Introduksjon. MUS Jazz, pop og rock

Transkript

1 MUS Jazz, pop og rock I Introduksjon Foreleser: Hans T. Zeiner-Henriksen h.t.zeiner-henriksen@imv.uio.no Tlf.: Mob.: Kontor:

2

3

4

5 MUS Jazz, pop og rock Kort om emnet Undervisningen vil gi et overblikk over historiske og analytiske aspekter ved ulike genrer innen jazz, pop og rock. Studentene vil bli presentert for ulike metoder brukt i populærmusikkforskningen. Kurset gir også en introduksjon til akademisk skriving, kilde- og nettbruk. Hva lærer du? Innsikt i sentrale historiske, musikalske og kulturelle aspekter ved jazz, rock og annen vestlig populærmusikk; kunnskap om relevante metoder og begreper for studiet av vestlig populærmusikk. En variert tilnærming til populærmusikkens ulike delområder som: etnografi, sosiologi, musikkvitenskap, og historiske bidrag.

6 Hva er analyse? Finne bestanddeler. Visse bestanddeler er mer interessante enn andre.

7 Hva er analyse innen musikkfaget? Finne bestanddeler / musikalske elementer. Visse elementer er mer interessante enn andre.

8 Hvorfor analysere musikk? *Gi kunnskap om de ulike elementenes funksjon. *Berike musikklytting. *Behjelpe komponering/arrangering. *Forstå kognitive prosesser. *Forstå historiske og kulturelle prosesser.

9 Tradisjonell musikkanalyse (t.o.m. 80-tallet) Notebasert Klassisk musikk Ingen innslag av kulturelle, historiske eller sosiale aspekter. Absoluttmusikk

10 Musikkvitenskap Musikkhistorie Etnomusikkstudier Musikkteori Musikkpsykologi Populærmusikkstudier 2000

11 Musikkanalyse innen jazz, pop, rock Problemstillinger: Hvilke elementer skal analyseres? Hvordan skal de analyseres - metode? Noter? Transkribere? Analysere sound? Tekst? Musikkvideo?

12 MICHAEL JACKSON "Leave Me Alone" I Don't Care What You Talkin' 'Bout Baby I Don't Care What You Say Don't You Come Walkin' Beggin' Back Mama I Don't Care Anyway Time After Time I Gave You All Of My Money No Excuses To Make Ain't No Mountain That I Can't Climb Baby All Is Going My Way ('Cause There's A Time When You're Right) (And You Know You Must Fight) Who's Laughing Baby, Don't You Know (And There's The Choice That We Make) (And This Choice You Will Take) Who's Laughin' Baby So Just Leave Me Alone Leave Me Alone (Leave Me Alone) (Leave Me Alone) Leave Me Alone (Leave Me Alone) (Leave Me Alone) (Leave Me Alone) Leave Me Alone-Stop It! Just Stop Doggin' Me Around (Just Stop Doggin' Me) There Was A Time I Used To Say Girl I Need You But Who Is Sorry Now You Really Hurt, You Used To Take And Deceive Me Now Who Is Sorry Now You Got A Way Of Making Me Feel So Sorry I Found Out Right Away Don't You Come Walkin'- Beggin' I Ain't Lovin' You Don't You Get In My Way 'Cause (There's A Time When You're Right) (And You Know You Must Fight) Who's Laughing Baby-Don't You Know? (And There's The Choice That We Make) (And This Choice You Will Take) Who's Laughin' Baby?

13 Michael Jackson: Leave Me Alone (1987) - musikkvideo fra 1989.

14 MICHAEL JACKSON "Leave Me Alone" I Don't Care What You Talkin' 'Bout Baby I Don't Care What You Say Don't You Come Walkin' Beggin' Back Mama I Don't Care Anyway Time After Time I Gave You All Of My Money No Excuses To Make Ain't No Mountain That I Can't Climb Baby All Is Going My Way ('Cause There's A Time When You're Right) (And You Know You Must Fight) Who's Laughing Baby, Don't You Know (And There's The Choice That We Make) (And This Choice You Will Take) Who's Laughin' Baby So Just Leave Me Alone Leave Me Alone (Leave Me Alone) (Leave Me Alone) Leave Me Alone (Leave Me Alone) (Leave Me Alone) (Leave Me Alone) Leave Me Alone-Stop It! Just Stop Doggin' Me Around (Just Stop Doggin' Me) There Was A Time I Used To Say Girl I Need You But Who Is Sorry Now You Really Hurt, You Used To Take And Deceive Me Now Who Is Sorry Now You Got A Way Of Making Me Feel So Sorry I Found Out Right Away Don't You Come Walkin'- Beggin' I Ain't Lovin' You Don't You Get In My Way 'Cause (There's A Time When You're Right) (And You Know You Must Fight) Who's Laughing Baby-Don't You Know? (And There's The Choice That We Make) (And This Choice You Will Take) Who's Laughin' Baby?

