnold">Michael Arnold</a><script data-card-contents-for-user="291663" type="text/json">{"id":291663,"first_name":"Michael","last_name":"Arnold","domain_name":"umn","page_name":"MichaelArnold","display_name":"Michael Arnold","profile_url":"https://umn.academia.edu/MichaelArnold?f_ri=1631","photo":"https://0.academia-photos.com/291663/59133/11265662/s65_michael.arnold.jpg"}</script></span></span></li><li class="js-paper-rank-work_11832067 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="11832067"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 11832067, container: ".js-paper-rank-work_11832067", }); 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I have developed a framework with which to contextualize and conceptualize the various issues addressed by these bands: authenticity, globalization, nostalgia, cultural capital, national-gender identity, and the economic crisis plaguing contemporary Europe.","downloadable_attachments":[{"id":37234710,"asset_id":11832067,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":291663,"first_name":"Michael","last_name":"Arnold","domain_name":"umn","page_name":"MichaelArnold","display_name":"Michael Arnold","profile_url":"https://umn.academia.edu/MichaelArnold?f_ri=1631","photo":"https://0.academia-photos.com/291663/59133/11265662/s65_michael.arnold.jpg"}],"research_interests":[{"id":188,"name":"Cultural Studies","url":"https://www.academia.edu/Documents/in/Cultural_Studies?f_ri=1631","nofollow":false},{"id":671,"name":"Music","url":"https://www.academia.edu/Documents/in/Music?f_ri=1631","nofollow":false},{"id":687,"name":"Musicology","url":"https://www.academia.edu/Documents/in/Musicology?f_ri=1631","nofollow":false},{"id":934,"name":"Media and Cultural Studies","url":"https://www.academia.edu/Documents/in/Media_and_Cultural_Studies?f_ri=1631","nofollow":false},{"id":1238,"name":"Spanish","url":"https://www.academia.edu/Documents/in/Spanish?f_ri=1631"},{"id":1631,"name":"Popular Music","url":"https://www.academia.edu/Documents/in/Popular_Music?f_ri=1631"},{"id":1987,"name":"Ethnomusicology","url":"https://www.academia.edu/Documents/in/Ethnomusicology?f_ri=1631"},{"id":2222,"name":"Portuguese Studies","url":"https://www.academia.edu/Documents/in/Portuguese_Studies?f_ri=1631"},{"id":2858,"name":"Popular Culture","url":"https://www.academia.edu/Documents/in/Popular_Culture?f_ri=1631"},{"id":3351,"name":"Subcultures","url":"https://www.academia.edu/Documents/in/Subcultures?f_ri=1631"},{"id":3499,"name":"Social and Cultural Anthropology","url":"https://www.academia.edu/Documents/in/Social_and_Cultural_Anthropology?f_ri=1631"},{"id":4138,"name":"Hybridity","url":"https://www.academia.edu/Documents/in/Hybridity?f_ri=1631"},{"id":4154,"name":"Iberian Studies","url":"https://www.academia.edu/Documents/in/Iberian_Studies?f_ri=1631"},{"id":7125,"name":"Culture","url":"https://www.academia.edu/Documents/in/Culture?f_ri=1631"},{"id":7948,"name":"The Lusophone World","url":"https://www.academia.edu/Documents/in/The_Lusophone_World?f_ri=1631"},{"id":16896,"name":"Fado","url":"https://www.academia.edu/Documents/in/Fado?f_ri=1631"},{"id":17198,"name":"Lusophone Cultures","url":"https://www.academia.edu/Documents/in/Lusophone_Cultures?f_ri=1631"},{"id":36635,"name":"Contemporary History of Spain","url":"https://www.academia.edu/Documents/in/Contemporary_History_of_Spain?f_ri=1631"},{"id":40516,"name":"Spain","url":"https://www.academia.edu/Documents/in/Spain?f_ri=1631"},{"id":44510,"name":"Portugal","url":"https://www.academia.edu/Documents/in/Portugal?f_ri=1631"},{"id":46524,"name":"Hispanic Studies","url":"https://www.academia.edu/Documents/in/Hispanic_Studies?f_ri=1631"},{"id":47389,"name":"Flamenco","url":"https://www.academia.edu/Documents/in/Flamenco?f_ri=1631"},{"id":53034,"name":"Cultural hybridity","url":"https://www.academia.edu/Documents/in/Cultural_hybridity?f_ri=1631"},{"id":58166,"name":"Indie Music","url":"https://www.academia.edu/Documents/in/Indie_Music?f_ri=1631"},{"id":71918,"name":"Patrimonio Cultural","url":"https://www.academia.edu/Documents/in/Patrimonio_Cultural?f_ri=1631"},{"id":95141,"name":"Spanish Dance and Music (incl. 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href="https://www.academia.edu/47783348/X_Factor_ascesa_e_declino_di_un_format_produttivo_e_narrativo_ibrido">X Factor ascesa e declino di un format produttivo e narrativo ibrido</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">Capitolo dedicato al formato dei talent show e ai rapporti tra musica e televisione e industria culturale, con analisi della versione italiana di X Factor e le sue peculiarità</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/47783348" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a 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description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_47783348").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="47783348"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">4</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="1571" href="https://www.academia.edu/Documents/in/Television_Studies">Television Studies</a>, <script data-card-contents-for-ri="1571" type="text/json">{"id":1571,"name":"Television Studies","url":"https://www.academia.edu/Documents/in/Television_Studies?f_ri=1631","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1631" href="https://www.academia.edu/Documents/in/Popular_Music">Popular Music</a>, <script data-card-contents-for-ri="1631" type="text/json">{"id":1631,"name":"Popular Music","url":"https://www.academia.edu/Documents/in/Popular_Music?f_ri=1631","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="17035" href="https://www.academia.edu/Documents/in/Music_Industry">Music Industry</a>, <script data-card-contents-for-ri="17035" type="text/json">{"id":17035,"name":"Music Industry","url":"https://www.academia.edu/Documents/in/Music_Industry?f_ri=1631","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="630137" href="https://www.academia.edu/Documents/in/Music_and_Television">Music and Television</a><script data-card-contents-for-ri="630137" type="text/json">{"id":630137,"name":"Music and Television","url":"https://www.academia.edu/Documents/in/Music_and_Television?f_ri=1631","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=47783348]'), work: {"id":47783348,"title":"X Factor ascesa e declino di un format produttivo e narrativo ibrido","created_at":"2021-04-30T04:36:53.774-07:00","url":"https://www.academia.edu/47783348/X_Factor_ascesa_e_declino_di_un_format_produttivo_e_narrativo_ibrido?f_ri=1631","dom_id":"work_47783348","summary":"Capitolo dedicato al formato dei talent show e ai rapporti tra musica e televisione e industria culturale, con analisi della versione italiana di X Factor e le sue peculiarità","downloadable_attachments":[{"id":66725999,"asset_id":47783348,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":73304394,"first_name":"Gianni","last_name":"Sibilla","domain_name":"unicat","page_name":"GianniSibilla","display_name":"Gianni Sibilla","profile_url":"https://unicat.academia.edu/GianniSibilla?f_ri=1631","photo":"https://0.academia-photos.com/73304394/18693787/34780714/s65_gianni.sibilla.jpg"}],"research_interests":[{"id":1571,"name":"Television 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class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/4536607" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="361b39038fbb37d799759e3e56d97a0f" rel="nofollow" data-download="{"attachment_id":35103639,"asset_id":4536607,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/35103639/download_file?st=MTczMjc2NzcwNCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="948267" href="https://leeds.academia.edu/DavidHesmondhalgh">David Hesmondhalgh</a><script data-card-contents-for-user="948267" type="text/json">{"id":948267,"first_name":"David","last_name":"Hesmondhalgh","domain_name":"leeds","page_name":"DavidHesmondhalgh","display_name":"David Hesmondhalgh","profile_url":"https://leeds.academia.edu/DavidHesmondhalgh?f_ri=1631","photo":"https://0.academia-photos.com/948267/351724/55775677/s65_david.hesmondhalgh.png"}</script></span></span></li><li class="js-paper-rank-work_4536607 InlineList-item InlineList-item--bordered hidden"><span 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InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="4536607"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 4536607; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=4536607]").text(description); $(".js-view-count-work_4536607").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_4536607").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="4536607"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">5</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="188" href="https://www.academia.edu/Documents/in/Cultural_Studies">Cultural Studies</a>, <script data-card-contents-for-ri="188" type="text/json">{"id":188,"name":"Cultural Studies","url":"https://www.academia.edu/Documents/in/Cultural_Studies?f_ri=1631","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="211" href="https://www.academia.edu/Documents/in/Sociology_of_Culture">Sociology of Culture</a>, <script data-card-contents-for-ri="211" type="text/json">{"id":211,"name":"Sociology of Culture","url":"https://www.academia.edu/Documents/in/Sociology_of_Culture?f_ri=1631","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="671" href="https://www.academia.edu/Documents/in/Music">Music</a>, <script data-card-contents-for-ri="671" type="text/json">{"id":671,"name":"Music","url":"https://www.academia.edu/Documents/in/Music?f_ri=1631","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1631" href="https://www.academia.edu/Documents/in/Popular_Music">Popular Music</a><script data-card-contents-for-ri="1631" type="text/json">{"id":1631,"name":"Popular Music","url":"https://www.academia.edu/Documents/in/Popular_Music?f_ri=1631","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=4536607]'), work: {"id":4536607,"title":"Why Music Matters","created_at":"2013-09-20T01:21:54.995-07:00","url":"https://www.academia.edu/4536607/Why_Music_Matters?f_ri=1631","dom_id":"work_4536607","summary":null,"downloadable_attachments":[{"id":35103639,"asset_id":4536607,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":948267,"first_name":"David","last_name":"Hesmondhalgh","domain_name":"leeds","page_name":"DavidHesmondhalgh","display_name":"David Hesmondhalgh","profile_url":"https://leeds.academia.edu/DavidHesmondhalgh?f_ri=1631","photo":"https://0.academia-photos.com/948267/351724/55775677/s65_david.hesmondhalgh.png"}],"research_interests":[{"id":188,"name":"Cultural Studies","url":"https://www.academia.edu/Documents/in/Cultural_Studies?f_ri=1631","nofollow":false},{"id":211,"name":"Sociology of Culture","url":"https://www.academia.edu/Documents/in/Sociology_of_Culture?f_ri=1631","nofollow":false},{"id":671,"name":"Music","url":"https://www.academia.edu/Documents/in/Music?f_ri=1631","nofollow":false},{"id":1631,"name":"Popular Music","url":"https://www.academia.edu/Documents/in/Popular_Music?f_ri=1631","nofollow":false},{"id":10073,"name":"Sociology of Music","url":"https://www.academia.edu/Documents/in/Sociology_of_Music?f_ri=1631"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_11334790 coauthored" data-work_id="11334790" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/11334790/Report_Understanding_Small_Music_Venues_A_Report_by_the_Music_Venue_Trust">Report: Understanding Small Music Venues: A Report by the Music Venue Trust</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">This report presents the findings of a research project undertaken by the Institute of Contemporary Music Performance (hereafter The Institute) investigating the experiences of small music venues in the UK. The project was commissioned by... