Volume ! | Cairn.info https://shs.cairn.info/build/assets/cairn-B7RWiji2.png tag:cairn.info,2005:rss/revue/E_VOLU Cairn.info 2026 2025-12-04T00:00:00+01:00 tag:cairn.info,2005:numero:E_VOLU_222 <![CDATA[ On the Sony Walkman | Volume ! (2025/2 22 : 2) ]]> 2025-12-04T00:00:00+01:00 2025-12-04T00:00:00+01:00
  • Pages 9 to 14| ‘From practice to concept, and back. When all roads lead to the Sony Walkman.’ Introduction to Chapter 2 of Doing Cultural Studies. The Story of the Sony Walkman | Gérôme Guibert
  • Pages 15 to 24| The Production of the Sony Walkman | Paul Du Gay, Stuart Hall, Linda Janes, Hugh Mackay, Keith Negus
  • Pages 25 to 34| Please Listen to This: The Atypical Launch of the Walkman TPS-L2 | Tohru Kono, Lauren Tortil
  • Pages 37 to 52| “Pomelo Sound System”: A Material Mediation in Montreal’s Underground Rave Scene | Charlet Brethomé
  • Pages 53 to 70| Triana: Progressive Rock and Franco’s Dictatorship | Cristina Parapar
  • Pages 73 to 88| What Is Rap Media? A Case Study of Teen Reception, 2023-2025 | Marjolaine Bérisset
  • Pages 89 to 102| The Mental Health of Musicians. Findings and Proposals | Vincent Nicod, Jean-Christophe Sevin
  • Pages 105 to 108| P.D. MAGNUS, A Philosophy of Cover Songs | Claire Fraysse
  • Pages 109 to 113| Camille MOREDDU, Les inventeurs de l’American Folk Music (1890-1940) | Malo de La Blanchardière
  • Pages 115 to 118| Guillaume HEUGUET (ed.), Chill. À l’écoute de la détente, de l’évasion et de la mélancolie | Thomas Mercier-Bellevue
  • Pages 119 to 124| Catharine MASON & Cyril VETTORATO (eds.), Bob Dylan, le pluriel des voix | Claude Chastagner
  • Pages 125 to 128| Matthew D. MORRISON, Blacksound: Making Race and Popular Music in the United States | Clément Sechaud
  • Pages 131 to 134| The Day Technology Became Political. Conference Report: “A Political History of Sound Technologies?” | Benedetta Zucconi
  • Pages 135 to 138| CEMuP, 9e édition, Paris, 22 mai 2025 | Chloé Violle
  • Pages 141 to 146| Thinking Popular Music through Science and Technology (and Back): A Tribute to François Ribac | Loïc Riom
  • Pages 147 to 162| Jonathan Sterne and the Epistemological Break in Sound Studies | Matthieu Saladin
    • ]]>         tag:cairn.info,2005:numero:E_VOLU_221 <![CDATA[ The Great Spectacle of Music-Hall | Volume ! (2025/1 22 : 1) ]]> 2025-05-30T00:00:00+02:00 2025-05-30T00:00:00+02:00 What remains of music-hall in culture, and what are its avatars? This issue of Volume, which inaugurates a new series now published by the Presses universitaires de Rennes, sets out to study contemporary shows - and the very notion of the spectacular - by placing them in perspective with the formulas or formats of music-hall as it flourished in Paris between the Belle Époque and the Second World War: revues, attractions, song recitals, operettas, variétés, nude acts... From history to aesthetics, the various contributions thus share, in an interdisciplinary perspective, the tension between shows that have faded away, for the most part irretrievably, and an undeniable continuity in the renewed formulas that constituted or claim their heritage.

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  • Pages 7 to 20| The Music-Hall Form | Romain Piana, Catherine Rudent, Gérôme Guibert, Raphaëlle Moine
  • Pages 23 to 34| Music-Hall Machineries: Technology at the Service of Grandiose Entertainment | Nathalie Coutelet
  • Pages 35 to 50| Putting Music-Hall Ballet Into Perspective: “Traditional Cliché” or Creative Space? | Hélène Marquié
  • Pages 51 to 64| The Interwar Parisian Music-Hall Through the Prism of Stardom. The Example of Mistinguett at the Casino de Paris | Manon Fabre
  • Pages 67 to 78| Revue and Variétés: Music-Hall Subgenres During the Interwar Period? | Marine Costille
  • Pages 79 to 90| Preserving the Quadrille? The Permanence of a Moulin Rouge Number | Delphine Foch
  • Pages 91 to 104| Critics and Talent Shows: the 1930s Amateur Singing Contest in the Press | Christopher Moore
  • Pages 105 to 116| Revues in the Archives of the Société des Auteurs & Compositeurs Dramatiques: Towards the Golden Âge (1870-1920) | Florence Poudru
  • Pages 119 to 136| A Red Music Hall? The Communist Musical Apparatus and Show Business, From Zhdanov to Montand (1945-1958) | Jedediah Sklower
  • Pages 137 to 152| Georges Brassens, Music-Hall Antihero? When performance hides in the music of the songs | Pierre Fargeton
  • Pages 153 to 162| The Construction of a Glorious Memory: Jacques-Charles, Music-Hall Memorialist | Marianne Di Benedetto
  • Pages 163 to 180| The Music-Hall in Images: On a Few Illustrated Editions of Colette’s La Vagabonde | Frédéric Canovas
    • ]]>         tag:cairn.info,2005:numero:E_VOLU_211 <![CDATA[ Sound Factories of the Global South | Volume ! (2024/1-2 21:1-2) ]]> 2024-12-11T00:00:00+01:00 2024-12-12T00:00:00+01:00 This issue renews our apprehension of popular music recording, with a series of ethnographic studies on studios set far from the world’s major production centers. The case studies analyze new configurations brought about by digital technologies in a diversely globalized space: historical live studios in Bamako and Abidjan, beatmakers in Dakar, home studios in Montevideo, digital studios in São Paulo, pocket studios in the Amazon rainforest, field studios of Brazilian anthropologists. The wide range of disciplinary and epistemic approaches enables us to think of these apparatuses as spaces of possibility, where new strategies are being developed to redefine the soundscapes of the South.

    The issue also includes translations of two classic articles by Edward Kealy and David Hesmondhalgh, research reports and book reviews, as well as a subsection of eight texts dedicated to Volume’s 20th anniversary.