15 Diktanalyse

16 MICHAEL JACKSON "Leave Me Alone" I Don't Care What You Talkin' 'Bout Baby I Don't Care What You Say Don't You Come Walkin' Beggin' Back Mama I Don't Care Anyway Time After Time I Gave You All Of My Money No Excuses To Make Ain't No Mountain That I Can't Climb Baby All Is Going My Way ('Cause There's A Time When You're Right) (And You Know You Must Fight) Who's Laughing Baby, Don't You Know (And There's The Choice That We Make) (And This Choice You Will Take) Who's Laughin' Baby So Just Leave Me Alone Leave Me Alone (Leave Me Alone) (Leave Me Alone) Leave Me Alone (Leave Me Alone) (Leave Me Alone) (Leave Me Alone) Leave Me Alone-Stop It! Just Stop Doggin' Me Around (Just Stop Doggin' Me) There Was A Time I Used To Say Girl I Need You But Who Is Sorry Now You Really Hurt, You Used To Take And Deceive Me Now Who Is Sorry Now You Got A Way Of Making Me Feel So Sorry I Found Out Right Away Don't You Come Walkin'- Beggin' I Ain't Lovin' You Don't You Get In My Way 'Cause (There's A Time When You're Right) (And You Know You Must Fight) Who's Laughing Baby-Don't You Know? (And There's The Choice That We Make) (And This Choice You Will Take) Who's Laughin' Baby?

17

18 Musikalske elementer? Vokal Skarptromme (2 og 4) Fraseinndeling

19 Analyse av musikk? Form Melodi Rytmikk Sound Stemme Harmoni Tekst Historisk forankring Stilistisk forankring Kommunikasjon Estetiske perspektiver Identitet Tekniske aspekter Rituelle verdier Erotiske verdier Kjønnsverdier Sosiale verdier

20 Musikkvitenskap Etnomusikk Musikkhistorie Musikkteori Musikkpsykologi Populærmusikkstudier 2000

21 Populærmusikkstudier Populærmusikkvitenskap Kulturstudier Mediestudier

22 Tim Wall (2003): «Studying Popular Music Culture. Studying the Media»

23 Tim Wall (2003):«Studying Popular Music Culture» - side 28: «Simon Frith has characterised the music of the African- American tradition by highlighting its emphasis on performance, its immediate emotional impact on the listener, its spontaneous, often improvised, qualities, and its dual expressiveness through vocal sounds and its rhythmic properties (Frith 1983, 15-23). Other writers have noted the greater emphasis on certain musical qualities like call and response, syncopation, and the use of blue notes. As indicated earlier, such claims have been criticised as essentialist (see Negus 1996, and Longhurst 1995, for a summary). It is also difficult for modern listeners to hear any of these qualities as distinctive to black musicians because the African-American tradition has been so influential on the general development of popular music.»

24 Tim Wall (2003):«Studying Popular Music Culture» - side 28: «Simon Frith has characterised the music of the African- American tradition by highlighting its emphasis on performance, its immediate emotional impact on the listener, its spontaneous, often improvised, qualities, and its dual expressiveness through vocal sounds and its rhythmic properties (Frith 1983, 15-23). Other writers have noted the greater emphasis on certain musical qualities like call and response, syncopation, and the use of blue notes. As indicated earlier, such claims have been criticised as essentialist (see Negus 1996, and Longhurst 1995, for a summary). It is also difficult for modern listeners to hear any of these qualities as distinctive to black musicians because the African-American tradition has been so influential on the general development of popular music.»

25 Tim Wall (2003):«Studying Popular Music Culture» - side 28: «Simon Frith has characterised the music of the African- American tradition by highlighting its emphasis on performance, its immediate emotional impact on the listener, its spontaneous, often improvised, qualities, and its dual expressiveness through vocal sounds and its rhythmic properties (Frith 1983, 15-23). Other writers have noted the greater emphasis on certain musical qualities like call and response, syncopation, and the use of blue notes. As indicated earlier, such claims have been criticised as essentialist (see Negus 1996, and Longhurst 1995, for a summary). It is also difficult for modern listeners to hear any of these qualities as distinctive to black musicians because the African-American tradition has been so influential on the general development of popular music.»