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_11334790" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This report presents the findings of a research project undertaken by the Institute of Contemporary Music Performance (hereafter The Institute) investigating the experiences of small music venues in the UK. The project was commissioned by the Music Venue Trust (MVT) and funded by Arts Council England (ACE) via an allocation of a grant awarded to MVT (Grant for the Arts ref. 27555752) and by The Institute. <br /> <br />All of the authors are interested in this debate as performers as well as teachers and researchers in higher education, and we greatly welcome the opportunity to contribute to the vital discussion around music venues in the UK.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/11334790" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="71822d3579ae354a40ce7a16ad835515" rel="nofollow" data-download="{"attachment_id":36906705,"asset_id":11334790,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/36906705/download_file?st=MTczMjc2NzcwNCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="1730671" href="https://mdx.academia.edu/MikeDines">Mike Dines</a><script data-card-contents-for-user="1730671" type="text/json">{"id":1730671,"first_name":"Mike","last_name":"Dines","domain_name":"mdx","page_name":"MikeDines","display_name":"Mike Dines","profile_url":"https://mdx.academia.edu/MikeDines?f_ri=1631","photo":"https://0.academia-photos.com/1730671/595886/16069711/s65_mike.dines.jpg"}</script></span></span><span class="u-displayInlineBlock InlineList-item-text"> and <span class="u-textDecorationUnderline u-clickable InlineList-item-text js-work-more-authors-11334790">+1</span><div class="hidden js-additional-users-11334790"><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://bu.academia.edu/GarethDylanSmith">Gareth Dylan Smith</a></span></div></div></span><script>(function(){ var popoverSettings = { el: $('.js-work-more-authors-11334790'), placement: 'bottom', hide_delay: 200, html: true, content: function(){ return $('.js-additional-users-11334790').html(); 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href="https://www.academia.edu/Documents/in/Medievalism">Medievalism</a>, <script data-card-contents-for-ri="4066" type="text/json">{"id":4066,"name":"Medievalism","url":"https://www.academia.edu/Documents/in/Medievalism?f_ri=1631","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="8693" href="https://www.academia.edu/Documents/in/Pop_Culture">Pop Culture</a><script data-card-contents-for-ri="8693" type="text/json">{"id":8693,"name":"Pop Culture","url":"https://www.academia.edu/Documents/in/Pop_Culture?f_ri=1631","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=2091632]'), work: {"id":2091632,"title":"The Medium is the Byzantine: Popular Culture and the 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href="https://www.academia.edu/9624291/The_Music_of_Radiohead_New_Approaches_to_Popular_Music_Analysis_Syllabus_">The Music of Radiohead: New Approaches to Popular Music Analysis (Syllabus)</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/9624291" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="d6e618c38961e8a7d37e21742005f629" rel="nofollow" data-download="{"attachment_id":35827960,"asset_id":9624291,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm 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href="https://www.academia.edu/Documents/in/Neo-Riemannian_Analysis">Neo-Riemannian Analysis</a>, <script data-card-contents-for-ri="1069" type="text/json">{"id":1069,"name":"Neo-Riemannian Analysis","url":"https://www.academia.edu/Documents/in/Neo-Riemannian_Analysis?f_ri=1631","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1631" href="https://www.academia.edu/Documents/in/Popular_Music">Popular Music</a><script data-card-contents-for-ri="1631" type="text/json">{"id":1631,"name":"Popular Music","url":"https://www.academia.edu/Documents/in/Popular_Music?f_ri=1631","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=9624291]'), work: {"id":9624291,"title":"The Music of Radiohead: New Approaches to Popular Music Analysis (Syllabus)","created_at":"2014-12-04T11:11:00.386-08:00","url":"https://www.academia.edu/9624291/The_Music_of_Radiohead_New_Approaches_to_Popular_Music_Analysis_Syllabus_?f_ri=1631","dom_id":"work_9624291","summary":null,"downloadable_attachments":[{"id":35827960,"asset_id":9624291,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":7701392,"first_name":"Adam","last_name":"Shanley","domain_name":"uoregon","page_name":"AdamShanley","display_name":"Adam Shanley","profile_url":"https://uoregon.academia.edu/AdamShanley?f_ri=1631","photo":"https://0.academia-photos.com/7701392/2758330/5243137/s65_adam.shanley.jpg"}],"research_interests":[{"id":671,"name":"Music","url":"https://www.academia.edu/Documents/in/Music?f_ri=1631","nofollow":false},{"id":1056,"name":"Popular Music Studies","url":"https://www.academia.edu/Documents/in/Popular_Music_Studies?f_ri=1631","nofollow":false},{"id":1069,"name":"Neo-Riemannian Analysis","url":"https://www.academia.edu/Documents/in/Neo-Riemannian_Analysis?f_ri=1631","nofollow":false},{"id":1631,"name":"Popular Music","url":"https://www.academia.edu/Documents/in/Popular_Music?f_ri=1631","nofollow":false},{"id":28879,"name":"Music analysis","url":"https://www.academia.edu/Documents/in/Music_analysis?f_ri=1631"},{"id":174938,"name":"Radiohead","url":"https://www.academia.edu/Documents/in/Radiohead?f_ri=1631"},{"id":186232,"name":"Syllabus","url":"https://www.academia.edu/Documents/in/Syllabus?f_ri=1631"},{"id":615694,"name":"Radiohead Harmony Music Theory","url":"https://www.academia.edu/Documents/in/Radiohead_Harmony_Music_Theory?f_ri=1631"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_35539789" data-work_id="35539789" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/35539789/Musica_media_e_industria_discografica_dall_analogico_al_digitale">Musica, media e industria discografica dall’analogico al digitale</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">Contributo in Storia della comunicazione e dello spettacolo in Italia<br />sottotitolo -Volume III. I media alla sfida della convergenza (1979-2012) , Vita e Pensiero, 2017 - a cura di Aldo Grasso</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/35539789" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="dc98faae5ff87dfacaf74bf868406956" rel="nofollow" data-download="{"attachment_id":55405583,"asset_id":35539789,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/55405583/download_file?st=MTczMjc2NzcwNCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="73304394" href="https://unicat.academia.edu/GianniSibilla">Gianni Sibilla</a><script data-card-contents-for-user="73304394" type="text/json">{"id":73304394,"first_name":"Gianni","last_name":"Sibilla","domain_name":"unicat","page_name":"GianniSibilla","display_name":"Gianni Sibilla","profile_url":"https://unicat.academia.edu/GianniSibilla?f_ri=1631","photo":"https://0.academia-photos.com/73304394/18693787/34780714/s65_gianni.sibilla.jpg"}</script></span></span></li><li class="js-paper-rank-work_35539789 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="35539789"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 35539789, container: ".js-paper-rank-work_35539789", }); });</script></li><li class="js-percentile-work_35539789 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 35539789; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_35539789"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_35539789 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="35539789"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 35539789; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=35539789]").text(description); $(".js-view-count-work_35539789").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_35539789").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="35539789"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">5</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="1631" href="https://www.academia.edu/Documents/in/Popular_Music">Popular Music</a>, <script data-card-contents-for-ri="1631" type="text/json">{"id":1631,"name":"Popular Music","url":"https://www.academia.edu/Documents/in/Popular_Music?f_ri=1631","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="2869" href="https://www.academia.edu/Documents/in/Digital_Media">Digital Media</a>, <script data-card-contents-for-ri="2869" type="text/json">{"id":2869,"name":"Digital Media","url":"https://www.academia.edu/Documents/in/Digital_Media?f_ri=1631","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="6498" href="https://www.academia.edu/Documents/in/Radio">Radio</a>, <script data-card-contents-for-ri="6498" type="text/json">{"id":6498,"name":"Radio","url":"https://www.academia.edu/Documents/in/Radio?f_ri=1631","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="17035" href="https://www.academia.edu/Documents/in/Music_Industry">Music Industry</a><script data-card-contents-for-ri="17035" type="text/json">{"id":17035,"name":"Music Industry","url":"https://www.academia.edu/Documents/in/Music_Industry?f_ri=1631","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=35539789]'), work: {"id":35539789,"title":"Musica, media e industria discografica dall’analogico al digitale","created_at":"2017-12-30T01:01:44.850-08:00","url":"https://www.academia.edu/35539789/Musica_media_e_industria_discografica_dall_analogico_al_digitale?f_ri=1631","dom_id":"work_35539789","summary":"Contributo in Storia della comunicazione e dello spettacolo in Italia\nsottotitolo -Volume III. I media alla sfida della convergenza (1979-2012) , Vita e Pensiero, 2017 - a cura di Aldo Grasso","downloadable_attachments":[{"id":55405583,"asset_id":35539789,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":73304394,"first_name":"Gianni","last_name":"Sibilla","domain_name":"unicat","page_name":"GianniSibilla","display_name":"Gianni Sibilla","profile_url":"https://unicat.academia.edu/GianniSibilla?f_ri=1631","photo":"https://0.academia-photos.com/73304394/18693787/34780714/s65_gianni.sibilla.jpg"}],"research_interests":[{"id":1631,"name":"Popular Music","url":"https://www.academia.edu/Documents/in/Popular_Music?f_ri=1631","nofollow":false},{"id":2869,"name":"Digital Media","url":"https://www.academia.edu/Documents/in/Digital_Media?f_ri=1631","nofollow":false},{"id":6498,"name":"Radio","url":"https://www.academia.edu/Documents/in/Radio?f_ri=1631","nofollow":false},{"id":17035,"name":"Music Industry","url":"https://www.academia.edu/Documents/in/Music_Industry?f_ri=1631","nofollow":false},{"id":54277,"name":"Media Production","url":"https://www.academia.edu/Documents/in/Media_Production?f_ri=1631"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_8071907" data-work_id="8071907" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/8071907/Pussy_Riot_and_the_Holy_Foolishness_of_Punk">Pussy Riot and the Holy Foolishness of Punk</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Pussy Riot’s surprise punk prayer at the altar of Moscow’s Cathedral of Christ Our Savior instigated significant controversy in Russia and resulted in the conviction of three Pussy Riot members on the charge of “hooliganism motivated by... