In:
Popular Music, Cambridge University Press (CUP), Vol. 18, No. 2 ( 1999-05), p. 161-178
Abstract:
In recent years popular music scholars have paid increasing attention to musical sound. From Robert Walser's landmark work on heavy metal (1993), to Alan Moore's important analysis of rock style periods (1993), to a number of shorter studies (Whiteley 1990; Josephson 1992; Bowman 1995; Ford 1995; Hawkins 1996; Edström 1996), more and more scholars have recognised that all levels of scholarly focus must be pursued if we are to gain purchase on the phenomena of popular music. With no exceptions of which I am aware, all the popular music scholars concerned specifically with musical sound seek to explore the connections between sound and its social contexts. My goal here is to show how attention to musical perception can forward this project and to argue that perception is best understood as a kind of social practice. The act of perception constitutes musical forms and musical meanings in experience. The act of perception is where the rubber of sound meets the road of social life, and by treating perception as a practice we can draw more intimate connections between songs and subjects, sound and society, than would be possible if we were to start from musical structures and then search for linkages to social context. None of this, of course, is to deny the value of studies focused on musical structures, performance events, broad social contexts or large-scale social history, but to argue that the constitution of musical perception by musicians and listeners deserves greater attention and to suggest how this kind of scrutiny might serve the larger aims of popular music studies.
Type of Medium:
Online Resource
ISSN:
0261-1430
,
1474-0095
DOI:
10.1017/S0261143000009028
Language:
English
Publisher:
Cambridge University Press (CUP)
Publication Date:
1999
detail.hit.zdb_id:
2036210-9
SSG:
9,2
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