By Jennifer C. Lena
Why do a little song kinds achieve mass reputation whereas others thrive in small niches? Banding Together explores this question and divulges the attributes that jointly clarify the expansion of twentieth-century American well known tune. Drawing on an enormous array of examples from sixty musical styles--ranging from rap and bluegrass to demise steel and South Texas polka, and together with numerous created outdoors the United States--Jennifer Lena uncovers the shared grammar that permits us to appreciate the cultural language and evolution of well known music.
What are the typical financial, organizational, ideological, and aesthetic characteristics between modern genres? Do genres stick to styles of their improvement? Lena discovers 4 dominant forms--Avant-garde, Scene-based, Industry-based, and Traditionalist--and dominant trajectories that describe how American pop tune genres improve. outdoor the U.S. there exists a 5th shape: the Government-purposed style, which she examines within the tune of China, Serbia, Nigeria, and Chile. delivering an extraordinary research of ways track groups function, she appears on the shared stumbling blocks and possibilities inventive humans face and divulges the ways that humans collaborate round rules, works of art, participants, and agencies that aid their work.
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Extra info for Banding Together: How Communities Create Genres in Popular Music
42 Fighting against a shared antagonist often builds solidarity within Scene- based genres. 43 For example, in 2000, the Chicago City Council put new regulations and licensure in place to control rave music dance parties after the press linked the scene to sex, drug use, and danger. 44 Collective complaints or collective action against these threats can bond Scene-based genre participants. In the Chicago case, scene members were unable and unwilling to fight moral and legal regulations, but a similar rave community in Toronto was more successful in defending themselves.
C. declared their identity in lyrics, proclaiming, “No leather suits and no homo boots,” a caricature of disco garb. Instead, they were “tougher than leather,” which was the title of one of the group’s albums, their collective autobiography, and a semibiographical movie made about their lives. The attire of bluegrass musicians in Bill Monroe’s band provided a contrast with the class origins of the style’s musicians and fans. 32 Bebop musicians used their style to draw comparison to other artists, especially French bohemian artists: Dizzy Gillespie, among others, wore a black beret.
76 They are not, however, much akin to the units of consumption as defined by consumers. Instead, my approach assumes that genres are constituted and changed by the choices individuals and organizations make. Thus I examine the evolution of self-defined collectivities. My approach is guided by the simple observation that it is the case not only that fans of bebop in the 1940s differ from contemporary listeners, but also that bebop as a style has changed as well. Although the music nominated by fans in the two periods may be largely the same, and may share a common history and lineage, the social environment in which the genre is organized has been transformed.
Banding Together: How Communities Create Genres in Popular Music by Jennifer C. Lena