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_8071907" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Pussy Riot’s surprise punk prayer at the altar of Moscow’s Cathedral of Christ Our Savior instigated significant controversy in Russia and resulted in the conviction of three Pussy Riot members on the charge of “hooliganism motivated by religious hatred.” While the Russian Orthodox Church swiftly condemned the performance as blasphemous, Pussy Riot has contended that its punk prayer is consistent with the message of the Gospels. This study investigates the punk prayer controversy in relation to the figure of the holy fool, a radical behavioral model canonized by the Russian Orthodox Church and secularized in Russia’s literary and artistic traditions.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/8071907" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="6e9ea8ecc705e70198673a7b8798dcb2" rel="nofollow" data-download="{"attachment_id":34578859,"asset_id":8071907,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/34578859/download_file?st=MTczMjc2NzcwNCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="6490512" href="https://niu.academia.edu/KerithWoodyard">Kerith Woodyard</a><script data-card-contents-for-user="6490512" type="text/json">{"id":6490512,"first_name":"Kerith","last_name":"Woodyard","domain_name":"niu","page_name":"KerithWoodyard","display_name":"Kerith Woodyard","profile_url":"https://niu.academia.edu/KerithWoodyard?f_ri=1631","photo":"https://0.academia-photos.com/6490512/2746472/3200166/s65_kerith.woodyard.jpeg"}</script></span></span></li><li class="js-paper-rank-work_8071907 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="8071907"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 8071907, container: ".js-paper-rank-work_8071907", }); });</script></li><li class="js-percentile-work_8071907 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 8071907; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_8071907"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_8071907 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="8071907"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 8071907; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=8071907]").text(description); $(".js-view-count-work_8071907").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_8071907").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="8071907"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">25</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="389" href="https://www.academia.edu/Documents/in/Russian_Studies">Russian Studies</a>, <script data-card-contents-for-ri="389" type="text/json">{"id":389,"name":"Russian Studies","url":"https://www.academia.edu/Documents/in/Russian_Studies?f_ri=1631","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1056" href="https://www.academia.edu/Documents/in/Popular_Music_Studies">Popular Music Studies</a>, <script data-card-contents-for-ri="1056" type="text/json">{"id":1056,"name":"Popular Music Studies","url":"https://www.academia.edu/Documents/in/Popular_Music_Studies?f_ri=1631","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1631" href="https://www.academia.edu/Documents/in/Popular_Music">Popular Music</a>, <script data-card-contents-for-ri="1631" type="text/json">{"id":1631,"name":"Popular Music","url":"https://www.academia.edu/Documents/in/Popular_Music?f_ri=1631","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="2262" href="https://www.academia.edu/Documents/in/New_Testament">New Testament</a><script data-card-contents-for-ri="2262" type="text/json">{"id":2262,"name":"New Testament","url":"https://www.academia.edu/Documents/in/New_Testament?f_ri=1631","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=8071907]'), work: {"id":8071907,"title":"Pussy Riot and the Holy Foolishness of Punk","created_at":"2014-08-24T17:45:06.692-07:00","url":"https://www.academia.edu/8071907/Pussy_Riot_and_the_Holy_Foolishness_of_Punk?f_ri=1631","dom_id":"work_8071907","summary":"Pussy Riot’s surprise punk prayer at the altar of Moscow’s Cathedral of Christ Our Savior instigated significant controversy in Russia and resulted in the conviction of three Pussy Riot members on the charge of “hooliganism motivated by religious hatred.” While the Russian Orthodox Church swiftly condemned the performance as blasphemous, Pussy Riot has contended that its punk prayer is consistent with the message of the Gospels. This study investigates the punk prayer controversy in relation to the figure of the holy fool, a radical behavioral model canonized by the Russian Orthodox Church and secularized in Russia’s literary and artistic traditions.","downloadable_attachments":[{"id":34578859,"asset_id":8071907,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":6490512,"first_name":"Kerith","last_name":"Woodyard","domain_name":"niu","page_name":"KerithWoodyard","display_name":"Kerith Woodyard","profile_url":"https://niu.academia.edu/KerithWoodyard?f_ri=1631","photo":"https://0.academia-photos.com/6490512/2746472/3200166/s65_kerith.woodyard.jpeg"}],"research_interests":[{"id":389,"name":"Russian Studies","url":"https://www.academia.edu/Documents/in/Russian_Studies?f_ri=1631","nofollow":false},{"id":1056,"name":"Popular Music Studies","url":"https://www.academia.edu/Documents/in/Popular_Music_Studies?f_ri=1631","nofollow":false},{"id":1631,"name":"Popular Music","url":"https://www.academia.edu/Documents/in/Popular_Music?f_ri=1631","nofollow":false},{"id":2262,"name":"New Testament","url":"https://www.academia.edu/Documents/in/New_Testament?f_ri=1631","nofollow":false},{"id":2337,"name":"Performance Studies","url":"https://www.academia.edu/Documents/in/Performance_Studies?f_ri=1631"},{"id":2858,"name":"Popular Culture","url":"https://www.academia.edu/Documents/in/Popular_Culture?f_ri=1631"},{"id":7392,"name":"Russian Orthodox Church","url":"https://www.academia.edu/Documents/in/Russian_Orthodox_Church?f_ri=1631"},{"id":10453,"name":"Feminism","url":"https://www.academia.edu/Documents/in/Feminism?f_ri=1631"},{"id":13376,"name":"Punk Culture","url":"https://www.academia.edu/Documents/in/Punk_Culture?f_ri=1631"},{"id":15840,"name":"Russian Orthodoxy","url":"https://www.academia.edu/Documents/in/Russian_Orthodoxy?f_ri=1631"},{"id":22207,"name":"Punk","url":"https://www.academia.edu/Documents/in/Punk?f_ri=1631"},{"id":35833,"name":"Riot Grrrl","url":"https://www.academia.edu/Documents/in/Riot_Grrrl?f_ri=1631"},{"id":36323,"name":"Punk Studies","url":"https://www.academia.edu/Documents/in/Punk_Studies?f_ri=1631"},{"id":41863,"name":"Russia","url":"https://www.academia.edu/Documents/in/Russia?f_ri=1631"},{"id":71232,"name":"Moscow","url":"https://www.academia.edu/Documents/in/Moscow?f_ri=1631"},{"id":75863,"name":"Punk Rock","url":"https://www.academia.edu/Documents/in/Punk_Rock?f_ri=1631"},{"id":88092,"name":"Soviet Dissidents","url":"https://www.academia.edu/Documents/in/Soviet_Dissidents?f_ri=1631"},{"id":124051,"name":"The Holy Fool","url":"https://www.academia.edu/Documents/in/The_Holy_Fool?f_ri=1631"},{"id":169102,"name":"Vladimir Putin","url":"https://www.academia.edu/Documents/in/Vladimir_Putin?f_ri=1631"},{"id":174941,"name":"Rock Music","url":"https://www.academia.edu/Documents/in/Rock_Music?f_ri=1631"},{"id":245457,"name":"Russian feminism","url":"https://www.academia.edu/Documents/in/Russian_feminism?f_ri=1631"},{"id":306916,"name":"Holy Foolishness","url":"https://www.academia.edu/Documents/in/Holy_Foolishness?f_ri=1631"},{"id":602566,"name":"Pussy Riot","url":"https://www.academia.edu/Documents/in/Pussy_Riot?f_ri=1631"},{"id":694274,"name":"Fools In Literature","url":"https://www.academia.edu/Documents/in/Fools_In_Literature?f_ri=1631"},{"id":773466,"name":"Clowns, Fools, and Jesters","url":"https://www.academia.edu/Documents/in/Clowns_Fools_and_Jesters?f_ri=1631"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_35539810" data-work_id="35539810" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/35539810/Musica_e_media_digitali">Musica e media digitali</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Una ricerca sull'“evoluzione” digitale della musica e del suo rapporto con i media: un'analisi del cambiamento di modelli di produzione, distribuzione e consumo, confrontati con le caratteristiche distintive del periodo analogico.... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_35539810" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Una ricerca sull'“evoluzione” digitale della musica e del suo rapporto con i media: un'analisi del cambiamento di modelli di produzione, distribuzione e consumo, confrontati con le caratteristiche distintive del periodo analogico. Unpanorama complesso dove il digitale “ri-media” le forme precedenti e ne rielabora linguaggi, tecniche e forme sociali: il vecchio walkman si è trasformato nell'oggetto di culto iPod, i videoclip più nuovi non si trovano più su MTV ma su YouTube, alla produzione industriale si affianca lo user generated content, i nuovi gruppi non si fanno conoscere più suonando ma sulle pagine dei social media.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/35539810" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="40083c2334544396c7fc9a1b9d4a45ae" rel="nofollow" data-download="{"attachment_id":55405619,"asset_id":35539810,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/55405619/download_file?st=MTczMjc2NzcwNCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="73304394" href="https://unicat.academia.edu/GianniSibilla">Gianni Sibilla</a><script data-card-contents-for-user="73304394" type="text/json">{"id":73304394,"first_name":"Gianni","last_name":"Sibilla","domain_name":"unicat","page_name":"GianniSibilla","display_name":"Gianni Sibilla","profile_url":"https://unicat.academia.edu/GianniSibilla?f_ri=1631","photo":"https://0.academia-photos.com/73304394/18693787/34780714/s65_gianni.sibilla.jpg"}</script></span></span></li><li class="js-paper-rank-work_35539810 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="35539810"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 35539810, container: ".js-paper-rank-work_35539810", }); });</script></li><li class="js-percentile-work_35539810 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 35539810; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_35539810"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_35539810 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="35539810"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 35539810; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=35539810]").text(description); $(".js-view-count-work_35539810").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_35539810").