지원사업
학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
오류제보하기
From gramophone to MP3 the introduction of new media have played in the development and rapid dissemination of popular music a decisive roll. The possibility of reproduction based on the media technology is prerequisite for the production and appropriation of popular music. Most interesting site is that popular music has internalized and medialized those new production systems. In other words, popular music has made a new musical material and musicing method, it constructed constantly a new cultural formation of musical mediality. That is related to a sense of music, or sensation of music.
For a long time the whole area of popular music and popular culture has been considered as mean thing in the public discourse. Especially at the time of the introduction of the new media such as record, radio, television, digital media etc. almost without exception becomes that acute. This phenomenon is in social opinion as well as in the discussion on the quality of the music (for example inventiveness of the music, skills of the performers, authenticity of musician, completeness of music) even in the same. In particular, this paper focussed on the 1930s, because in this time the popular area has established actively it’s categorization; Modernity, westernization, urbanization, the introduction of new media and on which based the formation of popularity. Especially is that process described focusing on sexuality discourse. Sexuality and the bodyness of popular music has history of oppression and exclusion in the dominant public discourse. And popular music and culture expressed that media sensational between the boundaries of taboo. By these analysis this paper tried to explain what makes popular music popular and what is our imagination and understanding about the popularity.
목차
등록된 정보가 없습니다.
참고문헌 (31)
참고문헌 신청
이 논문의 저자 정보
최근 본 자료
댓글(0)
0