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  • Pages 7 to 20| For an Epistemology of the Global South’s Sound Factories | Stéphane Costantini, Vassili Rivron
  • Pages 23 to 52| JBZ (Abidjan) and Bogolan (Bamako): the Itineraries of Two Legendary ‘Live Studios’ and Their Main Protagonists | Emmanuelle Olivier, Amandine Pras
  • Pages 55 to 69| ‪A Kind of Magic. Notes on a Recording Studio in São Paulo and Music Production Rituals‪ | Daniel Ferrera Wainer
  • Pages 71 to 85| Home Studios as Sound Factories in Montevideo’s Alternative Scene: Artistic Experimentation in the Era of Digital Exposure | Florencia Dansilio
  • Pages 87 to 100| From the Studio to the ‘Scene’: the Spaces of Beatmaking in Dakar | Maël Péneau
  • Pages 103 to 117| Pocket Studios. The Recording Techniques and Reproduction Strategies of Young Singers in Oyapock (Guiana) | Florent Wattelier
  • Pages 119 to 135| Two Short Dramas on Phonographic Representation and Musical Objectification | Edmundo Marcelo Mendes Pereira
  • Pages 138 to 142| ‪Georgina ‪‪Born ‪‪(ed.)‪, ‪Music and Digital Media: A Planetary Anthropology‪ | Will Straw
  • Pages 143 to 157| Live Production in Salsa Dura: The Case of the Congahead YouTube Channel | Vincent Granata
  • Pages 159 to 172| Controlling (Oneself). The Dominant Masculinity in Electronic Dance Music | Alice Laurent-Camena
  • Pages 173 to 189| From Craft to Art: The Case of Sound Mixers and Popular Music | Edward Robert Kealy
  • Pages 191 to 214| Indie: the Institutional Politics and Aesthetics of a Popular Music Genre | David Hesmondhalgh
  • Pages 215 to 219| Anglophone Indie and the Fate of the Musical Alternative, Three Decades On | David Hesmondhalgh
  • Pages 221 to 225| Anglophone Indie and the Fate of the Musical Alternative, French Letter | Gérôme Guibert
  • Pages 227 to 234| From the Senegalese Lebu Ritual to the Rennes Scene. Ethnography of the Cultural, Musical and Technical Negociations of the Ndox Électrique Project | Marta Amico, Lila Avez, Ewan Bodin, Mélina Buisson, Guillaume Cibron, Sébastien Lecouty, Suzanne Medoc-Rosenfeld, Lume Nauleau, Julia Paquet
  • Pages 235 to 241| The ‘Music Through Borders’ Conference. Paris, Sorbonne Nouvelle, 10-11 July 2023 | Rose Barrett
  • Pages 243 to 245| ACEMuP Conference. 8th edition, Paris, 6 June 2024 | Sacha Najman
  • Pages 247 to 249| Tinkering With Musical Instruments, Building One’s Singularity. Conference at the University of Tours, 20 October 2023 | Baptiste Bacot
  • Pages 252 to 255| Christian Béthune, L’‪Apothéose des vaincus. Philosophie et champ jazzistique | Thomas Horeau
  • Pages 255 to 258| ‪‪Caroline ‪‪‪‪Déodat‪‪‪, ‪‪‪Dans la Polyphonie d‪’‪une ‪î‪le : les fictions coloniales du séga mauricien‪‪ | Guillaume Samson
  • Pages 258 to 260| Alexandre Girard-Muscagorry, Mabinuori Kayode Idowu & Mathilde Thibault-Starzyk (eds.), Fela Anikulapo-Kuti. Rébellion afrobeat | Étienne Bourel
  • Pages 260 to 263| ‪Nathanel ‪‪Amar,‪‪ ‪‪Scream for Life. ‪L’invention d’une contre-culture punk en Chine populaire‪‪ | William Spok
  • Pages 264 to 266| ‪Andrew F. ‪‪Jones‪‪, ‪‪Circuit Listening: Chinese Popular Music in the Global 1960s‪ | Grégoire Bienvenu
  • Pages 267 to 270| Yauheni Kryzhanouski, Contester par la musique sous régime autoritaire. La politisation du rock au Bélarus | Ronan Hervouet
  • Pages 272 to 274| Introduction to the Section on Volume’s 20th Anniversary | Mélanie Seteun
  • Pages 275 to 278| How Was Volume! Born? | Samuel Étienne
  • Pages 279 to 280| Volume! Trafficking Energies | Marie-Pierre Bonniol
  • Pages 281 to 299| Data on Volume! from 2002 to 2003 | Gérôme Guibert, Emmanuel Parent, Adélie Laruncet
  • Pages 301 to 304| A 20-Year Loop. Electronic Music in Volume! | Jean-Christophe Sevin
  • Pages 305 to 307| 20 Years of History in Volume! | Jedediah Sklower
  • Pages 309 to 310| Volume! becomes a fanzine again | Louise Barrière
  • Pages 311 to 314| Howard Becker, Philip Tagg, Numa Murard. A Homage to Three Members of Volume’s Editorial Board Who Recently Passed Away | Gérôme Guibert
    • ]]>         tag:cairn.info,2005:numero:E_VOLU_202 <![CDATA[ The End of Music Genres? Categorizing Popular Music | Volume ! (2023/2 20:2) ]]> 2024-04-09T00:00:00+02:00 2024-04-10T00:00:00+02:00 Volume ! draws on a historicist approach the phenomenon to discuss the formation and development of music genres such as disco and dance, traditional music, heavy metal, dungeon synth, urban music, indie and progressive rock. Overall, the different papers pinpoint the powerful tool the concept of music genre can be to analyse the interconnection of musical sound and music's social meanings.]]>
  • Pages 7 to 15| Why Genre? Why Now? | David Brackett
  • Pages 17 to 50| “They Never Even Knew”: Categorizing Sound in Popular Music | David Brackett, Vanessa Blais-Tremblay
  • Pages 53 to 81| June 1982, When Disco Became Dance: Generic Instability, Empty Sophistication, and Girls’ Games | Mimi Haddon
  • Pages 83 to 107| Citationality, Tradition, and the Problem of Origins: Parsing Public Veillées and “Tradinationalism” in Early Twentieth-Century Quebec | Laura Risk, Nicolas Calvé
  • Pages 109 to 138| Metal Taxonomies: Parallel Universes of a Genre | Eric Smialek, Nicolas Calvé
  • Pages 141 to 163| Dungeons & Synthesizers: Dungeon Synth, the Rise of a Musical Genre on YouTube and Bandcamp | Iulia Dima, Baptiste Pilo
  • Pages 165 to 185| The Circulation of “Urban Contemporary Music” During the Late 2010s in France: An Interactionist and Discursive Approach in the Light of Power Relationships | Claire Lesacher
  • Pages 187 to 209| Progressive Rock (1969-1976) and the Montreal Indie Scene (1997-2021): Stylistic Influence and Artistic Filiation | Bruno Coulombe
  • Pages 211 to 214| Colloque international « Musiques en Asie : trajectoires artistiques, industries et scènes musicales » | Grégoire Bienvenu
  • Pages 216 to 219| Dan Sicko, Techno Rebels. Les pionniers de la techno de Détroit | Frédéric Trottier-Pistien
  • Pages 220 to 223| James Leonard Mitchell, Luk Thung, la musique la plus populaire de Thaïlande | Édouard Degay Delpeuch
  • Pages 224 to 226| Baptiste Brévart & Guillaume Ettlinger, Wednesdays at A’s | Philippe Birgy
    • ]]>         tag:cairn.info,2005:numero:E_VOLU_201 <![CDATA[ The value of music | Volume ! (2023/1 20:1) ]]> 2023-11-14T00:00:00+01:00 2023-11-16T00:00:00+01:00
  • Pages 7 to 17| Introduction: The value of music | Raphaël Nowak, Hervé Glevarec
  • Pages 19 to 31| The value of music in the era of cognitive capitalism | Marc Kaiser
  • Pages 33 to 46| Musicians and symbolic value in the Senegalese digital economy | Stéphane Costantini
  • Pages 49 to 61| Bypassing streaming services to restore music’s value: A semio-discursive and communicational analysis of the Obispo All Access platform | Séverine Equoy Hutin
  • Pages 63 to 74| What to do with the “value of music”? Some preliminary remarks on the emergence of music tech | Loïc Riom
  • Pages 77 to 88| Music platforms and formats: A study of independent music marketing | Boris Collet, Renaud Garcia-Bardidia
