In France during the 1960s and 1970s, popular music became a key component of socio-cultural modernisation as the music/record industry became increasingly important in both economic and cultural terms in response to demographic changes and the rise of the modern media. As France began questioning traditional ways of understanding politics and culture before and after May 1968, music as popular culture became an integral part of burgeoning media activity. Press, radio and television developed free from de Gaulle's state domination of information, and political activism shifted its concerns to the use of regional languages and regional cultures, including the safeguard of traditional popular music against the centralising tendencies of the Republican state. The cultural and political significance of French music was again revealed in the 1990s, as French-language music became a highly visible example of France's quest to maintain her cultural 'exceptionalism' in the face of the perceived globalising hegemony of English and US business and cultural imperialism. Laws were passed instituting minimum quotas of French-language music. The 1980s and 1990s witnessed developing issues raised by new technologies, as compact discs, the minitel telematics system, the internet and other innovations in radio and television broadcasting posed new challenges to musicians and the music industry. These trends and developments are the subject of this volume of essays by leading scholars across a range of disciplines including French studies, musicology, cultural and media studies and film studies. It constitutes the first attempt to provide a complete and up-to-date overview of the place of popular music in modern France and the reception of French popular music abroad.
This book investigates the exciting and innovative segmentation of the French music scene and the debates it has spawned.
22 Alf Björnberg, 'Structural Relationships of Music and Images in Music Video', in Richard Middleton, Reading Pop: Approaches to Textual Analysis in Popular Music (Oxford, 2000), pp. 347–82. 23 Gillian Rodger, 'Drag, Camp and Gender ...
... chanson genre in relation to other musical genres. Dauncey and Cannon's book contains a series of enlightening ... Techno (Aldershot, UK and Burlington, USA: Ashgate, 2003). Dimitris Papanikolaou's monograph is the first in-depth ...
Farmer and Dion are, moreover, 'mere' interpreters, whose fame has relied on erotic provocation (Farmer) and vocal ... codes (the erotically charged lyrics and videos of Mylène Farmer reinforce a certain objectification of women), ...
Bowling Green, OH: Bowling Green State University/Popular Press, 1989. ———. Born in the U.S.A.: The Myth of America in ... Stewart, Earl L. African American Music: An Introduction. New York: Schirmer, 1998. Tawa, Nicholas E. A Music for ...
Reconciliation is not the only catalyst for changing myths in Ireland; there is also the part the Republic played in the Second World War to consider. The Irish role in defeating Germany in 1914–18 is perhaps seen as more morally ...
Intellectuals. and. Public. Policy: A. Curious. Divergence? The figure of the public intellectual as it evolved in France over the twentieth century can be seen as representing a form of extra-governmental cultural-political action in ...
The volume consists of essays by scholars of French popular music, and covers the major figures, styles, and social contexts of pop music in France.
Jean-René Mariani, Michel Polnareff(comp.). © Oxygene Music/EMI Music. “Holy Water.” 2013. Brighter Later (pf.). Jaye Kranz (comp.). © Jaye Kranz “I Will Wait for You.” 1964. Michel Legrand, Nana Mouskouri 194 6 HEARING Music.
This, however, raises the question about the practices of innovation and change, and the logic behind the influx of new works into the space of a field, in terms of their new forms of expression. In pop-rock, these can be divided into a ...