Dear Martha, and Stefanie,
The description of popular music as ³mass media music² made sense in 1982,
in the early phase of popular music studies (and of Iaspm), also as a
political statement: it highlighted the exclusion by academic institutions
of the music of contemporary mass media, i.e. the vast majority of music
made and listened to in the world, then, in the 1980s. I¹m sure Philip Tagg
didn¹t intend to give such a ³definition² of popular music: if one reads his
early publications (see Kojak, for example), much more subtle and complex
arguments can be found.
Anyway, it is true (and I¹m sure Philip would subscribe to that) that music
publishing is and has been a mass medium, since the early decades of the
Nineteenth century.
On the other hand, I find that a very convincing discussion of the origins
and development of the concept of popular music can be found in the writings
of Matthew Gelbart and Derek B. Scott, where popular music is seen as the
³third type² of music emerging as a vast semantic residual space created by
the inventions of concepts such as ³folk music² and ³art music², between mid
Eighteenth century and mid Nineteenth century. The waltz, French chanson,
fado, Neapolitan song (the first annual contest for best song was created in
Naples in 1839: the winning song in the first edition sold 150,000 music
sheets), the minstrel show, café chantant and music hall, flamenco (as a
form of entertainment in café cantantes, as opposed to earlier cante jondo),
operetta, comic opera, etc., as well as all the Latin American/Caribbean
genres Martha is studying, were all ³popular² long before the invention of
the phonograph. So, I don¹t think we have to stretch or adapt our definition
of popular music to allow us to study Nineteenth century music: if a
definition of the ³popular² doesn¹t include Nineteenth century popular
music, it is simply ideological and wrong.
All best,
Franco
--
Franco Fabbri
Via Guerrini, 13
20133 MILANO
tel. (+39)-02-2664145
e-mail: prof.fabbri@xxxxxxxxx
http://www.francofabbri.net/
https://hud.academia.edu/FrancoFabbri
Visiting Professor, Department of Music and Drama
University of Huddersfield
Co-founder and co-editor, Routledge Global Popular Music Series
https://www.routledge.com/Routledge-Global-Popular-Music-Series/book-series/
RGPMS
"Ogne canzone tene 'o riturnello
ca è comm fosse o pierno 'e ogni canzone,
e ca pe ttanto è cchiù azzeccuso e bello
pe quanto cchiù se ntreccia 'e spressione."
Salvatore Di Giacomo (1860-1934), Canzone a Chiarastella, 1912.
Da: Martha Tupinambá de Ulhoa <mulhoa@xxxxxxxxx>
Risposta: <iaspm_19c@xxxxxxxxxxxxx>
Data: Sat, 14 Jul 2018 12:05:04 -0300
A: <iaspm_19c@xxxxxxxxxxxxx>
Oggetto: [iaspm_19c] Re: AW: Re: IASPM International 2019 Canberra
Hi Stef - how about "Turns and revolutions - the 19th century salon music²?
In that case we don¹t restrain ourselves to the Caribbean or Latin America
When we think of "popular" music (yes, with lots of comas), we realize that
the concept of "mass media music" as discussed by Philip Tagg in his 1982
letter to the new born interdisciplinary and international
association, titled "Why IASPM?" does not fully apply. On the other hand, it
is quite evident that the transits of music, independent of social group,
were very fast, and occurred abundantly as there were travels and trades
amongst continents. When dealing with musical practices of the past
centuries there is a difficulty however. As music is evanescent we must deal
only with its feeble traces left in paper or drawings, such as scores,
literary accounts or written sources from those times. Thus, the existent
remnants document only what was usually relevant to the minority of the
population who could read. In the 19th century, as exposed by what appeared
in newspapers, there was a steady production of scores with ³popular² songs
and dances (several of them adaptations or variations of well known tunes,
some of them from opera hits), the advertisement of pianos and other
instruments, as well as offering of music and dance classes by ³prestigious²
masters (at the time mostly French). In that way we are already talking
about the industrialized society mentioned by Tagg, only in its early media
stages, with written scores being joined by recorded music as the new
technology was implanted in the long 19th century.
My intention is to talk about the waltz as a kind of women's "sentimental
education", dealing with what I am finding in the second quarter 19th
century newspapers. Sentimental education because exactly the time Flaubert
was writing about the emergence of the literary field in France. Especially
women because it is amazing how what was written by male chroniclers seems
to be intent as an educative and coercive alert to female behavior.