  • Pages 91 to 104| The political and social value of music: Anglophone crisis, digital platforms and dissident music in Cameroon | Nicanor Tatchim
  • Pages 107 to 121| The value of music on TikTok and new musical practices | Marc Chemillier, Yohann Rabearivelo
  • Pages 124 to 125| Jérémy Vachet, Fantasy, Neoliberalism and Precariousness: Coping Strategies in the Cultural Industries | Quentin Mazel
  • Pages 126 to 129| Tamas Tofalvy & Emilia Barna, Popular music, Technology and the Changing Ecosystem. From Cassettes to Streaming | Vincent Rouzé
  • Pages 131 to 142| The Yamaha DX7 synthesizer in Senegalese music | Maël Péneau
  • Pages 143 to 145| 7th “ACEMuP” Conference | Noé Latreille de Fozières
  • Pages 148 to 151| Myrtille Picaud, Mettre la ville en musique : Paris-Berlin | Séverin Guillard
  • Pages 151 to 155| Xabier Itçaina, La société du tambourin, une histoire sociale de la musique à danser en Pays Basque | Denis-Constant Martin
    • ]]>         tag:cairn.info,2005:numero:E_VOLU_192 <![CDATA[ Common grounds: Ethnomusicology and popular music studies | Volume ! (2022/2 19:2) ]]> 2023-04-17T00:00:00+02:00 2023-04-17T00:00:00+02:00
  • Pages 7 to 16| Finding common ground for ethnomusicology and popular music studies | Marta Amico, Emmanuel Parent
  • Pages 17 to 38| From recorded to recording cultures: Ethnomusicology at an epistemological crossroads? | Emmanuelle Olivier
  • Pages 39 to 53| Music and administration: Helpful support and harmful influence | Julie Oleksiak
  • Pages 55 to 73| Marseille 1984. Radio, sound systems and the sonic fiction of Aïoli | Jean-Christophe Sevin
  • Pages 75 to 89| Music from the city and music in the city. Media networks and the production of the Bobolese Mandingo Scene | Alfonso Castellanos
  • Pages 91 to 101| Courting tradition. Rodrigo Cuevas and the articulation of music and place in contemporary Spain | Sílvia Martínez García, Llorián García Flórez
  • Pages 103 to 117| Popular music studies and ethnography: Surveying a local music scene in Marseille | Rémi Boivin
  • Pages 119 to 130| “It upsets me”: Musical analysis meets field investigation | Catherine Rudent
  • Pages 133 to 151| On ethnography, when “we are all (ethno)musicologists now” | Martin Stokes
  • Pages 153 to 155| Laura Steil, Boucan ! Devenir quelqu’un dans le milieu afro | Anna Cuomo
  • Pages 157 to 172| Björk’s utopia of an interconnected human tribe | Benjamin Lassauzet
  • Pages 173 to 178| “‪UK sound system reasoning day” | Jean-Christophe Sevin
  • Pages 180 to 183| Philippe Poirrier & Lucas Le Texier, Circulations musicales transatlantiques au XXe siècle. Des Beatles au Hardcore Punk | Romain Garbaye
  • Pages 184 to 186| Maxence Déon, Les enjeux du sampling dans la musique hip-hop | Baptiste Bacot
  • Pages 186 to 189| Guillaume Heuguet, YouTube et les métamorphoses de la musique | Vincent Bullich
  • Pages 189 to 192| Chris Anderton & Sergio Pisfil, Researching Live Music. Gigs, Tours, Concerts and Festivals | Robin Charbonnier
  • Pages 192 to 198| David Byrne, Qu’est-ce que la musique ? | Guillaume Gilles
    • ]]>         tag:cairn.info,2005:numero:E_VOLU_191 <![CDATA[ The Canterbury scene. History, analysis, reception | Volume ! (2022/1 19:1) ]]> 2022-09-19T00:00:00+02:00 2022-09-19T00:00:00+02:00 Whether they summon images of Soft Machine opening for Jimi Hendrix during their 1968 American tour, albums like Robert Wyatt’s Rock Bottom, or bands like Caravan and Hatfield and the North, the artists and music of the British Canterbury scene gave a specific tone to late 1960s / early 1970s rock music. With their unpredictable apparel and radical humor, these musicians’ recordings and performances were multidirectional groundbreaking experiments.

    The aim of this special issue of Volume! is to explore this little discussed repertoire, by privileging analysis, history and reception. Two specialists, musicologist Vincenzo Caporaletti and essayist Aymeric Leroy, as well as several other scholars, try to unfold the nature and the meaning of this scene and music.

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  • Pages 7 to 9| Taking Canterbury seriously | Elsa Grassy
  • Pages 11 to 36| Hatfield and the North (1974): A synthesis in balance | Jacopo Costa, Philippe Lalitte, Pierre Michel
  • Pages 37 to 38| An interview with Dave Stewart | Dave Stewart, Pierre Michel
  • Pages 41 to 54| Tone games: Geoffrey Richardson’s viola in Caravan’s For Girls Who Grow Plump | Karam Al Zouhir
  • Pages 57 to 77| Aesthetic issues and constructive practices in the music of Soft Machine (1960s-1970s) | Vincenzo Caporaletti
  • Pages 79 to 104| Soft Machine, the Canterbury scene and Italian prog rock. Concerts, exchanges and influences in the 1970s | Ruben Marzà, Nicolò Palazzetti
  • Pages 107 to 125| The different us. A representation of Robert Wyatt | Jacopo Costa
  • Pages 127 to 159| The dialectical logic of audiotactile music. An analysis of “Out-Bloody-Rageous” (Soft Machine, Third, 1970) | Vincenzo Caporaletti
  • Pages 161 to 170| Is Canterbury a school, a scene, or a “press invention”? | Aymeric Leroy
  • Pages 174 to 176| ‪‪Asya ‪‪‪‪Draganova‪‪‪‪, Shane ‪‪‪‪Blackman‪‪‪‪ & Andy ‪‪‪‪Bennett‪‪‪‪ (eds.), ‪‪‪‪The Canterbury Sound in Popular Music‪‪ | Jacopo Costa
  • Pages 177 to 179| ‪Bernward ‪‪Halbscheffel‪‪‪,‪‪‪ ‪‪Canterbury Scene: Jazzrock in England‪ | Pierre Michel
  • Pages 181 to 194| Hearing sonic narratives: a survey of rock and folk communities | Marion Brachet
  • Pages 195 to 208| ‪“‪‪Every MC raps, but not every rapper is an MC‪‪”: Examining the MC/Rapper rivalry in American rap music‪ | David Diallo
  • Pages 209 to 226| Prévert and Kosma’s ‘Les Feuilles Mortes’. Experiencing Time and Love in French Chanson | Alice Henschel
  • Pages 221 to 226| Technological Determinism and Musical Practices in Electronic Music and Hip-Hop | Samuel Lamontagne
  • Pages 228 to 232| ‪Marc ‪‪Perrenoud‪‪ & Pierre ‪‪Bataille‪‪, ‪‪Vivre de la musique ? Enquête sur les musicien·ne·s et leurs carrières en Suisse romande (2012-2016)‪ | Loïc Riom
  • Pages 233 to 236| ‪‪Ross ‪‪‪‪Hagen‪‪‪‪, ‪‪‪‪Darkthrone‪‫’‪s A Blaze in the Northern Sky‪ | Baptiste Pilo
  • Pages 237 to 241| ‪Barbara ‪‪Lebrun‪‪‪,‪‪‪ ‪‪Dalida, mythe et mémoire‪ | Isabelle Marc
  • Pages 241 to 245| ‪Richard ‪‪Osborne‪‪ ‪‪&‪ Dave Lain‪g‪‪ (eds.), ‪‪Music by Numbers‪‪. The Use and Abuse of Statistics in the Music Industry‪ | Guillaume Heuguet
    • ]]>         tag:cairn.info,2005:numero:E_VOLU_182 <![CDATA[ Participative knowledge construction in popular music: Controversies and historiography | Volume ! (2021/2 18:2) ]]> 2021-12-02T00:00:00+01:00 2021-12-13T00:00:00+01:00 The purpose of this special issue is to offer a retrospective and critical reflection on the original vocation of popular music studies, to bring to light repertoires that are seldom studied and even occasionally discredited. It also aims at encouraging new ways of considering this initial project, especially by envisaging collaborations between experts and non-experts during the knowledge-building process.

