Understanding Popular Music

Shuker, Roy

doi:10.4324/9780203478806

Cited by 81 publications

(58 citation statements)

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“…Pored toga, bilo je neophodno istražiti ulogu popularne muzike u procesu socijalizacije, kao i to kako se njeni proizvodi koriste u otporu dominantnim oblicima kulture, o čemu su pisali pojedini autori (Kotarba i Vannini 2009;Burton 2005;Shuker 2001;Wall 2003;Grossberg 1992;Fisk 2001;Hebdige 2002). Prema mišljenju navedenih autora, popularna muzika je naročito uticala na adolescente i preadolescente u fazi konstruisanja identiteta, te su fokus istraživanja stavili na ovu društvenu skupinu.…”

Section: Popularna Muzika U Naučnim Krugovimamultiperspektivistički Punclassified

“…Zbog skupe promocije nepoznatih izvođača, velike muzičke kompanije radije ulažu sredstva u pjesme muzičkih zvijezda koje imaju već formiran imidž i popularnost. Međutim, ako se ispostavi da je djelo potencijali hit, umjetnik djelimično proslavljen na nacionalnom nivou, a troškovi produkcije manji (obično je tako u manje razvijenim zemljama), globalne muzičke korporacije prihvataju alternativne muzičke proizvode i promovišu ih (Shuker, 2001), jer imaju garanciju da će zadovoljiti potražnju za novitetima i donijeti zaradu.…”

Section: Popularna Muzika U Naučnim Krugovimamultiperspektivistički Punclassified

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'Deconstruction' of Gangnam style: Multiple layers of action and provisions of globalization of the popular culture phenomenon

Janjetović¹

2013

CM - Commun manag

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Section: Popularna Muzika U Naučnim Krugovimamultiperspektivistički Punclassified

'Deconstruction' of Gangnam style: Multiple layers of action and provisions of globalization of the popular culture phenomenon

Janjetović¹

2013

CM - Commun manag

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“…Media critics are traditionally important gatekeepers in the field of culture and thus in the field of popular music, since their selections and evaluations impact what and how audiences perceive the supply (Debenedetti, 2006;Frith, 1996;Shuker, 2001). Particularly institutionally embedded critics can exert strong influence on cultural legitimation processes by determining and executing the aesthetic criteria through which artists are evaluated .…”

Section: Media Attention and Geography In The Digital Agementioning

confidence: 99%

“…Three consequences of this digitalization are the impetus for this article: 1) increased competition by user-generated content for institutionally produced content, 2) the rise of social media as tools for self promotion, and 3) the decreasing relevance of geographical origin. Institutional music critics, that is, critics who regularly write for media outlets that are professionally organized or follow conventions of the music press, are traditionally considered important gatekeepers influencing consumer taste (Jones, 2002;Schmutz, Van Venrooij, Janssen, & Verboord, 2010;Shuker, 2001). Yet the music press is facing turbulent times as the internet enabled millions of fans, wannabe critics, and other lay persons to share their opinions online (user-generated content).…”

Section: Introductionmentioning

confidence: 99%

“…Institutional music critics, that is, critics who regularly write for media outlets that are professionally organized or follow conventions of the music press, are traditionally considered important gatekeepers influencing consumer taste (Jones, 2002;Schmutz, Van Venrooij, Janssen, & Verboord, 2010;Shuker, 2001). Yet the music press is facing turbulent times as the internet enabled millions of fans, wannabe critics, and other lay persons to share their opinions online (user-generated content).…”

Section: Introductionmentioning

confidence: 99%

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The online place of popular music: Exploring the impact of geography and social media on pop artists’ mainstream media attention

Verboord

Noord

2016

Popular Communication

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Many authors have pointed to the internet's potential to increase connectivity across the world, which would imply an equalizing effect, yet few researchers have examined this. At the same time, the increasing usage of social media by popular culture celebrities for self-promotion has been signaled. We study the extent to which social media can reduce inequalities in mainstream media attention between artists from central cities in popular music production (e.g., New York, London) versus more peripheral cities. We distinguish between media attention by institutionally embedded music critics and lay users on the internet. The results show that artists coming from more central cities have higher chances to get attention in mainstream media-both by institutional critics and lay users-than artists from peripheral cities. Building a fan base on social media such as Facebook, Twitter, or MySpace can compensate for some of this inequality, but not for all of it. IntroductionRock 'n roll, and popular music in general, have traditionally been associated strongly with cities as loci of where new music is conceived, as is exemplified by the title of one of the earliest-and now classichistories of rock music: "The Sound of the City" (Gillett, 1970). Since then, scholars have shown how places matter in bringing together people (e.g., Connell & Gibson, 2003, 90ff;Lena, 2012), sounds and styles (Phillips, 2011), and businesses (Negus, 1992;Scott, 2000) to produce both artistically innovative and commercially viable music. However, the increasing popularity of the internet in the past decades has diminished the importance of geographical positioning. Or has it? A large body of authors has pointed to the internet's potential to increase connectivity across the world which would imply an equalizing effect (e.g., Anderson, 2006;Connell & Gibson, 2003), yet few authors have examined this. This article aims to study the extent to which various, different internet-based media 1 help reducing inequality between artists from central locations in popular music production versus more peripheral locations. More concretely, we examine how differences in mainstream media attention (both by institutional music critics and lay users) compare to pop artists' usage of social media (Facebook, MySpace, Twitter), and how this differs for artists of different geographical origin.It is evident that digitalization processes changed the structure and organization of the field of popular music significantly (e.g., Hesmondhalgh, 2012;Leyshon, 2009). The internet and especially social media platforms have made it easier to produce, disseminate, and consume popular music from all over the world (Baym & Ledbetter, 2009). This has led Wikström (2009, p. 10) to conclude that the current music industry is "characterized by high connectivity and little control; music is provided as a For the sake of readability we will also use the term "the internet" when we refer to internet-based media. However, we are aware that it is debatable whether the internet can b...

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Questions of Method in Cultural Studies

White¹,

Schwoch²

2006

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Understanding Popular Music

Cited by 81 publications

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'Deconstruction' of Gangnam style: Multiple layers of action and provisions of globalization of the popular culture phenomenon

'Deconstruction' of Gangnam style: Multiple layers of action and provisions of globalization of the popular culture phenomenon

The online place of popular music: Exploring the impact of geography and social media on pop artists’ mainstream media attention

Questions of Method in Cultural Studies

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