Cheers, Mt
Martha Tupinambá de Ulhôa
PPGM - UNIRIO
+55 21 2287-3775 / celular/WhatsApp: +55 21 99993-3775
http://lattes.cnpq.br/5378800627543781
https://unirio.academia.edu/MarthaUlhoa/Papers
2018-06-25 15:45 GMT-03:00 Stefanie Alisch
<stefanie.alisch@xxxxxxxxxxxxxxxx>:
Dear Martha,
Thanks for your enthusiastic feedback. Yes, the territory is wide open and
trans-regional exchanges should certainly be part of what we can discuss.
Maybe this tendency to include 20th century concepts leads to a title like
"long 19th century"? Not sure though....
What else happened at the 19th century symposium in San Juan? Maybe we can
take up some of the thoughts developed there...?
All the best,
*st
________________________________________
Von: iaspm_19c-bounce@xxxxxxxxxxxxx <iaspm_19c-bounce@xxxxxxxxxxxxx> im
Auftrag von Martha Tupinambá de Ulhoa <mulhoa@xxxxxxxxx>
Gesendet: Montag, 25. Juni 2018 17:50:03
An: iaspm_19c@xxxxxxxxxxxxx
Betreff: [iaspm_19c] Re: IASPM International 2019 Canberra
Great Stef, great the word play with "turns and revolutions"!
I am certainly in... Maybe more than Caribe? I just came from San Juan-Puerto
Rico, where we had the XIII IASPM-AL. We had a simposium on 19th century
"popular" (with lots of comas, what didn't prevent people -- not presenters,
but in the audience -- to try to talk about "massification", and other 20th
century concepts to discuss what was goin on in Rio de Janeiro or Chile at the
time) and once more I confirmed that we should think Atlantic transits -
including Africa - Europe (with a center in Paris, even when talking about the
waltz, for instance) and the Americas.
There was/is certainly a Caribean circuit - but I would ask the territory to
be amplified.
Cheers, Mt
Martha Tupinambá de Ulhôa
PPGM - UNIRIO
+55 21 2287-3775 / celular/WhatsApp: +55 21 99993-3775
http://lattes.cnpq.br/5378800627543781
https://unirio.academia.edu/MarthaUlhoa/Papers
2018-06-22 19:59 GMT-03:00 Stefanie Alisch
<stefanie.alisch@xxxxxxxxxxxxxxxx<mailto:stefanie.alisch@xxxxxxxxxxxxxxxx>>:
Dear all,
hope this finds you all in good spirit. Is it just me or does it feel a bit
quiet around here?
As the call for the 2019 IASPM International is currently open
http://iaspm.org.au/cfp-iaspm-biennial-conference-2019-canberra/
how about we seize the opportunity and put together a panel or a panel series
on 19th century popular music?
With my own research on mazurka in the Atlantic realm in mind I was thinking
in the direction of19th century popular dance music in the Caribbean. Thinking
"turns and revolutions": maybe media transitions from score to recorded
music...? This is just a starting point.... What are your thoughts?
All the best,
Stef
________________________________
(Pt-BR) Antes de imprimir, pense pense em seu compromisso com o Meio Ambiente.
Nós preservamos o Meio Ambiente! E você? A UNIRIO não envia e-mails que
solicitem senhas, dados bancários, informações pessoais, cadastramento ou
recadastramento em sistemas. Cuidado, tais solicitações são fraudulentas. Caso
você receba alguma mensagem desse tipo, não abra os arquivos anexos, não
acione os links nela indicados e não siga nenhuma instrução. Também não
preencha formulários ou envie qualquer tipo de informação. Esta mensagem pode
conter informação confidencial ou privilegiada, sendo seu sigilo protegido por
lei. Se você não for o destinatário ou a pessoa autorizada a receber esta
mensagem, não pode usar, copiar ou divulgar as informações nela contidas ou
tomar qualquer ação baseada nessas informações. Se você recebeu esta mensagem
por engano, por favor, avise imediatamente ao remetente, respondendo o e-mail
e em seguida apague-a. Agradecemos sua cooperação.
(EN) Before printing, think about your commitment to the environment. We
preserve the environment! And you? UNIRIO does not send emails requesting
passwords, banking information, personal information, registration or
re-registration systems. Care, such requests are fraudulent. If you receive
such a message, do not open any attachments, do not activate the links
contained therein and not follow any instructions. Nor fill forms or submit
any information. This message may contain confidential or privileged
information and its confidentiality is protected by law. If you are not the
addressed or authorized person to receive this message, you must not use,
copy, disclose or take any action based on it or any information herein. If
you have received this message by mistake, please advise the sender
immediately by replying the e-mail and then deleting it. Thank you for your
cooperation.