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  • Pages 7 to 10| Popular music experts / non-experts: Beyond the separation | Christophe Levaux, Christophe Pirenne
  • Pages 13 to 31| A prehistory of popular music studies. Establishing folk music as an object of study of social sciences in 1930s United States | Yves Dorémieux, Camille Moreddu
  • Pages 33 to 51| “Original Artyfacts”: Rethinking Object Biography in Popular Music Studies | José Vicente Neglia
  • Pages 53 to 69| Studying and teaching popular music: The blurred boundaries of an emerging expertise | Danick Trottier
  • Pages 71 to 83| Popular music in musicological education and research in France | Christophe Pirenne
  • Pages 85 to 97| Towards a citizen study of popular music? | Christophe Levaux
  • Pages 99 to 114| From Erik Satie to the Smashing Pumpkins: About a Fragile boy’s riff | Héctor Cavallaro, Michael Spanu
  • Pages 117 to 132| “Maybe it’s the Third World / Maybe it’s the First Time Around”: Variations on the term “world music” in Paul Simon’s Music, from Graceland to Songs from the Capeman | Claire Fraysse
  • Pages 135 to 148| The parents’ record collection. Accounts of music circulation within the family | Sylvain Martet
  • Pages 151 to 163| Screens, mediations, and authenticity in the pop concert: Two case studies | Giulia Sarno
  • Pages 166 to 168| K.E. Goldschmitt, Bossa Mundo: Brazilian Music in Transnational Media Industries | Frederico Lyra de Carvalho
  • Pages 169 to 172| Jonathan Thomas, La propagande par le disque : Jean-Marie Le Pen, éditeur phonographique | Grégoire Bienvenu
  • Pages 172 to 175| Susan Fast, Craig Jennex, Popular Music and the Politics of Hope | Louise Barrière
  • Pages 176 to 179| Marta Amico, La Fabrique d’une musique touarègue. Un son du désert dans la world music | Nicolas Puig
  • Pages 179 to 184| Alessandro Bratus, Mediatization in Popular Music Recorded Artifacts: Performance on Record and on Screen | Catherine Rudent
  • Pages 184 to 187| Thomas Horeau, Le jazz et la scène | Clément Bresch
  • Pages 187 to 193| Lori A. Burns, Stan Hawkins, The Bloomsbury Handbook of Popular Music Video Analysis | Antoine Gaudin
    • ]]>         tag:cairn.info,2005:numero:E_VOLU_181 <![CDATA[ Back to work! | Volume ! (2021/1 18:1) ]]> 2021-04-28T00:00:00+02:00 2021-05-03T00:00:00+02:00 This issue of Volume! is dedicated to music as work. In the history of social sciences, it is well known that Howard Becker’s early work on the activity of “dance musicians” in late 1940s Chicago was both a study on deviance and the analysis of an occupational group and of a social world. Today, it is necessary to consider more seriously the professional, material, and economic dimensions of practices that are obviously “artistic”, and that also unfold in a contrasted and very unequal labor and employment market. The six papers in this issue were written by members of the Working in Music international research network. The authors, who come from a variety of European countries (Greece, Switzerland, Great Britain, France), mobilize various fields as well as a common corpus of references, showing how dynamic contemporary research on musical work is.

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  • Pages 7 to 16| Back to work! | Pierre Bataille, Marc Perrenoud
  • Pages 19 to 36| The specific power of each art world’s actor over a music performance’s script and meaning: Music genres through sociological lens | Andy Battentier
  • Pages 39 to 51| Instrumentalists in the foreground. Professional socialization and musical work within two Greek revival milieus | Reguina Hatzipetrou-Andronikou, Dimitra Papastavrou
  • Pages 53 to 65| Work or leisure? Typology of tribute band careers in Switzerland | Nuné Nikoghosyan
  • Pages 67 to 79| From Bohemian to the scientific organization of work: The dissemination of neo-managerial practices among musicians | Jérémy Sinigaglia
  • Pages 81 to 94| “Function” musicians, technology and class relationships | Charles Umney
  • Pages 97 to 99| Maria Eriksson, Rasmus Fleischer, Anna Johansson, Pelle Snickars, Patrick Vonderau, Spotify Teardown. Inside the Black Box of Streaming Music | Paco Garcia
  • Pages 101 to 117| The Soundtrack of Baby Driver: An intensified musical aesthetic | Robin Cauche
  • Pages 119 to 135| Michael Jackson’s Off the wall: beyond the wall of the American musical and colorist categorization | Isabelle Stegner-Petitjean
  • Pages 137 to 148| Approaching Wild Sounds: The formation of a taste for extreme Metal | Catherine Guesde
  • Pages 150 to 152| Sarah Baker, Preserving Popular Music Heritage: Do-it-Yourself, Do-it-Together | Martin Lussier
  • Pages 152 to 155| Sarah Baker, Preserving Popular Music Heritage: Do-it-Yourself, Do-it-Together | Maxence Déon
  • Pages 156 to 159| Liel Leibovitz, A Broken Hallelujah | Francis Mus
  • Pages 160 to 164| Greil Marcus, Three Songs, Three Singers, Three Nations | Yves Dorémieux, Camille Moreddu
  • Pages 164 to 167| Scott Calhoun, U2 and the Religious Impulse: Take Me Higher | Nicholas P. Greco
    • ]]>         tag:cairn.info,2005:numero:E_VOLU_172 <![CDATA[ Legitimacy & authenticity in hip-hop | Volume ! (2020/2 17:2) ]]> 2020-11-26T00:00:00+01:00 2020-12-01T00:00:00+01:00
  • Pages 7 to 23| Hip-hop’s legitimacy and authenticity: Reconstructing social relations, spaces and temporalities | Séverin Guillard, Marie Sonnette (D)
  • Pages 25 to 42| The authenticity and objectivation of a musical genre: the Fabulous Trobaros and the Birth of “French rap” (1987-1993) | Karim Hammou
  • Pages 45 to 59| Contentious authenticity: Relational dynamics and spatialities in the underground rap scene of Ouagadougou | Anna Cuomo
  • Pages 61 to 81| Rappers’ social capital: Featurings, between legitimization and professional authentication | Corentin Roquebert
  • Pages 83 to 97| “Good” vs. “bad” rap? How the media rank artists | Marion Dalibert
  • Pages 99 to 127| Measuring the (de)legitimization of hip-hop music in France. Methodology and first results of an ongoing research on the 1990-2019 period | Karim Hammou, Marie Sonnette (D)
