By Philippe Le Guern, Hugh Dauncey
The time period 'Popular tune' has commonly denoted various things in France and Britain. In France, the very inspiration of 'popular' track has been fiercely debated and contested, while in Britain and extra principally all through what the French describe because the 'Anglo-saxon' global 'popular track' has been extra comfortably approved as an outline of what humans do as rest or eat as a part of the song undefined, and as anything that teachers are legitimately entitled to check. French researchers have for a few many years been keenly drawn to analyzing British and American reviews of pop culture and renowned tune and feature usually imported key ideas and methodologies into their very own paintings on French tune, yet except the common use of components of 'French conception' in British and American learn, the 'Anglo-saxon' international has remained mostly blind to specific traditions of the learn of well known track in France and particular theoretical debates or organisational rules of the making and eating of French musics. French, British and American examine into renowned tune has therefore coexisted - with huge cross-fertilisation - for a few years, however the boundaries of language and diversified educational traditions have made it tough for French and anglophone researchers to understand absolutely the ways that well known track has constructed of their respective nations and the views on its examine followed via their colleagues. This quantity presents a comparative and contrastive standpoint on well known tune and its examine in France and the united kingdom.
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Extra resources for Stereo: Comparative Perspectives on the Sociological Study of Popular Music in France and Britain
18 Jean-Marie Privat, Chroniques de folklore d’Arnold Van Gennep. Recueil de textes parus dans le Mercure de France 1905–1949 (Paris, 2001). 19 Tournès, New Orleans. 20 Denis-Constant Martin and Olivier Roueff, La France du jazz. Musique, modernité et identité dans la première moitié du xxe siècle (Marseille, 2002). 22 Following the politically engaged work by Carles and Comolli,23 which interpreted free jazz in an international perspective from its origins in the realities of black life in the US, the adoption of free jazz by French musicians was dealt with in several research works which considered the relationship of this mode of musical expression to revolutionary countercultures and the Afro-American community.
It was not a flood of music which rushed into my ears; it was a streaming galaxy of harmonies which entered my head, flooding the inside of my body, all the way to my feet. 62 The key concept for Touché concerned electro-amplification; this notion, directly linked to the arrival of electricity in the world of sound, represented a particularly significant marker in the history of changes in music. The changes in instruments – the movement from acoustic to electric guitars providing the best illustration – did indeed directly affect playing styles and consequently the production of styles and genres, the division of roles and hierarchies within orchestras or groups, the practical conditions for rehearsal and concerts, the means of purchasing or learning instruments, or even the symbolic value of instruments which carried along with them an array of imaginary symbolism.
In this, progressive rock clearly drew conventions and practices from non-popular musical forms: from jazz (as is obvious in Pip Pyle’s career) in terms of virtuosity and improvization; from classical or, rather, contemporary academic or art music, in terms of instrumentation and scoring. And certainly for some progressive rock musicians, ‘progress’ meant moving out of pop/rock into the jazz and/or academic avant-garde worlds. Part of the thinking here (to which I was sensitive as a would-be rock critic) was that to be appreciated, progressive rock needed the right kind of audience.
Stereo: Comparative Perspectives on the Sociological Study of Popular Music in France and Britain by Philippe Le Guern, Hugh Dauncey