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="35539810"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">5</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="928" href="https://www.academia.edu/Documents/in/Media_Studies">Media Studies</a>, <script data-card-contents-for-ri="928" type="text/json">{"id":928,"name":"Media Studies","url":"https://www.academia.edu/Documents/in/Media_Studies?f_ri=1631","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1586" href="https://www.academia.edu/Documents/in/Digital_media_Production">Digital media Production</a>, <script data-card-contents-for-ri="1586" type="text/json">{"id":1586,"name":"Digital media Production","url":"https://www.academia.edu/Documents/in/Digital_media_Production?f_ri=1631","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1631" href="https://www.academia.edu/Documents/in/Popular_Music">Popular Music</a>, <script data-card-contents-for-ri="1631" type="text/json">{"id":1631,"name":"Popular Music","url":"https://www.academia.edu/Documents/in/Popular_Music?f_ri=1631","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="17035" href="https://www.academia.edu/Documents/in/Music_Industry">Music Industry</a><script data-card-contents-for-ri="17035" type="text/json">{"id":17035,"name":"Music Industry","url":"https://www.academia.edu/Documents/in/Music_Industry?f_ri=1631","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=35539810]'), work: {"id":35539810,"title":"Musica e media digitali","created_at":"2017-12-30T01:07:44.932-08:00","url":"https://www.academia.edu/35539810/Musica_e_media_digitali?f_ri=1631","dom_id":"work_35539810","summary":"Una ricerca sull'“evoluzione” digitale della musica e del suo rapporto con i media: un'analisi del cambiamento di modelli di produzione, distribuzione e consumo, confrontati con le caratteristiche distintive del periodo analogico. Unpanorama complesso dove il digitale “ri-media” le forme precedenti e ne rielabora linguaggi, tecniche e forme sociali: il vecchio walkman si è trasformato nell'oggetto di culto iPod, i videoclip più nuovi non si trovano più su MTV ma su YouTube, alla produzione industriale si affianca lo user generated content, i nuovi gruppi non si fanno conoscere più suonando ma sulle pagine dei social media.","downloadable_attachments":[{"id":55405619,"asset_id":35539810,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":73304394,"first_name":"Gianni","last_name":"Sibilla","domain_name":"unicat","page_name":"GianniSibilla","display_name":"Gianni Sibilla","profile_url":"https://unicat.academia.edu/GianniSibilla?f_ri=1631","photo":"https://0.academia-photos.com/73304394/18693787/34780714/s65_gianni.sibilla.jpg"}],"research_interests":[{"id":928,"name":"Media Studies","url":"https://www.academia.edu/Documents/in/Media_Studies?f_ri=1631","nofollow":false},{"id":1586,"name":"Digital media Production","url":"https://www.academia.edu/Documents/in/Digital_media_Production?f_ri=1631","nofollow":false},{"id":1631,"name":"Popular Music","url":"https://www.academia.edu/Documents/in/Popular_Music?f_ri=1631","nofollow":false},{"id":17035,"name":"Music Industry","url":"https://www.academia.edu/Documents/in/Music_Industry?f_ri=1631","nofollow":false},{"id":54277,"name":"Media Production","url":"https://www.academia.edu/Documents/in/Media_Production?f_ri=1631"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_3420746" data-work_id="3420746" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/3420746/Popular_music_and_youth_culture_music_identity_and_place">Popular music and youth culture: music, identity and place</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/3420746" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="0b4abff79f925d4452791901bdbb8f5e" rel="nofollow" data-download="{"attachment_id":31196390,"asset_id":3420746,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/31196390/download_file?st=MTczMjc2NzcwNCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="3988077" href="https://independent.academia.edu/GermanMamaev">German Mamaev</a><script data-card-contents-for-user="3988077" type="text/json">{"id":3988077,"first_name":"German","last_name":"Mamaev","domain_name":"independent","page_name":"GermanMamaev","display_name":"German Mamaev","profile_url":"https://independent.academia.edu/GermanMamaev?f_ri=1631","photo":"https://0.academia-photos.com/3988077/1506238/1833458/s65_german.mamaev.jpg"}</script></span></span></li><li class="js-paper-rank-work_3420746 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="3420746"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 3420746, container: ".js-paper-rank-work_3420746", }); });</script></li><li class="js-percentile-work_3420746 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 3420746; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_3420746"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_3420746 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="3420746"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 3420746; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=3420746]").text(description); $(".js-view-count-work_3420746").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_3420746").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="3420746"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">4</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="184" href="https://www.academia.edu/Documents/in/Sociology">Sociology</a>, <script data-card-contents-for-ri="184" type="text/json">{"id":184,"name":"Sociology","url":"https://www.academia.edu/Documents/in/Sociology?f_ri=1631","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1631" href="https://www.academia.edu/Documents/in/Popular_Music">Popular Music</a>, <script data-card-contents-for-ri="1631" type="text/json">{"id":1631,"name":"Popular Music","url":"https://www.academia.edu/Documents/in/Popular_Music?f_ri=1631","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="68882" href="https://www.academia.edu/Documents/in/British_Sociology">British Sociology</a>, <script data-card-contents-for-ri="68882" type="text/json">{"id":68882,"name":"British Sociology","url":"https://www.academia.edu/Documents/in/British_Sociology?f_ri=1631","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="823263" href="https://www.academia.edu/Documents/in/Contemporary_Sociology">Contemporary Sociology</a><script data-card-contents-for-ri="823263" type="text/json">{"id":823263,"name":"Contemporary Sociology","url":"https://www.academia.edu/Documents/in/Contemporary_Sociology?f_ri=1631","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=3420746]'), work: {"id":3420746,"title":"Popular music and youth culture: music, identity and 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Sociology","url":"https://www.academia.edu/Documents/in/British_Sociology?f_ri=1631","nofollow":false},{"id":823263,"name":"Contemporary Sociology","url":"https://www.academia.edu/Documents/in/Contemporary_Sociology?f_ri=1631","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_19645783" data-work_id="19645783" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/19645783/Routledge_History_of_Social_Protest_in_Popular_Music">Routledge History of Social Protest in Popular Music</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm 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class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="273131" href="https://wcupa.academia.edu/JonathanFriedman">Jonathan Friedman</a><script data-card-contents-for-user="273131" type="text/json">{"id":273131,"first_name":"Jonathan","last_name":"Friedman","domain_name":"wcupa","page_name":"JonathanFriedman","display_name":"Jonathan Friedman","profile_url":"https://wcupa.academia.edu/JonathanFriedman?f_ri=1631","photo":"https://0.academia-photos.com/273131/19499902/19408687/s65_jonathan.friedman.jpg"}</script></span></span></li><li class="js-paper-rank-work_19645783 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="19645783"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new 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type="text/json">{"id":184,"name":"Sociology","url":"https://www.academia.edu/Documents/in/Sociology?f_ri=1631","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1631" href="https://www.academia.edu/Documents/in/Popular_Music">Popular Music</a>, <script data-card-contents-for-ri="1631" type="text/json">{"id":1631,"name":"Popular Music","url":"https://www.academia.edu/Documents/in/Popular_Music?f_ri=1631","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="9246" href="https://www.academia.edu/Documents/in/Social_Media">Social Media</a>, <script data-card-contents-for-ri="9246" type="text/json">{"id":9246,"name":"Social Media","url":"https://www.academia.edu/Documents/in/Social_Media?f_ri=1631","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="9517" href="https://www.academia.edu/Documents/in/Protest">Protest</a><script data-card-contents-for-ri="9517" type="text/json">{"id":9517,"name":"Protest","url":"https://www.academia.edu/Documents/in/Protest?f_ri=1631","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=19645783]'), work: {"id":19645783,"title":"Routledge History of Social Protest in Popular Music","created_at":"2015-12-14T03:33:19.262-08:00","url":"https://www.academia.edu/19645783/Routledge_History_of_Social_Protest_in_Popular_Music?f_ri=1631","dom_id":"work_19645783","summary":null,"downloadable_attachments":[{"id":40756253,"asset_id":19645783,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":273131,"first_name":"Jonathan","last_name":"Friedman","domain_name":"wcupa","page_name":"JonathanFriedman","display_name":"Jonathan 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class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/43119968/Cayari_2020_Popular_practices_for_online_musicking_and_performance_Developing_creative_dispositions_for_music_education_and_the_Internet_Cover_pre_formatted_text_">Cayari 2020 - Popular practices for online musicking and performance: Developing creative dispositions for music education and the Internet (Cover + pre-formatted text)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Musicians' drive to be productive on the Internet led to the development of practices that can inform popular music education. Expanding the concept of popular music education to include online participatory culture practices provides... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_43119968" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Musicians' drive to be productive on the Internet led to the development of practices that can inform popular music education. Expanding the concept of popular music education to include online participatory culture practices provides inspiration for musicking online relevant not only in times of uncertainty (like during mandated quarantines experienced during the COVID outbreak in 2020), but also during times of prosperity when practices can be explored in classrooms and during leisure time. In this article, the author discusses three dispositions towards online musicking: DIY-disposition (do-it-yourself), DIWO-disposition (do-it-with-others) and DIFO-disposition (do-it-for-others). The development of these dispositions leads to online and musical literacies that help develop the skills needed for online musicking and performance. This text offers a creation theory about approaching online musicking that can be applied to new technologies and media as online platforms appear and fade on the Internet.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/43119968" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="6d255b036717a0896f2cd5f4a36b8f9c" rel="nofollow" data-download="{"attachment_id":63376261,"asset_id":43119968,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/63376261/download_file?st=MTczMjc2NzcwNCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="50901745" href="https://purdue.academia.edu/DrCayari">Christopher Cayari</a><script data-card-contents-for-user="50901745" type="text/json">{"id":50901745,"first_name":"Christopher","last_name":"Cayari","domain_name":"purdue","page_name":"DrCayari","display_name":"Christopher Cayari","profile_url":"https://purdue.academia.edu/DrCayari?f_ri=1631","photo":"https://0.academia-photos.com/50901745/15137924/62061497/s65_christopher.cayari.jpg"}</script></span></span></li><li class="js-paper-rank-work_43119968 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="43119968"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 43119968, container: ".js-paper-rank-work_43119968", }); 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$(".js-view-count[data-work-id=43119968]").text(description); $(".js-view-count-work_43119968").