Stereo: Comparative Perspectives on the Sociological Study by Philippe Le Guern, Hugh Dauncey

By Philippe Le Guern, Hugh Dauncey

The time period 'Popular song' has normally denoted various things in France and Britain. In France, the very thought of 'popular' tune has been fiercely debated and contested, while in Britain and extra principally all through what the French describe because the 'Anglo-saxon' international 'popular track' has been extra without problems permitted as an outline of what humans do as relaxation or devour as a part of the track undefined, and as whatever that lecturers are legitimately entitled to review. French researchers have for a few a long time been keenly attracted to examining British and American reports of pop culture and renowned song and feature frequently imported key options and methodologies into their very own paintings on French track, yet except the common use of components of 'French thought' in British and American examine, the 'Anglo-saxon' international has remained mostly unaware of specific traditions of the learn of renowned tune in France and particular theoretical debates or organisational ideas of the making and eating of French musics. French, British and American study into renowned track has hence coexisted - with enormous cross-fertilisation - for a few years, however the limitations of language and assorted educational traditions have made it difficult for French and anglophone researchers to understand totally the ways that renowned song has constructed of their respective international locations and the views on its learn followed by way of their colleagues. This quantity offers a comparative and contrastive viewpoint on renowned tune and its research in France and the united kingdom.

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Additional resources for Stereo: Comparative Perspectives on the Sociological Study of Popular Music in France and Britain

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Compared to most 1970s jazz and art musicians, progressive rockers were deliberately humorous and self-mocking, playing with the trappings of stardom and, if not exactly crowd-pleasing, complicit with their audiences in the way their shows were mounted. Think, for example, of such pioneers of progressive rock as Frank Zappa, Soft Machine and Can. In retrospect, then, I think it can be argued that if ‘progressive rock’ was a significant moment in rock history, its effects were felt along divergent historical paths.

For rock fans (and academics) of a certain age (50+) this is not how rock music was initially understood. The word ‘progressive’ has been deployed in various musical genres – progressive country music, progressive jazz, progressive folk. But as a genre label it was most significantly used in rock. The Guardian headlined its obituary of the musician, Pip Pyle (20 September 2006), ‘Innovative drummer at the heart of progressive rock’, and suggested that he ‘encapsulated all that was groundbreaking in British progressive music in the shakeout from the 1960s’.

Thus the first unions for performers were created and, in 1851, the SACEM (Union for Music Writers, Composers, and Producers). In parallel to the success of chanson as the popular genre – confirmed from the mid-nineteenth century by the large scale print runs and sales of music and lyrics of successful songs – the recorded music industry failed to find its mark and become established. Although Charles Cross and Thomas Edison had invented the gramophone in 1877, it reached the general public after 1910, and even then was only available to the wealthy classes, as the cost of acquiring such technologies placed them beyond reach for the middle and working classes.

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