  • Pages 129 to 146| A non-linear legitimization of rap in the “Red Belt” since 1990. The social construction of a local artistic (il)legitimacy | Pauline Clech
  • Pages 149 to 164| Acquiring legitimacy: How rap musicians in Lille rejected and appropriated the cultural equipment “Le Flow” | Vincent Becquet
  • Pages 167 to 183| Distinction among young rap and RnB fans: From a sociology of consumption to a sociology of reception | Florence Eloy, Tomas Legon
  • Pages 185 to 193| Women and queer people: French rap’s subaltern and invisible audiences? | Paulo Higgins
  • Pages 195 to 207| The Public presence and experience of rap: Ordinariness, public disturbance and moral disqualifications | François Debruyne
  • Pages 209 to 220| American hip-hop studies, contested pasts and projected futures | Murray Forman, Séverin Guillard
  • Pages 224 to 227| Joseph C. Ewoodzie Jr., Break Beats in the Bronx : Rediscovering Hip-Hop’s Early Years | David Diallo
  • Pages 227 to 229| David Diallo, Collective Participation and Audience Engagement in Rap Music | John Mullen
  • Pages 230 to 236| Erik Nielson and Andrea L. Dennis, Rap on trial. Race, Lyrics, and Guilt in America | Emmanuelle Carinos
  • Pages 236 to 239| Catherine M. Appert, In Hip Hop Time : Music, Memory, and Social Change in Urban Senegal | Alice Aterianus-Owanga
  • Pages 240 to 243| Alice Aterianus-Owanga, « Le rap, ça vient d’ici ! » Musiques, pouvoirs et identités dans le Gabon contemporain | Emily Shuman
  • Pages 244 to 246| Marion Carrel, Julienne Flory, Irène Jami, Patricia Osganian, Patrick Simon et Anna Zielinska, « La battle du rap : genre, classe, race », Mouvements, no 96, 2018 | Claire Lesacher
  • Pages 246 to 250| Bettina Ghio, Sans fautes de frappe. Rap et littérature | Emmanuelle Carinos
  • Pages 252 to 254| Emmanuelle Carinos and Karim Hammou (eds.), Perspectives esthétiques sur les musiques hip-hop | Emily Shuman
  • Pages 255 to 271| “Homo Musicalis” | Jean-Christophe Aplincourt
    • ]]>         tag:cairn.info,2005:numero:E_VOLU_162 <![CDATA[ The pop voice: New tools & approaches | Volume ! (2020/1 16:2-17:1) ]]> 2020-07-03T00:00:00+02:00 2020-07-03T00:00:00+02:00 At the heart of all sorts of pop tunes, there is voice. We are often touched and marked by it: we never forget it, we can sometimes recognize it in little more than an inflection, in a split second, before the first note has vanished. In other moments, it remains unknown to us, we discover it, and yet we are able to appreciate it. Although for decades we have known how to pick it up, how to record, reproduce and transform it, the pop voice has only recently been analyzed by scientific studies. This issue explore its singularities, through a variety of case studies (black metal, rap, French chanson, rock music…) and with new analytical methods.

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  • Pages 7 to 26| Against the “grain of the voice”: Studying voice in songs | Catherine Rudent
  • Pages 29 to 47| Spectrum analysis and the rhetorics of performance styles in French chanson | Céline Chabot-Canet
  • Pages 49 to 61| Resonant voices in songs. Physiological and accoustic aspects | Nathalie Henrich Bernardoni
  • Pages 63 to 85| Modeling vocal styles, synthesizing expressive singing. The example of Édith Piaf | Céline Chabot-Canet, Luc Ardaillon, Axel Roebel
  • Pages 87 to 107| The altered voice and its tricks. The interactions between performers, technologies and creation in Led Zeppelin’s recordings | Benoît Navarret, Jean-Marc Fontaine
  • Pages 109 to 123| Klokochazia’s voice. Vocal typology, language and personas: Music in the service of a cosmogony | Julie Mansion-Vaquié
  • Pages 125 to 143| Human beatboxing, between music and speech. Acoustic and physiological aspects | Claire Pillot-Loiseau, Lucie Garrigues, Didier Demolin, Thibaut Fux, Angélique Amelot, Lise Crevier-Buchman
  • Pages 145 to 161| Bestial vocalities? Characterizing black metal’s noisy voices | Bérenger Hainaut
  • Pages 163 to 181| The flow of early French rap (1984-1991) | Olivier Migliore, Nicolas Obin
  • Pages 183 to 197| A powerful voice: Investigating vocality and identity  | Katherine Meizel
  • Pages 199 to 207| The soundness of singing out of tune | Pascal Pistone
  • Pages 210 to 213| Gérard Le Vot, Poétique du rock : oralité, voix et tumultes | Mathieu Guillien
  • Pages 214 to 216| Nina Sun Eidsheim,‪ ‪The Race of Sound: Listening, Timbre and Vocality in African American Music‪ | Jean-René Larue
  • Pages 217 to 220| Michèle Castellengo, Écoute musicale et acoustique. Avec 420 sons et leurs sonagrammes décryptés | Iulia Dima
  • Pages 221 to 223| Agnès Gayraud, Dialectique de la pop | Emmanuel Parent
  • Pages 225 to 241| Mexican Blood, American Heart: Self-Entrepreneurship, D.I.Y Cults and Morrissey’s Latino Fans in Los Angeles | Élodie Edwards-Grossi
  • Pages 244 to 248| Sarah Baker, Lauren Istvandity, Raphaël Nowak, Curating Pop: Exhibiting Popular Music in the Museum | Emília Barna
  • Pages 248 to 252| Stephanie Fremaux, The Beatles on Screen: From Pop Stars to Musicians | Claire Fraysse
  • Pages 252 to 254| Colin Coulter (ed.), Working for the Clampdown: The Clash the Dawn of Neoliberalism and the Political Promise of Punk | Pierre Raboud
    • ]]>         tag:cairn.info,2005:numero:E_VOLU_161 <![CDATA[ Music and hacking | Volume ! (2019/2 16:1) ]]> 2019-12-09T00:00:00+01:00 2019-12-09T00:00:00+01:00 This issue examines some of the practices in which music and hacking meet. At first closely related to the development of American computer science research laboratories, hacking has since spread across various fields of human activity not necessarily related to information and communications technology. Hence, music provides both a theoretical and empirical space within which one can question hacking’s attributes, and delineate their aesthetic and organolologic effects, but also their integration into musicians’ discourses, or the way these musicans create musical communities and belong to them.