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_43119968").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="43119968"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">17</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="671" href="https://www.academia.edu/Documents/in/Music">Music</a>, <script data-card-contents-for-ri="671" type="text/json">{"id":671,"name":"Music","url":"https://www.academia.edu/Documents/in/Music?f_ri=1631","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="683" href="https://www.academia.edu/Documents/in/Music_Education">Music Education</a>, <script data-card-contents-for-ri="683" type="text/json">{"id":683,"name":"Music Education","url":"https://www.academia.edu/Documents/in/Music_Education?f_ri=1631","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1018" href="https://www.academia.edu/Documents/in/Music_Technology">Music Technology</a>, <script data-card-contents-for-ri="1018" type="text/json">{"id":1018,"name":"Music Technology","url":"https://www.academia.edu/Documents/in/Music_Technology?f_ri=1631","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1056" href="https://www.academia.edu/Documents/in/Popular_Music_Studies">Popular Music Studies</a><script data-card-contents-for-ri="1056" type="text/json">{"id":1056,"name":"Popular Music Studies","url":"https://www.academia.edu/Documents/in/Popular_Music_Studies?f_ri=1631","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=43119968]'), work: {"id":43119968,"title":"Cayari 2020 - Popular practices for online musicking and performance: Developing creative dispositions for music education and the Internet (Cover + pre-formatted text)","created_at":"2020-05-20T14:12:20.229-07:00","url":"https://www.academia.edu/43119968/Cayari_2020_Popular_practices_for_online_musicking_and_performance_Developing_creative_dispositions_for_music_education_and_the_Internet_Cover_pre_formatted_text_?f_ri=1631","dom_id":"work_43119968","summary":"Musicians' drive to be productive on the Internet led to the development of practices that can inform popular music education. Expanding the concept of popular music education to include online participatory culture practices provides inspiration for musicking online relevant not only in times of uncertainty (like during mandated quarantines experienced during the COVID outbreak in 2020), but also during times of prosperity when practices can be explored in classrooms and during leisure time. In this article, the author discusses three dispositions towards online musicking: DIY-disposition (do-it-yourself), DIWO-disposition (do-it-with-others) and DIFO-disposition (do-it-for-others). The development of these dispositions leads to online and musical literacies that help develop the skills needed for online musicking and performance. This text offers a creation theory about approaching online musicking that can be applied to new technologies and media as online platforms appear and fade on the Internet.","downloadable_attachments":[{"id":63376261,"asset_id":43119968,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":50901745,"first_name":"Christopher","last_name":"Cayari","domain_name":"purdue","page_name":"DrCayari","display_name":"Christopher Cayari","profile_url":"https://purdue.academia.edu/DrCayari?f_ri=1631","photo":"https://0.academia-photos.com/50901745/15137924/62061497/s65_christopher.cayari.jpg"}],"research_interests":[{"id":671,"name":"Music","url":"https://www.academia.edu/Documents/in/Music?f_ri=1631","nofollow":false},{"id":683,"name":"Music Education","url":"https://www.academia.edu/Documents/in/Music_Education?f_ri=1631","nofollow":false},{"id":1018,"name":"Music Technology","url":"https://www.academia.edu/Documents/in/Music_Technology?f_ri=1631","nofollow":false},{"id":1056,"name":"Popular Music Studies","url":"https://www.academia.edu/Documents/in/Popular_Music_Studies?f_ri=1631","nofollow":false},{"id":1631,"name":"Popular Music","url":"https://www.academia.edu/Documents/in/Popular_Music?f_ri=1631"},{"id":2065,"name":"Research Methodology","url":"https://www.academia.edu/Documents/in/Research_Methodology?f_ri=1631"},{"id":2246,"name":"Digital Literacy","url":"https://www.academia.edu/Documents/in/Digital_Literacy?f_ri=1631"},{"id":2878,"name":"Collective Intelligence","url":"https://www.academia.edu/Documents/in/Collective_Intelligence?f_ri=1631"},{"id":4763,"name":"Online Instruction","url":"https://www.academia.edu/Documents/in/Online_Instruction?f_ri=1631"},{"id":8280,"name":"Media Literacy","url":"https://www.academia.edu/Documents/in/Media_Literacy?f_ri=1631"},{"id":15735,"name":"Media Literacy Education","url":"https://www.academia.edu/Documents/in/Media_Literacy_Education?f_ri=1631"},{"id":21556,"name":"Crowdsourcing","url":"https://www.academia.edu/Documents/in/Crowdsourcing?f_ri=1631"},{"id":42350,"name":"Youtube","url":"https://www.academia.edu/Documents/in/Youtube?f_ri=1631"},{"id":100325,"name":"Virtual Music Production Techniques and Processes","url":"https://www.academia.edu/Documents/in/Virtual_Music_Production_Techniques_and_Processes?f_ri=1631"},{"id":120294,"name":"Do It Yourself (DIY)","url":"https://www.academia.edu/Documents/in/Do_It_Yourself_DIY_?f_ri=1631"},{"id":129412,"name":"TICs aplicadas a la Educacion","url":"https://www.academia.edu/Documents/in/TICs_aplicadas_a_la_Educacion?f_ri=1631"},{"id":1002594,"name":"Music and Literacy","url":"https://www.academia.edu/Documents/in/Music_and_Literacy?f_ri=1631"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card 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data-download="{"attachment_id":53454308,"asset_id":33398935,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/53454308/download_file?st=MTczMjc2NzcwNCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="63966616" href="https://independent.academia.edu/DanielLentinelo">Daniel Lentinelo</a><script data-card-contents-for-user="63966616" 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$(".js-view-count-work_33398935").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="33398935"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">2</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="685" href="https://www.academia.edu/Documents/in/Music_History">Music History</a>, <script data-card-contents-for-ri="685" type="text/json">{"id":685,"name":"Music History","url":"https://www.academia.edu/Documents/in/Music_History?f_ri=1631","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1631" href="https://www.academia.edu/Documents/in/Popular_Music">Popular Music</a><script data-card-contents-for-ri="1631" type="text/json">{"id":1631,"name":"Popular 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History","url":"https://www.academia.edu/Documents/in/Music_History?f_ri=1631","nofollow":false},{"id":1631,"name":"Popular Music","url":"https://www.academia.edu/Documents/in/Popular_Music?f_ri=1631","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_33339035" data-work_id="33339035" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/33339035/_My_Crown_Too_Heavy_Like_the_Queen_Nefertiti_A_Black_Feminist_Analysis_of">" My Crown Too Heavy Like the Queen Nefertiti " : A Black Feminist Analysis of</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">With the “controlling images” of the Jezebel, the Mammy, and the Sapphire constantly reiterated in movies, television shows, and popular culture, serving the interests of what bell hooks has identified as white supremacist, capitalist... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_33339035" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">With the “controlling images” of the Jezebel, the Mammy, and the Sapphire constantly reiterated in movies, television shows, and popular culture, serving the interests of what bell hooks has identified as white supremacist, capitalist patriarchy, a consumer has to wonder if there is any way for Black women performers to thrive and empower other Black women while working within these constricting institutions. Although pop culture is the predominant cultural space where these controlling images and stereotypes have been reproduced there are many Black female entertainers who attempt to challenge and undermine such representations. <br /> Scholars such as hooks and Patricia Hill Collins introduce us to the diverse forms of black feminists and black feminism by showing how black women from all walks of life produce and engage black feminist practice. In common cultural discourse, however artists such as Jill Scott, Erykah Badu, Janelle Monae, Meshell Ndeogeocello are upheld as leading black feminist entertainers of our contemporary period while artists Nicki Minaj and Beyoncé are denounced as disempowering to black women and merely reproducing dominant racist, sexist, and hetero-normative stereotypes of black women.<br /> Much Black Feminist scholarship has focused on Black women’s resistance to the patriarchal, racist structures that continue to police and attempt to restrain Black women’s bodies and freedom within material social and political realms, but less scholarship focuses on the ways in which Black female entertainers produce Black feminist knowledge and empowerment within the realms of pop culture.<br /> The purpose of this study is not to show how Badu and Monae are the best examples of “true” Black feminism in the entertainment industry and how artists like Minaj and Knowles are tools of white supremacist, capitalist, patriarchy. The purpose is to take the expansions of Black feminism that Collins, Davis, hooks, and several other Black feminist intellectuals, have articulated in order to reflect the broad ways in which Black feminism plays out in the popular music industry and to argue against the grain of critiques of popular culture to demonstrate how, despite its limitations, this realm of cultural representation and performance can be emancipatory for black women.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/33339035" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="8cf85a79bf2ce40f57f20b5454156c2a" rel="nofollow" data-download="{"attachment_id":53398891,"asset_id":33339035,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/53398891/download_file?st=MTczMjc2NzcwNCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="9268752" href="https://lsu.academia.edu/BriPainiaPhD">Dr. Brianne A Painia</a><script data-card-contents-for-user="9268752" type="text/json">{"id":9268752,"first_name":"Dr. Brianne","last_name":"Painia","domain_name":"lsu","page_name":"BriPainiaPhD","display_name":"Dr. Brianne A Painia","profile_url":"https://lsu.academia.edu/BriPainiaPhD?f_ri=1631","photo":"https://0.academia-photos.com/9268752/3234293/24956503/s65_dr._brianne.painia.jpg"}</script></span></span></li><li class="js-paper-rank-work_33339035 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="33339035"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 33339035, container: ".js-paper-rank-work_33339035", }); 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Although pop culture is the predominant cultural space where these controlling images and stereotypes have been reproduced there are many Black female entertainers who attempt to challenge and undermine such representations. \n\tScholars such as hooks and Patricia Hill Collins introduce us to the diverse forms of black feminists and black feminism by showing how black women from all walks of life produce and engage black feminist practice. In common cultural discourse, however artists such as Jill Scott, Erykah Badu, Janelle Monae, Meshell Ndeogeocello are upheld as leading black feminist entertainers of our contemporary period while artists Nicki Minaj and Beyoncé are denounced as disempowering to black women and merely reproducing dominant racist, sexist, and hetero-normative stereotypes of black women.