26 Tim Wall (2003):«Studying Popular Music Culture» - side 28: «Simon Frith has characterised the music of the African- American tradition by highlighting its emphasis on performance, its immediate emotional impact on the listener, its spontaneous, often improvised, qualities, and its dual expressiveness through vocal sounds and its rhythmic properties (Frith 1983, 15-23). Other writers have noted the greater emphasis on certain musical qualities like call and response, syncopation, and the use of blue notes. As indicated earlier, such claims have been criticised as essentialist (see Negus 1996, and Longhurst 1995, for a summary). It is also difficult for modern listeners to hear any of these qualities as distinctive to black musicians because the African-American tradition has been so influential on the general development of popular music.»

27 Tim Wall (2003):«Studying Popular Music Culture» - side 28: «Simon Frith has characterised the music of the African- American tradition by highlighting its emphasis on performance, its immediate emotional impact on the listener, its spontaneous, often improvised, qualities, and its dual expressiveness through vocal sounds and its rhythmic properties (Frith 1983, 15-23). Other writers have noted the greater emphasis on certain musical qualities like call and response, syncopation, and the use of blue notes. As indicated earlier, such claims have been criticised as essentialist (see Negus 1996, and Longhurst 1995, for a summary). It is also difficult for modern listeners to hear any of these qualities as distinctive to black musicians because the African-American tradition has been so influential on the general development of popular music.»

28 Tim Wall (2003):«Studying Popular Music Culture» - side 28: «Simon Frith has characterised the music of the African- American tradition by highlighting its emphasis on performance, its immediate emotional impact on the listener, its spontaneous, often improvised, qualities, and its dual expressiveness through vocal sounds and its rhythmic properties (Frith 1983, 15-23). Other writers have noted the greater emphasis on certain musical qualities like call and response, syncopation, and the use of blue notes. As indicated earlier, such claims have been criticised as essentialist (see Negus 1996, and Longhurst 1995, for a summary). It is also difficult for modern listeners to hear any of these qualities as distinctive to black musicians because the African-American tradition has been so influential on the general development of popular music.»

29 Tim Wall (2003):«Studying Popular Music Culture» - side 28: «Simon Frith has characterised the music of the African- American tradition by highlighting its emphasis on performance, its immediate emotional impact on the listener, its spontaneous, often improvised, qualities, and its dual expressiveness through vocal sounds and its rhythmic properties (Frith 1983, 15-23). Other writers have noted the greater emphasis on certain musical qualities like call and response, syncopation, and the use of blue notes. As indicated earlier, such claims have been criticised as essentialist (see Negus 1996, and Longhurst 1995, for a summary). It is also difficult for modern listeners to hear any of these qualities as distinctive to black musicians because the African-American tradition has been so influential on the general development of popular music.»

30 Tim Wall (2003):«Studying Popular Music Culture» - side 28: «Simon Frith has characterised the music of the African- American tradition by highlighting its emphasis on performance, its immediate emotional impact on the listener, its spontaneous, often improvised, qualities, and its dual expressiveness through vocal sounds and its rhythmic properties (Frith 1983, 15-23). Other writers have noted the greater emphasis on certain musical qualities like call and response, syncopation, and the use of blue notes. As indicated earlier, such claims have been criticised as essentialist (see Negus 1996, and Longhurst 1995, for a summary). It is also difficult for modern listeners to hear any of these qualities as distinctive to black musicians because the African-American tradition has been so influential on the general development of popular music.»

31 Tim Wall (2003): «Studying Popular Music Culture. Studying the Media»

32 1. Histories 2. Industries and Institutions 3. Form, Meaning and Representation 4. Audiences 5. Case studies and Conclusions

33 1. Historie 2. Musikkindustri og mediainstitusjoner 3. Form, Mening og Representasjon 4. Publikum og konsum

34 Definitions and approaches Definisjoner og tilnærmingsmåter Approaches: Hvordan vi nærmer oss et forskningsobjekt = hvordan vi studerer et materiale.

35 Definisjoner Populærmusikk Pop Rock Jazz

36 KULTURSTUDIER POPULÆR: (Williams 1976) 1. Likt av mange 2. Lav kulturell verdi - assosiert med lav utdannelse. 3. Tilhører «vanlige folk» og uttrykker deres interesser og bekymringer. Raymond Williams ( )

37 POPULÆRMUSIKK: 1. Likt av mange?? - selger mest. 2. Lav kulturell verdi - assosiert med lav utdannelse?? - lett å like, enkel (mindre kompleks). 3. Tilhører «vanlige folk» og uttrykker deres interesser - og bekymringer?? - identitetsskaper for store grupper i befolkningen.

38 POPULÆRMUSIKK: 1. Favner også musikk som ikke selger mye. 2. Kompleks lydbearbeiding, rytmiske sammensetninger og produksjonsteknikker. 3. Identitetsskaper også for små grupper.

39 POPULÆRMUSIKK: Ikke klassisk Ikke folkemusikk Jazz??

40 Wall: Popular music culture is used to mean: - a set of ways of making, consuming and thinking about music. - the economic and technological practices ordered by those ways of doing and thinking. - the sounds and images created by those practices.