    ]]>
  • Pages 7 to 14| Music and hacking: From ethics to practices | Baptiste Bacot, Clément Canonne
  • Pages 17 to 35| DIY and hacking in noise music: Tampering with performance devices | Sarah Benhaim
  • Pages 37 to 59| Hacking Jeff Minter’s Virtual Light Machine: Unpacking the code and community behind an early software-based music visualizer | Eamonn Bell
  • Pages 61 to 79| Building-up one’s own improvisational device: Hacking and instrument-making in free improvisation practices | Clément Canonne
  • Pages 81 to 99| Knowledge of limitations: Hacking practices and creativity ideologies in chipmusic | Marilou Polymeropoulou
  • Pages 101 to 113| The art of piracy in the age of playlists | David Christoffel
  • Pages 115 to 126| Musi[ha]cking: What music does to hacking (and vice versa) | Nicolas Nova, François Ribac
  • Pages 127 to 134| From circuitry to live improvisation (and back): Hacking one’s way through contemporary electronic music | Nicolas Collins, Clément Canonne
  • Pages 136 to 139| Ewa Mazierska, Les Gillon & Tony Rigg (eds.), Popular Music in the Post-Digital Age: Politics, Economy, Culture and Technology | Loïc Riom
  • Pages 139 to 142| Nicolas Collins, Micro Analyses | Christophe Levaux
  • Pages 142 to 143| Tetsuo Kogawa, Radio-art | Gabriele Stera
  • Pages 145 to 160| Working-class cultures and popular music in Great Britain: The case of brass bands in British coalfields from 1945 to mid-1970’s | Marion Henry
  • Pages 161 to 163| ACEMUP | Eva Nicolas
  • Pages 165 to 174| About Gérôme Guibert and Catherine Rudent (eds.), Made in France, Studies in Popular Music | Denis-Constant Martin
  • Pages 176 to 178| François Ribac (ed.), Simon Frith: Une sociologie des musiques populaires | Maxim Bonin
  • Pages 179 to 182| Dean Vuletic, Postwar Europe and the Eurovision Song Contest and Karen Fricker, Milija Gluhovic (eds.), Performing the “New” Europe. Identities, Feelings and Politics in the Eurovision Song Contest | Stéphane Resche
  • Pages 183 to 186| Sarah Baker, Catherine Strong, Lauren Istvandity, Zelmarie Cantillon (eds.), The Routledge Companion to Popular Music History and Heritage | Eva Nicolas
  • Pages 187 to 189| José Juan Olvera Gudiño, Economías del rap en el noreste de México. Emprendimientos y resistencias juveniles alrededor de la música popular | Michael Spanu
    • ]]>         tag:cairn.info,2005:numero:E_VOLU_152 <![CDATA[ Paradoxical Metal: Ordinary Practices and Transgressive Representations | Volume ! (2019/1 15:2) ]]> 2019-06-21T00:00:00+02:00 2019-06-21T00:00:00+02:00 This issue explores the tensions between the negative myths surrounding metal music and the norms of its fans, via papers dealing with the reception of NWOBHM, shrieking and growling in French metal, the live metal music industry, metal worlds according to the Encyclopedia Metallum, black metal and contemporary art, as well as listening to No One Is Innocent after November 13th, 2015. In the “varia” section, an interview with Marc Butler on EDM, an excerpt of Christopher Small’s introduction to his classic, Musicking, and additional book reviews.

    ]]>
  • Pages 7 to 12| Heavy metal as a borderline case | Gérôme Guibert
  • Pages 15 to 23| Born Under A (Very) Unlucky Star: A Case Study in the Reception of New Wave of British Heavy Metal | Christophe Pirenne
  • Pages 25 to 35| The Cultural Specificities of Metal Music Production. The Case of the Live Music Industry in France | Gérôme Guibert
  • Pages 37 to 55| From Trust to Gojira, a Short History of French Metal Through the Prism of Growling Languages | Michael Spanu
  • Pages 57 to 69| Metal Worlds According to the Encyclopedia Metallum | Laurent Beauguitte, Hugues Pecout
  • Pages 71 to 89| Élodie Lesourd, Black Metal and Contemporary Art: for a Migration of Symbols | Élodie Lesourd, Catherine Guesde, Gérôme Guibert
  • Pages 91 to 99| When Only War Can Kill the Silence: Listening to No One Is Innocent after 13 November 2015 | Luis Velasco-Pufleau
  • Pages 102 to 105| Toni-Matti Karjalainen & Kimi Kärki (eds.), Modern Heavy Metal : Markets, Practices and Cultures | Simon Théodore
  • Pages 106 to 109| Andy R. Brown, Karl Spraklen, Keith Kahn-Harris & Niall W. R. Scott, Global Metal Music and Culture. Current Directions in Metal Studies | Sophie Turbé
  • Pages 109 to 112| Paula Rowe, Heavy Metal Youth Identities: Researching the Musical Empowerment of Youth Transitions and Psychosocial Wellbeing | Secil Sen
  • Pages 112 to 116| Pauwke Berkers & Julian Schaap, Gender Inequality in Metal Music Production | Charlène Bénard
  • Pages 116 to 120| Florian Heesch & Niall Scott, Heavy metal, gender and sexuality. Interdisciplinary approaches | Gérôme Guibert
  • Pages 120 to 122| Owen Coggins, Mysticism, Ritual and Religion in Drone Metal | Catherine Guesde
  • Pages 123 to 138| Rhythm, Affordance, Recording, and the Ontology of Performance: New Frontiers for Musicology | Mark J. Butler
  • Pages 139 to 151| “Prelude. Music and Musicking” (excerpt) | Jedediah Sklower
  • Pages 153 to 154| Denis-Constant Martin, l’in-discipliné | Marwa Ahmed
  • Pages 156 to 159| Mirko M. Hall, Seth Howes, Cyrus M. Shahan (eds.), Beyond No Future : Cultures of German Punk | Louise Barrière
  • Pages 159 to 162| Christian Béthune, Blues, féminisme et société : le cas Lucille Bogan | Pauline Cornic
  • Pages 162 to 166| Philippe Gonin, Robert Wyatt, Rock Bottom | Michel Delville
  • Pages 166 to 168| Philippe Le Guern (ed.), « Sound studies. À l’écoute du social » | Adrien Quièvre
  • Pages 169 to 170| Michaël Abecassis & Marcelline Block, An Anthology of French and Francophone Singers from A to Z | Michael Spanu
    • ]]>         tag:cairn.info,2005:numero:E_VOLU_151 <![CDATA[ Varia | Volume ! (2018/2 15:1) ]]> 2018-12-17T00:00:00+01:00 2018-12-17T00:00:00+01:00 This latest issue of Volume! proposes an eclectic array of papers dealing with italo disco, French singer Olivia Ruiz, Russian punk fanzines, Ornette Coleman and contemporary online marketing strategies for its, not to mention a couple of interviews with David Novak on japanoise and Simon Frith on prog rock - plus our usual reports and book reviews.