\n\tMuch Black Feminist scholarship has focused on Black women’s resistance to the patriarchal, racist structures that continue to police and attempt to restrain Black women’s bodies and freedom within material social and political realms, but less scholarship focuses on the ways in which Black female entertainers produce Black feminist knowledge and empowerment within the realms of pop culture.\n\tThe purpose of this study is not to show how Badu and Monae are the best examples of “true” Black feminism in the entertainment industry and how artists like Minaj and Knowles are tools of white supremacist, capitalist, patriarchy. The purpose is to take the expansions of Black feminism that Collins, Davis, hooks, and several other Black feminist intellectuals, have articulated in order to reflect the broad ways in which Black feminism plays out in the popular music industry and to argue against the grain of critiques of popular culture to demonstrate how, despite its limitations, this realm of cultural representation and performance can be emancipatory for black women.\n","downloadable_attachments":[{"id":53398891,"asset_id":33339035,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":9268752,"first_name":"Dr. Brianne","last_name":"Painia","domain_name":"lsu","page_name":"BriPainiaPhD","display_name":"Dr. Brianne A Painia","profile_url":"https://lsu.academia.edu/BriPainiaPhD?f_ri=1631","photo":"https://0.academia-photos.com/9268752/3234293/24956503/s65_dr._brianne.painia.jpg"}],"research_interests":[{"id":184,"name":"Sociology","url":"https://www.academia.edu/Documents/in/Sociology?f_ri=1631","nofollow":false},{"id":696,"name":"Gender Studies","url":"https://www.academia.edu/Documents/in/Gender_Studies?f_ri=1631","nofollow":false},{"id":1631,"name":"Popular Music","url":"https://www.academia.edu/Documents/in/Popular_Music?f_ri=1631","nofollow":false},{"id":2858,"name":"Popular Culture","url":"https://www.academia.edu/Documents/in/Popular_Culture?f_ri=1631","nofollow":false},{"id":5453,"name":"Race and Ethnicity","url":"https://www.academia.edu/Documents/in/Race_and_Ethnicity?f_ri=1631"},{"id":10453,"name":"Feminism","url":"https://www.academia.edu/Documents/in/Feminism?f_ri=1631"},{"id":14412,"name":"Black feminism","url":"https://www.academia.edu/Documents/in/Black_feminism?f_ri=1631"},{"id":24294,"name":"Gender and Race","url":"https://www.academia.edu/Documents/in/Gender_and_Race?f_ri=1631"},{"id":25064,"name":"Black Feminist Theory/Thought","url":"https://www.academia.edu/Documents/in/Black_Feminist_Theory_Thought?f_ri=1631"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_26049084" data-work_id="26049084" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/26049084/M%C3%9CZ%C4%B0%C4%9E%C4%B0N_K%C4%B0LOMETRE_TA%C5%9ELARI_2013_Z%C4%B0NDE_YAYINLARI_">MÜZİĞİN KİLOMETRE TAŞLARI (2013 – ZİNDE YAYINLARI)</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/26049084" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="36b4161594582ca77f6e4fb4065793e2" rel="nofollow" data-download="{"attachment_id":46387387,"asset_id":26049084,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/46387387/download_file?st=MTczMjc2NzcwNCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="3052205" href="https://galata.academia.edu/ProfDrMichaelMihalisKuyucu">Prof. Dr. Michael (Mihalis) Kuyucu</a><script data-card-contents-for-user="3052205" type="text/json">{"id":3052205,"first_name":"Prof. Dr. Michael (Mihalis)","last_name":"Kuyucu","domain_name":"galata","page_name":"ProfDrMichaelMihalisKuyucu","display_name":"Prof. Dr. Michael (Mihalis) Kuyucu","profile_url":"https://galata.academia.edu/ProfDrMichaelMihalisKuyucu?f_ri=1631","photo":"https://0.academia-photos.com/3052205/10582603/11811700/s65_michael.kuyucu.jpg"}</script></span></span></li><li class="js-paper-rank-work_26049084 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="26049084"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 26049084, container: ".js-paper-rank-work_26049084", }); 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$(".js-view-count[data-work-id=26049084]").text(description); $(".js-view-count-work_26049084").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_26049084").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="26049084"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">7</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="671" href="https://www.academia.edu/Documents/in/Music">Music</a>, <script data-card-contents-for-ri="671" type="text/json">{"id":671,"name":"Music","url":"https://www.academia.edu/Documents/in/Music?f_ri=1631","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="685" href="https://www.academia.edu/Documents/in/Music_History">Music History</a>, <script data-card-contents-for-ri="685" type="text/json">{"id":685,"name":"Music History","url":"https://www.academia.edu/Documents/in/Music_History?f_ri=1631","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="687" href="https://www.academia.edu/Documents/in/Musicology">Musicology</a>, <script data-card-contents-for-ri="687" type="text/json">{"id":687,"name":"Musicology","url":"https://www.academia.edu/Documents/in/Musicology?f_ri=1631","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1631" href="https://www.academia.edu/Documents/in/Popular_Music">Popular Music</a><script data-card-contents-for-ri="1631" type="text/json">{"id":1631,"name":"Popular Music","url":"https://www.academia.edu/Documents/in/Popular_Music?f_ri=1631","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=26049084]'), work: {"id":26049084,"title":"MÜZİĞİN KİLOMETRE TAŞLARI (2013 – ZİNDE YAYINLARI)","created_at":"2016-06-10T16:40:05.808-07:00","url":"https://www.academia.edu/26049084/M%C3%9CZ%C4%B0%C4%9E%C4%B0N_K%C4%B0LOMETRE_TA%C5%9ELARI_2013_Z%C4%B0NDE_YAYINLARI_?f_ri=1631","dom_id":"work_26049084","summary":null,"downloadable_attachments":[{"id":46387387,"asset_id":26049084,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":3052205,"first_name":"Prof. Dr. Michael (Mihalis)","last_name":"Kuyucu","domain_name":"galata","page_name":"ProfDrMichaelMihalisKuyucu","display_name":"Prof. Dr. Michael (Mihalis) Kuyucu","profile_url":"https://galata.academia.edu/ProfDrMichaelMihalisKuyucu?f_ri=1631","photo":"https://0.academia-photos.com/3052205/10582603/11811700/s65_michael.kuyucu.jpg"}],"research_interests":[{"id":671,"name":"Music","url":"https://www.academia.edu/Documents/in/Music?f_ri=1631","nofollow":false},{"id":685,"name":"Music History","url":"https://www.academia.edu/Documents/in/Music_History?f_ri=1631","nofollow":false},{"id":687,"name":"Musicology","url":"https://www.academia.edu/Documents/in/Musicology?f_ri=1631","nofollow":false},{"id":1631,"name":"Popular Music","url":"https://www.academia.edu/Documents/in/Popular_Music?f_ri=1631","nofollow":false},{"id":327585,"name":"Müzik","url":"https://www.academia.edu/Documents/in/M%C3%BCzik?f_ri=1631"},{"id":732621,"name":"Müzik Ve İLetişim","url":"https://www.academia.edu/Documents/in/Muzik_Ve_ILetisim?f_ri=1631"},{"id":1124746,"name":"Müzikoloji","url":"https://www.academia.edu/Documents/in/Muzikoloji?f_ri=1631"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_223404" data-work_id="223404" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/223404/Everything_Was_Forever_Until_It_Was_No_More_The_last_Soviet_generation">Everything Was Forever, Until It Was No More: The last Soviet generation</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Wayne Vucinic Book Prize 2007, "for the most important contribution to Russian, Eurasian, and East European studies in any discipline of the humanities or social sciences." Endorsement by Slavoj Zizek: "Alexei Yurchak's Everything... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_223404" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Wayne Vucinic Book Prize 2007, "for the most important contribution to Russian, Eurasian, and East European studies in any discipline of the humanities or social sciences."  <br /><br />Endorsement by Slavoj Zizek: <br /><br />"Alexei Yurchak's Everything Was Forever, Until It Was No More immediately seduced me by its very title with a profound philosophical implication that eternity is a historical category--things can be eternal for some time. The same spirit of paradox runs through the entire book--it renders in wonderful details the gradual disintegration of the Soviet system from within its ideological and cultural space, making visible all the hypocrisy and misery of this process. I consider Yurchak's book by far the best work about the late epoch of the Soviet Union--it is not just history, but a pleasure to read, a true work of art." (Slavoj Zizek, author of In Defense of Lost Causes)<br /><br />Abstract:<br /><br />Soviet socialism was based on paradoxes that were revealed by the peculiar experience of its collapse. To the people who lived in that system the collapse seemed both completely unexpected and completely unsurprising. At the moment of collapse it suddenly became obvious that Soviet life had always seemed simultaneously eternal and stagnating, vigorous and ailing, bleak and full of promise. Although these characteristics may appear mutually exclusive, in fact they were mutually constitutive. This book explores the paradoxes of Soviet life during the period of "late socialism" (1960s-1980s) through the eyes of the last Soviet generation.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/223404" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="e668fb2f0013a93b5ee1ec1dc30117fe" rel="nofollow" data-download="{"attachment_id":112356480,"asset_id":223404,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/112356480/download_file?st=MTczMjc2NzcwNCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="149969" href="https://berkeley.academia.edu/AlexeiYurchak%D0%90%D0%BB%D0%B5%D0%BA%D1%81%D0%B5%D0%B9%D0%AE%D1%80%D1%87%D0%B0%D0%BA">Alexei Yurchak Алексей Юрчак</a><script data-card-contents-for-user="149969" type="text/json">{"id":149969,"first_name":"Alexei Yurchak","last_name":"Алексей Юрчак","domain_name":"berkeley","page_name":"AlexeiYurchakАлексейЮрчак","display_name":"Alexei Yurchak Алексей Юрчак","profile_url":"https://berkeley.academia.edu/AlexeiYurchak%D0%90%D0%BB%D0%B5%D0%BA%D1%81%D0%B5%D0%B9%D0%AE%D1%80%D1%87%D0%B0%D0%BA?f_ri=1631","photo":"https://0.academia-photos.com/149969/39594/162590101/s65_alexei_yurchak._.jpg"}</script></span></span></li><li class="js-paper-rank-work_223404 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="223404"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 223404, container: ".js-paper-rank-work_223404", }); 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$(".js-view-count[data-work-id=223404]").text(description); $(".js-view-count-work_223404").