By Philippe Le Guern, Hugh Dauncey
The time period 'Popular tune' has regularly denoted various things in France and Britain. In France, the very notion of 'popular' tune has been fiercely debated and contested, while in Britain and extra mostly all through what the French describe because the 'Anglo-saxon' global 'popular song' has been extra without problems authorized as an outline of what humans do as rest or eat as a part of the song undefined, and as anything that teachers are legitimately entitled to review. French researchers have for a few many years been keenly drawn to interpreting British and American reports of pop culture and well known song and feature usually imported key strategies and methodologies into their very own paintings on French song, yet except the frequent use of parts of 'French idea' in British and American learn, the 'Anglo-saxon' global has remained mostly unaware of specific traditions of the learn of renowned song in France and particular theoretical debates or organisational rules of the making and eating of French musics. French, British and American study into renowned tune has therefore coexisted - with enormous cross-fertilisation - for a few years, however the limitations of language and varied educational traditions have made it not easy for French and anglophone researchers to understand totally the ways that renowned track has built of their respective international locations and the views on its examine followed by means of their colleagues. This quantity presents a comparative and contrastive viewpoint on renowned track and its examine in France and the united kingdom.
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The time period 'Popular tune' has characteristically denoted various things in France and Britain. In France, the very inspiration of 'popular' track has been fiercely debated and contested, while in Britain and extra mostly all through what the French describe because the 'Anglo-saxon' global 'popular song' has been extra conveniently approved as an outline of what humans do as rest or eat as a part of the track undefined, and as whatever that teachers are legitimately entitled to review.
Extra resources for Stereo: Comparative Perspectives on the Sociological Study of Popular Music in France and Britain
114. Stereo 34 I moved closer to the band, where the wild people are gathered, dancing shoulder to shoulder, in the deafening racket of 16 six-speaker amplifiers placed in line’),58 or which sometimes makes the sensory experience of listening to music at home literally gripping (‘At Crichton’s house. He gave me some amazing, enormous, padded stereophonic earphones. It was not a flood of music which rushed into my ears; it was a streaming galaxy of harmonies which entered my head, flooding the inside of my body, all the way to my feet.
Paris IV Sorbonne, 8 June 2006 and the study ‘Géographie et musiques’, Géographie et cultures, 59 (2007). 10 The same can be said regarding the interdisciplinary confrontation within culture, through writings in the field of ‘cultural studies’. 11 André Schaeffner, Le Jazz (Paris, 1926), republished Paris, 1988. 12 Hugues Panassié, Le Jazz Hot (Paris, 1934). 13 Ludovic Tournès, New Orleans sur Seine. Histoire du jazz en France (Paris, 1999). 26 Stereo and which were furthermore devoid of interest for many British and American researchers involved in ethnomethodology or pragmatics inspired by the work of John Dewey.
230. 60 On a clearly different level, due to being inspired more philosophically or 58 59 ethonomusically than sociologically, one can find other works which closely articulate the significance of instruments and musical practices, and for which the notion of ‘types of instrument’ is a good descriptive term: see for example André Schaeffner, Origine des instruments de musique. 7–17. 61 Marc Touché, Mémoire vive # 1 (livre + 2 CDs) (Paris, 1998).
Stereo: Comparative Perspectives on the Sociological Study of Popular Music in France and Britain by Philippe Le Guern, Hugh Dauncey