    ]]>
  • Pages 5 to 21| “ZYX music”. The continental chronicle of Italo disco | Philippe Birgy
  • Pages 23 to 43| Olivia Ruiz: The narratives of an ascension | Gabriel Segré
  • Pages 45 to 69| Incentive objects: On some transformations of DIY punk fanzines in 21st-century Russia | Anna Zaytseva
  • Pages 71 to 95| Ornette: Equality is… something else! | François-Xavier Hubert
  • Pages 97 to 117| New “crossroads” in the media coverage of music hits: Maggie Rogers’s “Alaska” | Guillaume Heuguet
  • Pages 119 to 133| Global feedback and the death of sound: An anthropology of Japanoise. An interview with David Novak | David Novak, Edouard Degay Delpeuch
  • Pages 135 to 149| On prog rock: Rock labelling, histories, performances and changes. An interview with Simon Frith | Simon Frith, François Ribac
  • Pages 151 to 154| Report on the “Chanson et parodie” study days | Luigia Parlati, Irene Gallego Blanco
  • Pages 154 to 158| Sound System Outernational # 4. Strictly Vinyl Conference | Jean-Christophe Sevin
  • Pages 161 to 163| Raphaël Nowak, Consuming Music in the Digital Age: Technologies, Roles and Everyday Life | Shara Rambarran
  • Pages 163 to 166| Raphaël Nowak & Andrew Whelan, Networked Music Cultures: Contemporary Approaches, Emerging Issues | Shara Rambarran
  • Pages 167 to 169| Jeremy Wade Morris, Selling Digital Music, Formatting Culture | Lucien Perticoz
  • Pages 170 to 171| Laurent De Wilde, Les Fous du son | Jean-Christophe Sevin
  • Pages 172 to 174| Catherine Guesde & Pauline Nadrigny, The Most beautiful ugly sound in the world. À l'écoute de la noise | Cécile Malaspina
  • Pages 174 to 177| Mark Butler, Playing with Something that Runs. Technology, Improvisation, and Composition in DJ and Laptop Performance | Emmanuel Parent
  • Pages 177 to 179| Christophe Levaux, Rage Against The Machine | Jérôme Lamy
  • Pages 179 to 180| ‪‪Marie ‪‪Buscatto‪‪, ‪‪Femmes du jazz. Musicalités, féminités, marginalités‪‪ | Chloé Cailleton, Guillaume Hazebrouck
  • Pages 181 to 183| Michael Ahlers & Christoph Jacke (eds.), Perspectives on German Popular Music | Mario Dunkel
  • Pages 183 to 185| Tsitsi Ella Jaji, Africa in Stereo: Modernism, Music and Pan-African Solidarity | Mumbua Kioko
  • Pages 185 to 188| Chérie Rivers Ndaliko, Necessary Noise: Music, Film and Charitable Imperialism in the East of Congo | Mumbua Kioko
  • Pages 188 to 190| Jack Hamilton, Just Around Midnight: Rock and Roll and the Racial Imagination | David McCarthy
    • ]]>         tag:cairn.info,2005:numero:E_VOLU_142 <![CDATA[ Watching Music | Volume ! (2018/1 14:2) ]]> 2018-05-04T00:00:00+02:00 2018-05-04T00:00:00+02:00 yéyé Scopitones and French chanson to Beyoncé’s visual album and Michel Gondry’s work for Björk, via Rage Against the Machine’s agit-prop, and dance in Mali and India, this 28th issue of Volume! proposes a rich review of recent research on music videos. Today a ubiquitous phenomenon, music videos have played a crucial role in the evolution of music creation, distribution and consumption. With a postscript by Will Straw and more than fifteen contributions, this special issue analyzes the content, materiality and meaning of animated musical images.]]>
  • Pages 7 to 20| “We Only Listen to Music Videos!” Adressing the Media Tension Between Music and Image | Marc Kaiser, Michael Spanu
  • Pages 21 to 40| Music Video in its Contexts: Popular Music and Post-Modernism in the 1980s | Will Straw
  • Pages 41 to 54| Are Scopitones the Ancestors of Music Videos? | Audrey Orillard
  • Pages 55 to 82| Beyoncé’s Overwhelming Opus; or, the Past and Future of Music Video | Carol Vernallis
  • Pages 83 to 96| The Unnatural and Impossible Storyworlds of Michel Gondry’s Music Videos: The Mise en Abyme of “Bachelorette” | Warren Buckland
  • Pages 97 to 110| For an Aesthetics of the Musico-Visual Relation in Music Videos | Antoine Gaudin
  • Pages 111 to 124| Music Video and Speech: Enunciative Pragmatics | Julien Péquignot
  • Pages 125 to 136| Maxime Le Forestier’s “L’homme au bouquet de fleurs”: the Music Video as an Extension of the Song | Jérôme Rossi
  • Pages 137 to 160| Videochoreomorphoses: Dancing and Music Videos in Mali | Élina Djebbari
  • Pages 161 to 173| Indian Regional Music Videos as Dreamcatchers in the Attention Economy | Florence Nowak
  • Pages 175 to 186| Visible Bodies and Sonic Bodies. Political Iconographies of the Music Video Format | Maxime Boidy
  • Pages 187 to 192| ‪Music Video in its Contexts: 30 Years Later‪ | Will Straw
  • Pages 193 to 200| Music Videos as a “Failed Commodity”. An Interview with David Buxton | David Buxton, Marc Kaiser
  • Pages 201 to 210| Portable Music Videos? Music Video Aesthetics for Handheld Devices | Henry Keazor
  • Pages 211 to 225| Music Festival Video: A “Media Events” Perspective on Music in Mediated Life | Fabian Holt
  • Pages 226 to 227| Mathias Bonde Korsgaard, Music Video After MTV Audiovisual Studies, New Media, and Popular Music | Barbara Laborde
  • Pages 229 to 230| ‪Steven Shaviro, Digital Music Videos‪ | Robin Cauche
  • Pages 231 to 233| Gina ‪ ‪Arnold, Daniel ‪Cookney, Kirsty ‪Fairclough‪ & Michael ‪ ‪Goddard ‪ ‪(eds.), ‪ ‪Music/Video: Histories, Aesthetics, Media‪ ‪ | Marie Vicet
  • Pages 234 to 235| ‪Sylvie Pierre, Jean-Christophe Averty, une biographie‪ | Céline Morin
  • Pages 237 to 242| Vibrations, the Comeback | Antoine Hennion
  • Pages 243 to 245| Digital Vibes: the digitilization of Vibrations | Jedediah Sklower
  • Pages 246 to 252| Jazz and Post-War French Identity | Mathieu Feryn
  • Pages 253 to 255| Kirsten Dyck, Reichsrock: The International Web of White-Power and Neo-Nazi Hate Music | Julian Schaap
  • Pages 256 to 260| ‪Bruno Giner and François Porcile, Les musiques pendant la guerre d’Espagne‪ | Luis Velasco-Pufleau
  • Pages 261 to 262| ‪Fabien Hein & Dom Blake, Écopunk. Les punks, de la cause animale à l’écologie radicale‪ | Jérôme Lamy
  • Pages 263 to 266| Rosemary Lucy Hill‪, Gender, Metal and the Media: Women Fans and the Gendered Experience of Music | Sam Grant
  • Pages 267 to 269| Ian Inglis, The Beatles | Laurent Denave
  • Pages 270 to 271| Thomas M. Kitts, John Fogerty: An American Son | Theodore L. Trost
  • Pages 272 to 274| ‪Brad Osborn, Everything in Its Right Place. Analysing Radiohead‪ | Emmanuel Parent
  • Pages 275 to 278| Rosemary Overell, Affective Intensities in Extreme Music Scenes: Cases from Australia and Japan | Sam Grant
  • Pages 278 to 279| ‪Graham St John (ed.), Weekend Societies, Electronic Dance Music Festivals and Event-Culture‪ | Samuel Lamontagne
