Popular Music Nostalgia

Dauncey, Hugh; Tinker, Chris

doi:10.4000/volume.4202

Cited by 3 publications

(3 citation statements)

References 17 publications

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“…These two fields of research, nostalgia and popular music memory, are closely related. A range of studies have framed the return of popular music pasts in nostalgic terms (Dauncey and Tinker, 2014; Hayes, 2006; Mortensen and Madsen, 2015; Van Der Hoeven, 2018). There are a number of reasons why nostalgia offers a particularly productive framework for thinking about popular music memory.…”

Section: Memories Of Joy Nostalgia and Popular Musicmentioning

confidence: 99%

Repeating beats: The return of rave, memories of joy and nostalgia between the afterglow and the hangover

Davidson

2022

Memory Studies

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The British rave scene of the late 1980s and early 1990s is widely remembered as a moment of elation and bliss. Contemporary cultural representations position the Second Summer of Love of 1989 – when thousands of young people attended illegal parties, experienced the hypnotic beats of house music and had their first brush with the drug ecstasy – as an object of nostalgia. I argue that rave nostalgia is suspended between two dispositions: the afterglow and the hangover. Whereas the former involves happiness, reversibility and continuity, the latter is defined by melancholia, irreversibility and discontinuity. On this basis, I consider two texts that creatively combine these dispositions in their evocation of rave: the music video for The Streets’s ‘Weak Become Heroes’ and Jeremy Deller’s documentary Everybody in the Place. Finally, I assess how the euphoria associated with rave nostalgia helps to augment and advance the recent turn to joy in memory studies.

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Section: Memories Of Joy Nostalgia and Popular Musicmentioning

confidence: 99%

Repeating beats: The return of rave, memories of joy and nostalgia between the afterglow and the hangover

Davidson

2022

Memory Studies

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“…The role of music is paramount to the nostalgic desire the Hotel relies on and drives. Music, and popular music in particular, is recognised as sharing a complex and powerful relationship with nostalgic modes (for a summary see Dauncey and Tinker, 2017). Indeed, music serves in the Hotel as the means by which and about which the visitor's retrospective activity is often focused.…”

Section: Cultural Storiesmentioning

confidence: 99%

Soundings Documentary film and the listening experience

2018

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SOUNDINGSchirruping sparrows can transport me back, as if through some mysterious portal, to my childhood bedroom in East London where I fell asleep and awoke to those sounds.The room itself and the very feeling of being there, and listening, is evoked. Delia Derbyshire has described how the sound of air-raid sirens during Coventry's wartime Blitz in her childhood engendered her 'love for abstract sounds', as did the 'percussive sound' of millworkers' 'clogs on cobbles' going to work at six o'clock in the morning in her later childhood home of Preston (Cavanagh, 1998). Listening is an intense, inner experience that can have lifelong resonances since 'there is nothing to stop' sound's 'penetrating enveloping presence from overpowering' (Rangan, 2017, p. 284); it has no bounding frame like the image, containing, defining and controlling it, and so is freer to generate deep affects that we have little voluntary control over. It is such a freedom that lies at the heart of the writing in this collection and its concern with the enveloping presence of sound in the context of documentary film. The photograph can show us things, even bring emotive responses but as all of the authors here show, sound's affectiveness can be deployed to generate deeper meanings beyond those provided by the frame of moving pictures. This tendency of sound to break the frame makes it ambiguous and ephemeral.We talk of the 'soundscape', yet unlike its sister landscape, its content and especially its edges are far more blurred and ultimately, indefinable, even unknowable. Sound emanates from objects that in general, we can see, at least in one's mind's eye, but as Steven Connor suggests, the actual attachment of sound we make to those objects is dependent on whatever other thing is acting on them. There is in a sense, no sound of the object itself (2004, pp. 161 -2). Anyone who has ever tried to record the sound of the wind will know that it appears to have no clear character or even sound unless it is blowing through something, such as the wires of a telephone line. We may not even make any attachment of sound to object. As Delia Derbyshire explains of the air-raid sirens, she did not know the source or meaning of their sound as a young child. Their power was both abstracted and metaphorical, like music, and this explains how they had such a profound effect on Derbyshire's future career as a composer of electronic and concrete music. Further, citing Lucy Donaldson, Simon Connor writes in this collection that unlike vision, in such listening, sound also 'makes a vital contribution to the evocation of other senses, for example, the sound of wind rustling leaves invites the feel of air on our skin, or the sizzle of food cooking conjures taste' (Simon Connor, 2018, p. 91). Sound seems to almost 'touch' us and then explode a multitude of responses, its sensual effect at once beguiling and unsettling. Compared 'increased interest in perception, embodiment and the senses ' (2010, p. 6). They do so in a variety of ways: by interpreting their own liste...

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“…Dans cette perspective, C. Chastagner interroge ainsi le rôle de l'identification ethno-raciale et de « l'évidente hybridité de ces musiques […] dans leur expansion extra-communautaire » (140-141). À l'instar des narcocorridos et comme le montrent les analyses de nombreuses musiques populaires (Dauncey et Tinker, 2014), l'identification du zydeco à une vision nostalgique de la ruralité participe largement de son succès. Dans le cadre d'une commercialisation qui caractérise aussi la country music (Reish, 2017) et comme l'ont bien montré les travaux sur la musique franco-louisianaise (Le Menestrel, 2015), l'association au passé rural et à ses pratiques, notamment la danse dans un espace d'interconnaissance communautaire, lui confère en effet un caractère authentique.…”

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Compte-rendu : Claude Chastagner, Des barrios aux bayous. Musique populaire et identités aux États-Unis

Bocquier¹

2022

transatlantica

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Les musiques mexicaines-américaines, du rock chicano des années 1950 et 1960 aux formes les plus récentes et les plus radicales de narcocorridos, en passant par la pop tejano ; le bhangra des communautés indo-pakistanaises ; la musique 'française' du sudouest de la Louisiane […] et enfin les différentes danses, dont la polka, apportées par l'immigration slave, germanique et scandinave » (17). L'ouvrage de Claude Chastagner s'écarte des musiques populaires bien analysées de ce côté-ci de l'Atlantique (jazz, blues, rock, etc.) pour étudier les relations entretenues par des communautés ethniques d'origine non-anglophone à ces pratiques musicales. Il s'attache à comprendre les processus d'appropriation et d'identification à l'oeuvre dans le succès de ces musiques au-delà des groupes sociaux auxquels elles sont associées aux États-Unis.

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Popular Music Nostalgia

Cited by 3 publications

References 17 publications

Repeating beats: The return of rave, memories of joy and nostalgia between the afterglow and the hangover

Repeating beats: The return of rave, memories of joy and nostalgia between the afterglow and the hangover

Soundings Documentary film and the listening experience

Compte-rendu : Claude Chastagner, Des barrios aux bayous. Musique populaire et identités aux États-Unis

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