41 a set of ways of et sett av måter å making music lage musikk consuming music konsumere musikk thinking about music tenke om musikk

42 a set of ways of making music komponere/produsere consuming music bruk/forbruk thinking about music refleksjon/tenkning

43 - the economic and technological practices ordered by those ways of doing and thinking Økonomi: Musikkindustri - store og små plateselskaper, distribusjon, kjøp og salg Teknologi: Utvikling av utstyr relatert til produksjon og distribusjon (fra instrumenter til ipods, musikkvideo, cd-plater og mp3-filer)

44 the sounds and images created by those practices

45 Hvordan studere populærmusikkfeltet? Studere fakta og eksisterende teorier. Bruke teoriene til å utvikle verktøy for å analysere tekster og kulturelle praksiser. Anvende teoriene til å forstå fakta og bruke fakta til å teste teoriene. Utvikle egne ideer/teorier.

46 Keir Keightley Kap. 5.: Reconsidering rock. I Frith, Straw & Street (red.) The Cambridge Companion to Pop and Rock. s Cambridge University Press

47 Keir Keightley Kap. 5.: Reconsidering rock. Rock n roll and its pre-history The in-between years and the British Invasion Folk versus mass society in the USA Youth Stratification Authenticity Conclusion

48 Forestillingen om hva som er rock: dannes av: historiske sammenhenger publikum musikk-kritikeres diskurser musikkindustrielle praksiser

49 Rock

50 Pop

51 This article attempts to map out a number of rock music culture s dominant features as they emerge, develop and change over time. Mål: Kartlegge flere av rockekulturens dominerende kjennetegn slik de oppstår, utvikles og endres over tid.

52 The first part of this chapter offers a critical survey of the three decades leading into the emergence of rock in the mid-1960s.

53 Keir Keightley Kap. 5.: Reconsidering rock. Rock n roll and its pre-history The in-between years and the British Invasion Folk versus mass society in the USA Youth Stratification Authenticity Conclusion

54 Keir Keightley Kap. 5.: Reconsidering rock. Rock n roll and its pre-history The in-between years and the British Invasion Folk versus mass society in the USA Youth Stratification Authenticity Conclusion

55 Benny Goodman

56 Guy Lombardo

57 Et voksent publikum: Frank Sinatra Ella Fitzgerald Et tenåringspublikum: Bill Haley & his Comets

58 LP (33) versus singler (45)

59

60 Keir Keightley Kap. 5.: Reconsidering rock. Rock n roll and its pre-history The in-between years and the British Invasion Folk versus mass society in the USA Youth Stratification Authenticity Conclusion

61 Keir Keightley Kap. 5.: Reconsidering rock. Rock n roll and its pre-history The in-between years and the British Invasion Folk versus mass society in the USA Youth Stratification Authenticity Conclusion

62 Keir Keightley Kap. 5.: Reconsidering rock. Rock n roll and its pre-history The in-between years and the British Invasion Folk versus mass society in the USA Youth Stratification Authenticity Conclusion

63 Newport Folk Festival 1963

64 Newport Folk Festival 1965

65 Newport Folk Festival 1965

66 Keir Keightley Kap. 5.: Reconsidering rock. Rock n roll and its pre-history The in-between years and the British Invasion Folk versus mass society in the USA Youth Stratification Authenticity Conclusion

67 Rock s constitutive paradox it is a massively popular anti-mass music (...) to criticise some performers as sell-outs even as respected rock stars sold in the millions. to conceive of itself as an underground cult even as rock became the dominant force within the music industry by the 1970s.

68 Keir Keightley Kap. 5.: Reconsidering rock. Rock n roll and its pre-history The in-between years and the British Invasion Folk versus mass society in the USA Youth Stratification Authenticity Conclusion

69 Pop; that area of popular music said to be marked by ethical compromise and capitulation.

70 Keir Keightley Kap. 5.: Reconsidering rock. Rock n roll and its pre-history The in-between years and the British Invasion Folk versus mass society in the USA Youth Stratification Authenticity Conclusion

71 Authenticity the compass that orients rock culture in its navigation of the mainstream.

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

73 Keir Keightley Kap. 5.: Reconsidering rock. Rock n roll and its pre-history The in-between years and the British Invasion Folk versus mass society in the USA Youth Stratification Authenticity Conclusion

74 Rock n er skapt innenfor et mainstream, kommersielt musikkfelt og opererer innenfor dette feltet til å videreføre ideologier om autentisitet fra tidligere epoker i kulturhistorien som skaper lagdelinger/ hierarkier innenfor populærmusikkfeltet.

75