MUSI 1002 Study Guide - Final Guide: Commodification, Prior Restraint, Big Mama Thornton

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1 Feb 2013
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Exam Review
Week 1 Issues in Popular Music
Journalistic writing (reviews, magazines) vs Academic (books from sociology,
musicology)
Popular music defined - Commercialization, Commodity & mass appeal
Dominate culture (center of society vs. Subordinate cultures (lacks power
and resources)
o Timbre distinguishes between instruments
o Intensity Loudness of sounds
o Pitch Different sound wave vibrations
o Instrumentation range of instruments in performance
o Dynamics gradation of intensity and volume levels
o Rhythm - Duration and musical function of time
o Melody and Harmony 2 different but intertwined ways of organizing
pitch and a series of pitches heard in a series in a melodic line
o Texture the relations among parts (voice or instrument is a part)
o Form organization of music in time
Week 2 Commodification and Standardization
Theodor Ardorno (03-69)
o Frankfurt school, Marxist, Critical theory, Musicologist.
o Music is becoming more in advertising (low record sales, easy to
relate to audience)
o Culture movement was in control, not the consumer
Commodity Fetishism people care more about objects used then the event (more
about the opera ticket then the opera)
Standardization - standard in these ways:
o Number of types that are immediately recognizable
o Small number of structure
o Small components that are interchangeable
Pseudo-individualism surface changes but no alteration to the basic structure
(used in standardized products)
High v Low Culture Serious v popular music and differences are , degree of
standardization, level of complexity and market context
David Allan “pop Music in Advertising” Music in advertising is growing,
attempt to reach wider audience musicians more willing to see for
commercial purpose
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Tin Pan Ally 28th street Manhattan were sheet music was written (Irving
Berlin)
Paul Whiteman** - Producer and band conductor
Week 3 Industry, Commercialization and Intro to Politics
The music industry Publishing, M retail, M hardware, M press, Sound recording,
concerts, royalties and merchandising
Economic Structure 4 powers Universal, Sony/BMG, Warner Music Group and
EMI (USWE)
Vertical Integration when a company controls entire cycal fo a product onw the
bank, own record studio, own cd making company and own store that sells the cd
Concentration small amount of companies own all pop music production
Large labels V small labels big labels have similar sounds (based on to
make money) therefore bursts of creativity from the public and creating
individual labels. Large and small collaborate due to costs and talent,
industry which operates webs and networks.
Big vs Small linked by webs and networks
Income From Rights
Copyright three types
o Preforming rights use of material when one wants to preform it
o Public performance rights Paid for privilege to broadcast the actual
recording
o Mechanical rights paid the copyright holder when song is played or
recorded
Trademark legal shield around slogan, shape or image along with royalties
Branding Developing an image that is transferable between media
(Rocafella)
Intro to pop Music and Politics
Censorship Prior restraint, Restriction, Suppression
Payola companies play djs to promote their songs (unethical)
Dick Clark was also paid to air songs on show (mostly white artists)
Week 4 Production and Technology
Sounds Production positive and negative aspects of technology
advancements in sound recording
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