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_223404").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="223404"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">156</a>  </div><span class="InlineList-item-text u-textTruncate u-pl11x"><a class="InlineList-item-text" data-has-card-for-ri="94" href="https://www.academia.edu/Documents/in/Discourse_Analysis">Discourse Analysis</a>, <script data-card-contents-for-ri="94" type="text/json">{"id":94,"name":"Discourse Analysis","url":"https://www.academia.edu/Documents/in/Discourse_Analysis?f_ri=1631","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="98" href="https://www.academia.edu/Documents/in/Semiotics">Semiotics</a>, <script data-card-contents-for-ri="98" type="text/json">{"id":98,"name":"Semiotics","url":"https://www.academia.edu/Documents/in/Semiotics?f_ri=1631","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="188" href="https://www.academia.edu/Documents/in/Cultural_Studies">Cultural Studies</a>, <script data-card-contents-for-ri="188" type="text/json">{"id":188,"name":"Cultural Studies","url":"https://www.academia.edu/Documents/in/Cultural_Studies?f_ri=1631","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="206" href="https://www.academia.edu/Documents/in/Social_Change">Social Change</a><script data-card-contents-for-ri="206" type="text/json">{"id":206,"name":"Social Change","url":"https://www.academia.edu/Documents/in/Social_Change?f_ri=1631","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=223404]'), work: {"id":223404,"title":"Everything Was Forever, Until It Was No More: The last Soviet generation","created_at":"2010-03-25T11:08:17.330-07:00","url":"https://www.academia.edu/223404/Everything_Was_Forever_Until_It_Was_No_More_The_last_Soviet_generation?f_ri=1631","dom_id":"work_223404","summary":"Wayne Vucinic Book Prize 2007, \"for the most important contribution to Russian, Eurasian, and East European studies in any discipline of the humanities or social sciences.\" \n\nEndorsement by Slavoj Zizek: \n\n\"Alexei Yurchak's Everything Was Forever, Until It Was No More immediately seduced me by its very title with a profound philosophical implication that eternity is a historical category--things can be eternal for some time. The same spirit of paradox runs through the entire book--it renders in wonderful details the gradual disintegration of the Soviet system from within its ideological and cultural space, making visible all the hypocrisy and misery of this process. I consider Yurchak's book by far the best work about the late epoch of the Soviet Union--it is not just history, but a pleasure to read, a true work of art.\" (Slavoj Zizek, author of In Defense of Lost Causes)\n\nAbstract:\n\nSoviet socialism was based on paradoxes that were revealed by the peculiar experience of its collapse. To the people who lived in that system the collapse seemed both completely unexpected and completely unsurprising. At the moment of collapse it suddenly became obvious that Soviet life had always seemed simultaneously eternal and stagnating, vigorous and ailing, bleak and full of promise. Although these characteristics may appear mutually exclusive, in fact they were mutually constitutive. This book explores the paradoxes of Soviet life during the period of \"late socialism\" (1960s-1980s) through the eyes of the last Soviet generation.\n","downloadable_attachments":[{"id":112356480,"asset_id":223404,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":149969,"first_name":"Alexei Yurchak","last_name":"Алексей Юрчак","domain_name":"berkeley","page_name":"AlexeiYurchakАлексейЮрчак","display_name":"Alexei Yurchak Алексей Юрчак","profile_url":"https://berkeley.academia.edu/AlexeiYurchak%D0%90%D0%BB%D0%B5%D0%BA%D1%81%D0%B5%D0%B9%D0%AE%D1%80%D1%87%D0%B0%D0%BA?f_ri=1631","photo":"https://0.academia-photos.com/149969/39594/162590101/s65_alexei_yurchak._.jpg"}],"research_interests":[{"id":94,"name":"Discourse Analysis","url":"https://www.academia.edu/Documents/in/Discourse_Analysis?f_ri=1631","nofollow":false},{"id":98,"name":"Semiotics","url":"https://www.academia.edu/Documents/in/Semiotics?f_ri=1631","nofollow":false},{"id":188,"name":"Cultural 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By promoting a more culturally based understanding of French lute music, I try to unveil some of its functions... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_15053825" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">In this project I wish to establish a seventeenth century popular concept focusing on the lute in France between 1650 and 1700. By promoting a more culturally based understanding of French lute music, I try to unveil some of its functions as social phenomena. The argument takes a starting point in Robert Middleton’s popular as presented in his book Studying popular music (1990), together with selected writings by Foucault; and from that I map different cultural groupings within the French society as to unveil how lute music was articulated. Following, I investigate how the construction of musician and music fits into and fulfill the conception of seventeenth century popular music that I propose. This study presents an internally contradictory concept of lute music that participates in dialogues between internal and external, self and other, individual and society.<br /><br />Key words: Popular music; seventeenth century; lute; French society; cultural studies; performance studies.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/15053825" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="827374a0cc51edfb210dd386ef8960a6" rel="nofollow" data-download="{"attachment_id":53298190,"asset_id":15053825,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/53298190/download_file?st=MTczMjc2NzcwNCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="17850095" href="https://agder.academia.edu/RobinRolfhamre">Robin Rolfhamre (PhD)</a><script data-card-contents-for-user="17850095" type="text/json">{"id":17850095,"first_name":"Robin","last_name":"Rolfhamre (PhD)","domain_name":"agder","page_name":"RobinRolfhamre","display_name":"Robin Rolfhamre (PhD)","profile_url":"https://agder.academia.edu/RobinRolfhamre?f_ri=1631","photo":"https://0.academia-photos.com/17850095/4987787/52312869/s65_robin.rolfhamre_phd_.jpg"}</script></span></span></li><li class="js-paper-rank-work_15053825 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="15053825"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 15053825, container: ".js-paper-rank-work_15053825", }); 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$(".js-view-count[data-work-id=15053825]").text(description); $(".js-view-count-work_15053825").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_15053825").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="15053825"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">7</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="687" href="https://www.academia.edu/Documents/in/Musicology">Musicology</a>, <script data-card-contents-for-ri="687" type="text/json">{"id":687,"name":"Musicology","url":"https://www.academia.edu/Documents/in/Musicology?f_ri=1631","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1631" href="https://www.academia.edu/Documents/in/Popular_Music">Popular Music</a>, <script data-card-contents-for-ri="1631" type="text/json">{"id":1631,"name":"Popular Music","url":"https://www.academia.edu/Documents/in/Popular_Music?f_ri=1631","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="14954" href="https://www.academia.edu/Documents/in/Baroque_Music">Baroque Music</a>, <script data-card-contents-for-ri="14954" type="text/json">{"id":14954,"name":"Baroque Music","url":"https://www.academia.edu/Documents/in/Baroque_Music?f_ri=1631","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="17550" href="https://www.academia.edu/Documents/in/Lute">Lute</a><script data-card-contents-for-ri="17550" type="text/json">{"id":17550,"name":"Lute","url":"https://www.academia.edu/Documents/in/Lute?f_ri=1631","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=15053825]'), work: {"id":15053825,"title":"The popular lute: an investigation of the function and performance of music in France between 1650 and 1700 (PhD) University of Agder.","created_at":"2015-08-20T04:28:24.104-07:00","url":"https://www.academia.edu/15053825/The_popular_lute_an_investigation_of_the_function_and_performance_of_music_in_France_between_1650_and_1700_PhD_University_of_Agder?f_ri=1631","dom_id":"work_15053825","summary":"In this project I wish to establish a seventeenth century popular concept focusing on the lute in France between 1650 and 1700. By promoting a more culturally based understanding of French lute music, I try to unveil some of its functions as social phenomena. The argument takes a starting point in Robert Middleton’s popular as presented in his book Studying popular music (1990), together with selected writings by Foucault; and from that I map different cultural groupings within the French society as to unveil how lute music was articulated. Following, I investigate how the construction of musician and music fits into and fulfill the conception of seventeenth century popular music that I propose. This study presents an internally contradictory concept of lute music that participates in dialogues between internal and external, self and other, individual and society.\n\nKey words: Popular music; seventeenth century; lute; French society; cultural studies; performance studies.","downloadable_attachments":[{"id":53298190,"asset_id":15053825,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":17850095,"first_name":"Robin","last_name":"Rolfhamre (PhD)","domain_name":"agder","page_name":"RobinRolfhamre","display_name":"Robin Rolfhamre (PhD)","profile_url":"https://agder.academia.edu/RobinRolfhamre?f_ri=1631","photo":"https://0.academia-photos.com/17850095/4987787/52312869/s65_robin.rolfhamre_phd_.jpg"}],"research_interests":[{"id":687,"name":"Musicology","url":"https://www.academia.edu/Documents/in/Musicology?f_ri=1631","nofollow":false},{"id":1631,"name":"Popular Music","url":"https://www.academia.edu/Documents/in/Popular_Music?f_ri=1631","nofollow":false},{"id":14954,"name":"Baroque Music","url":"https://www.academia.edu/Documents/in/Baroque_Music?f_ri=1631","nofollow":false},{"id":17550,"name":"Lute","url":"https://www.academia.edu/Documents/in/Lute?f_ri=1631","nofollow":false},{"id":19555,"name":"Early Modern France","url":"https://www.academia.edu/Documents/in/Early_Modern_France?f_ri=1631"},{"id":57022,"name":"PhD Thesis","url":"https://www.academia.edu/Documents/in/PhD_Thesis?f_ri=1631"},{"id":64536,"name":"Lute Music","url":"https://www.academia.edu/Documents/in/Lute_Music?f_ri=1631"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_31864699 coauthored" data-work_id="31864699" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/31864699/I_CONGRESSO_INTERNACIONAL_LUS%C3%93FONO_TODAS_AS_ARTES_TODOS_OS_NOMES_Livro_de_Atas">I CONGRESSO INTERNACIONAL LUSÓFONO TODAS AS ARTES | TODOS OS NOMES Livro de Atas</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">O tema geral do Congresso centrou-se nas artes e na criatividade, questionando os processos através dos quais, num mundo cada vez mais global, aberto, diferente e multicultural a criatividade artística é (re)definida, promovida, avaliada... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_31864699" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">O tema geral do Congresso centrou-se nas artes e na criatividade, questionando os processos através dos quais, num mundo cada vez mais global, aberto, diferente e multicultural a criatividade artística é (re)definida, promovida, avaliada e afirmada. Concentrando o debate na relação entre as artes e as sociedades plurais, por um lado, e sobre o lugar e o estatuto atribuído à arte pela nova retórica da agenda criativa e da economia criativa, por outro lado, o Congresso almejou debater criticamente o papel das artes como um pilar do desenvolvimento cultural, sócio-ecológico e socioeconómico, da coesão social e da cidadania ativa, bem como sobre os processos de construção de identidades. Assim, a abordagem incidirá sobre as diversas maneiras através das quais as artes são entrelaçadas com os processos de construção de identidade, a nível individual e coletivo, e sobre o reenquadramento material e simbólico das diferenças sociais, económicas e culturais nas sociedades contemporâneas. Um dos principais objetivos deste Congresso Internacional foi o de promover a colaboração e intercâmbio académico entre os estudiosos das artes, para apoiar a apresentação de novos projetos de pesquisa e oferecer inspiração para o desenvolvimento da sociologia, das ciências sociais e dos estudos culturais de matriz lusófona sobre as artes – e a este nível não poderia ter sido mais positivo, pois representou uma odisseia de oportunidades neste âmbito.<br />A sociologia das artes e da cultura tem conhecido grandes avanços em três domínios. O primeiro é a análise da estruturação dos campos culturais-artísticos; a identificação dos princípios do seu funcionamento autónomo e das relações que mantêm com os restantes campos sociais; e a explicação das formas assumidas pelas diferentes disciplinas, práticas e obras artísticas à luz da estrutura dos campos culturais respetivos (Dabul, 2014, 2016a, 2016b). O segundo domínio é a análise da relação social face à cultura, mostrando como ela varia de acordo, por um lado, com a legitimidade dos bens culturais e, por outro lado, com a condição dos atores sociais (Villas-Bôas, 2011, 2016a, 2016b). O terceiro domínio é a análise das políticas culturais. Mas o progresso nestes domínios contrasta com uma dificuldade recorrente em tratar sociologicamente os conteúdos culturais, artísticos e criativos. E essa dificuldade resulta de uma menor disponibilidade para encará-los plenamente como obras: textos, composições musicais, representações, graffitis, pichações, canções, filmes, esculturas, edifícios, performances, instalações, etc., que têm expressão e reconhecimento artístico nos contextos sociais e institucionais onde adquirem relevância, seja do ponto de vista da criação, seja do ponto de vista da consagração crítica ou patrimonial, seja do ponto de vista da receção. É como se a relação entre a prática e a obra artística, de um lado, e o conjunto das práticas e estruturas sociais, do outro, só pudesse investigar-se sociologicamente pela caraterização dos respetivos públicos, ou dos respetivos autores, instituições e mercados; e, fora disso, ficassem as práticas e obras artísticas reduzidas à condição de efeito (direto ou indireto e, neste caso, através de mediações mais ou menos complexas) das práticas e estruturas sociais (Bueno, 2010 e 2015). Ora, a capacidade de análise sociológica e o seu diálogo com outras abordagens interessadas em tornar inteligível a criação artística ficam muito penalizados com esta redução da obra de cultura à condição de efeito (Rodrigues, 2011; Rodrigues & Oliveira, 2016).</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/31864699" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="1524a48e91b8ce83ee7abaa4612b48cd" rel="nofollow" data-download="{"attachment_id":52153901,"asset_id":31864699,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/52153901/download_file?st=MTczMjc2NzcwNCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="768455" href="https://up-pt.academia.edu/MariadeGuerra">Paula Guerra</a><script data-card-contents-for-user="768455" type="text/json">{"id":768455,"first_name":"Paula","last_name":"Guerra","domain_name":"up-pt","page_name":"MariadeGuerra","display_name":"Paula Guerra","profile_url":"https://up-pt.academia.edu/MariadeGuerra?f_ri=1631","photo":"https://0.academia-photos.com/768455/260290/307545/s65_maria.de_guerra.jpg"}</script></span></span><span class="u-displayInlineBlock InlineList-item-text"> and <span class="u-textDecorationUnderline u-clickable InlineList-item-text js-work-more-authors-31864699">+1</span><div class="hidden js-additional-users-31864699"><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://uff.academia.edu/L%C3%ADgiaDabul">Lígia Dabul</a></span></div></div></span><script>(function(){ var popoverSettings = { el: $('.js-work-more-authors-31864699'), placement: 'bottom', hide_delay: 200, html: true, content: function(){ return $('.js-additional-users-31864699').html(); } } new HoverPopover(popoverSettings); })();</script></li><li class="js-paper-rank-work_31864699 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="31864699"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 31864699, container: ".js-paper-rank-work_31864699", }); });</script></li><li class="js-percentile-work_31864699 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 31864699; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_31864699"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_31864699 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="31864699"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 31864699; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=31864699]").text(description); $(".js-view-count-work_31864699").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_31864699").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="31864699"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">41</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="128" href="https://www.academia.edu/Documents/in/History">History</a>, <script data-card-contents-for-ri="128" type="text/json">{"id":128,"name":"History","url":"https://www.academia.edu/Documents/in/History?f_ri=1631","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="184" href="https://www.academia.edu/Documents/in/Sociology">Sociology</a>, <script data-card-contents-for-ri="184" type="text/json">{"id":184,"name":"Sociology","url":"https://www.academia.edu/Documents/in/Sociology?f_ri=1631","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="188" href="https://www.academia.edu/Documents/in/Cultural_Studies">Cultural Studies</a>, <script data-card-contents-for-ri="188" type="text/json">{"id":188,"name":"Cultural Studies","url":"https://www.academia.edu/Documents/in/Cultural_Studies?f_ri=1631","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="671" href="https://www.academia.edu/Documents/in/Music">Music</a><script data-card-contents-for-ri="671" type="text/json">{"id":671,"name":"Music","url":"https://www.academia.edu/Documents/in/Music?f_ri=1631","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=31864699]'), work: {"id":31864699,"title":"I CONGRESSO INTERNACIONAL LUSÓFONO TODAS AS ARTES | TODOS OS NOMES Livro de Atas","created_at":"2017-03-14T12:01:57.714-07:00","url":"https://www.academia.edu/31864699/I_CONGRESSO_INTERNACIONAL_LUS%C3%93FONO_TODAS_AS_ARTES_TODOS_OS_NOMES_Livro_de_Atas?f_ri=1631","dom_id":"work_31864699","summary":"O tema geral do Congresso centrou-se nas artes e na criatividade, questionando os processos através dos quais, num mundo cada vez mais global, aberto, diferente e multicultural a criatividade artística é (re)definida, promovida, avaliada e afirmada. Concentrando o debate na relação entre as artes e as sociedades plurais, por um lado, e sobre o lugar e o estatuto atribuído à arte pela nova retórica da agenda criativa e da economia criativa, por outro lado, o Congresso almejou debater criticamente o papel das artes como um pilar do desenvolvimento cultural, sócio-ecológico e socioeconómico, da coesão social e da cidadania ativa, bem como sobre os processos de construção de identidades. Assim, a abordagem incidirá sobre as diversas maneiras através das quais as artes são entrelaçadas com os processos de construção de identidade, a nível individual e coletivo, e sobre o reenquadramento material e simbólico das diferenças sociais, económicas e culturais nas sociedades contemporâneas. Um dos principais objetivos deste Congresso Internacional foi o de promover a colaboração e intercâmbio académico entre os estudiosos das artes, para apoiar a apresentação de novos projetos de pesquisa e oferecer inspiração para o desenvolvimento da sociologia, das ciências sociais e dos estudos culturais de matriz lusófona sobre as artes – e a este nível não poderia ter sido mais positivo, pois representou uma odisseia de oportunidades neste âmbito.\nA sociologia das artes e da cultura tem conhecido grandes avanços em três domínios. O primeiro é a análise da estruturação dos campos culturais-artísticos; a identificação dos princípios do seu funcionamento autónomo e das relações que mantêm com os restantes campos sociais; e a explicação das formas assumidas pelas diferentes disciplinas, práticas e obras artísticas à luz da estrutura dos campos culturais respetivos (Dabul, 2014, 2016a, 2016b). O segundo domínio é a análise da relação social face à cultura, mostrando como ela varia de acordo, por um lado, com a legitimidade dos bens culturais e, por outro lado, com a condição dos atores sociais (Villas-Bôas, 2011, 2016a, 2016b). O terceiro domínio é a análise das políticas culturais. Mas o progresso nestes domínios contrasta com uma dificuldade recorrente em tratar sociologicamente os conteúdos culturais, artísticos e criativos. E essa dificuldade resulta de uma menor disponibilidade para encará-los plenamente como obras: textos, composições musicais, representações, graffitis, pichações, canções, filmes, esculturas, edifícios, performances, instalações, etc., que têm expressão e reconhecimento artístico nos contextos sociais e institucionais onde adquirem relevância, seja do ponto de vista da criação, seja do ponto de vista da consagração crítica ou patrimonial, seja do ponto de vista da receção. É como se a relação entre a prática e a obra artística, de um lado, e o conjunto das práticas e estruturas sociais, do outro, só pudesse investigar-se sociologicamente pela caraterização dos respetivos públicos, ou dos respetivos autores, instituições e mercados; e, fora disso, ficassem as práticas e obras artísticas reduzidas à condição de efeito (direto ou indireto e, neste caso, através de mediações mais ou menos complexas) das práticas e estruturas sociais (Bueno, 2010 e 2015). Ora, a capacidade de análise sociológica e o seu diálogo com outras abordagens interessadas em tornar inteligível a criação artística ficam muito penalizados com esta redução da obra de cultura à condição de efeito (Rodrigues, 2011; Rodrigues \u0026 Oliveira, 2016).\n","downloadable_attachments":[{"id":52153901,"asset_id":31864699,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":768455,"first_name":"Paula","last_name":"Guerra","domain_name":"up-pt","page_name":"MariadeGuerra","display_name":"Paula Guerra","profile_url":"https://up-pt.academia.edu/MariadeGuerra?f_ri=1631","photo":"https://0.academia-photos.com/768455/260290/307545/s65_maria.de_guerra.jpg"},{"id":10969474,"first_name":"Lígia","last_name":"Dabul","domain_name":"uff","page_name":"LígiaDabul","display_name":"Lígia 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