  • Pages 280 to 281| Simone Varriale, Globalization, Music and Cultures of Distinction, The Rise of Pop Music Criticism in Italy | Marilisa Merolla
  • Pages 282 to 284| Marc Woodworth and Ally-Jane Grossan (Eds), How To Write About Music, Excerpts from the 33 1/3 series, magazines, books and blogs with advice from industry-leading writers | Maud Berthomier
    • ]]>         tag:cairn.info,2005:numero:E_VOLU_141 <![CDATA[ Varia | Volume ! (2017/2 14:1) ]]> 2017-12-12T00:00:00+01:00 2017-12-12T00:00:00+01:00
  • Pages 7 to 22| Rap Studies in Africa. Analytical review of scientific literature on African rap since the years 2000 | Alice Aterianus-Owanga
  • Pages 23 to 35| From Rap to Evangelization. Transnational Speech and Life Course of a Bishop in Ouagadougou | Alice Degorce
  • Pages 37 to 49| “Composing with”: Sampling and Sound References in the Work of a Palestinian Artist in Lebanon | Nicolas Puig
  • Pages 51 to 63| “We’re very local, but we have international standards”: Indie rock’s dissemination and appropriation by six Swiss bands | Loïc Riom
  • Pages 65 to 84| Alas, Poor ‪Richard‪‪: Fandom, Personal Identity and Ben Myer’s Novelization of Richey Edwards’ Life Story | Mark Duffett, Paula Hearsum
  • Pages 85 to 101| Jean-Marie Le Pen and The SERP : When Discs Serve Political Practices | Jonathan Thomas
  • Pages 103 to 126| The Social Place of the Portuguese Punk Scene: an Itinerary of the Social Profiles of its Protagonists | Paula Abreu, Augusto Santos Silva, Paula Guerra, Ana Oliveira, Tânia Moreira
  • Pages 127 to 135| French Punk Rock and Multilingualism: The Case of Mano Negra | André Rottgeri
  • Pages 137 to 149| Bowie: a Semiological Perspective on a Postmodern Iconographic Work | Frédéric Aubrun, Chloé Monin
  • Pages 151 to 173| Rock Fan and Communist Militant. | Edgard Garcia, Gérôme Guibert, Jedediah Sklower, Michael Spanu
  • Pages 175 to 192| From Charivaris to Big Data. Popular Music through the Lens of Sound Studies | Jonathan Sterne, Jedediah Sklower, Guillaume Heuguet
  • Pages 193 to 194| “Musical, Local, Cultural Scenes”. | Mathieu Feryn
  • Pages 194 to 196| “Music in Switzerland & Social Sciences” Conference | Nuné Nikoghosyan
  • Pages 196 to 198| “The Voice in Songs: Musicological Approaches” Conference | Pauline Cornic
  • Pages 198 to 201| Iaspm Conference in Liège | Joachim Debelder
  • Pages 205 to 207| Jonathan Sterne, Une Histoire de la modernité sonore | Guillaume Heuguet
  • Pages 208 to 210| Michael Denning, Noise Uprising: The Audiopolitics of a World Musical Revolution‪ | Michael Stewart Foley
  • Pages 211 to 212| ‪Lisa ‪‪Gilman‪‪, ‪‪My Music, My War: The Listening Habits of U.S. Troops in Iraq and Afghanistan‪‪ | Jonathan Pieslak
  • Pages 212 to 215| ‪Antoine ‪‪Hennion‪, ‪‪The Passion for Music: A Sociology of Mediation‪ | Thomas M. Kitts
  • Pages 216 to 218| John Seabrook, Hits ! Enquête sur la fabrique des tubes planétaires | Vincent Bullich
  • Pages 219 to 221| Rachel ‪‪Haworth‪‪, From the ‪chanson française ‪‪to the ‪canzone d’autore ‪‪in the 1960s and 1970s. Authenticity, Authority, Influence‪ | Vincenzo Perna
  • Pages 221 to 224| David Looseley, Édith Piaf: A cultural History | Isabelle Marc
  • Pages 225 to 227| Frédéric Bisson, La pensée rock. Essai d’ontologie phonographique | Clément Bresch
  • Pages 228 to 230| David Toop, Into the Maelstrom: Music, Improvisation and the Dream of Freedom: Before 1970 | Michel Delville
  • Pages 230 to 232| Philippe Gonin (ed.), Focus sur le rock en France | Denis Perreaux
  • Pages 233 to 235| Bérenger Hainaut, Le Style Black Metal | Baptiste Pilo
  • Pages 236 to 238| ‪‪Sílvia ‪‪Martínez ‪& Héctor Fouce‪‪ (eds), ‪‪Made in Spain. Studies in Popular Music‪‪ | Teresa Fraile
  • Pages 238 to 241| ‪‪Franco‪ Fabbri & ‪Goffredo ‪‪Plastino (eds.), ‪‪Made in Italy: Studies in Popular Music‪‪ | Rachel Haworth
  • Pages 241 to 243| Basile Zimmermann, Waves and Forms: Electronic Music Devices and Computer Encodings in China | Loïc Riom
    • ]]>         tag:cairn.info,2005:numero:E_VOLU_132 <![CDATA[ Inna Jamaican Stylee | Volume ! (2017/1 13:2) ]]> 2017-04-20T00:00:00+02:00 2017-04-20T00:00:00+02:00
  • Pages 7 to 23| “Wi likkle but wi tallawah!” The Musical Echo of a Small Caribbean Island | Thomas Vendryes
  • Pages 25 to 59| The Riddim Method: Aesthetics, Practice, and Ownership in Jamaican Dancehall | Peter Manuel, Wayne Marshall
  • Pages 61 to 79| Vinyl, Reggae and Sound System Parties. A Media Ecology | Jean-Christophe Sevin
  • Pages 81 to 97| Dread and Terrible. Jamaican Reggae through the Prism of Memory | Giulia Bonacci
  • Pages 99 to 115| Vybz Kartel, a Conservative Revolutionary? | Emmanuel Parent
  • Pages 117 to 127| Embodying Emancipation: Erotic Marronage in Jamaican Dancehall Culture | Carolyn Cooper
  • Pages 118 to 118| Jamaica: A State of Language, Music and Crisis of Nation | Hubert Devonish, Byron Jones
  • Pages 131 to 131| Jazz in Jamaica, at Home and Abroad | Herbie Miller, Roberto Moore
  • Pages 163 to 175| A Popular Culture Research Methodology: Sound System Outernational | Brian D’Aquino, Julian Henriques, Leonardo Vidigal
  • Pages 177 to 199| The Explicit, the Implicit and the Minor: Two Obscene Blues by Lucille Bogan | Christian Béthune
  • Pages 202 to 203| Markus Coester & Wolfgang Bender (eds.), A Reader in African-Jamaican Music, Dance and Religion | Sabine Sörgel
  • Pages 203 to 205| Donna Hope, International Reggae: Current and Future Trends in Jamaican Popular Music | Dennis Howard
  • Pages 205 to 208| Donna Hope (ed.), Reggae from Yaad. Traditional and Emerging Themes in Jamaican Popular Music | Werner Zips
  • Pages 208 to 210| Michael Garnice, The Ultimate Guide To Great Reggae | David Katz
  • Pages 211 to 212| Kenneth Bilby, Words of our Mouth, Meditations of our Heart: Pioneering Musicians of Ska, Rocksteady, Reggae, and Dancehall | Michael Largey
  • Pages 213 to 215| Alexandre Grondeau (ed.), Reggae Ambassadors. La légende du reggae | Kenneth Bilby
  • Pages 216 to 218| Thibault Ehrengardt, Reggae et politique dans les années 70 | Abdoulaye Gaye
  • Pages 218 to 220| Sarah Daynes, Time and Memory in Reggae Music. The Politics of Hope | David Aarons
  • Pages 220 to 222| Clinton Hutton et alii (eds.), Leonard Percival Howell and the Genesis of Rastafari | Hélène Lee
  • Pages 222 to 225| Carolyn Cooper, Sound Clash: Jamaican Dancehall Culture at Large | Dennis Howard
  • Pages 226 to 227| Julian Henriques, Sonic Bodies. Reggae Sound Systems, Performance Techniques and Ways of Knowing | Sabine Sörgel
  • Pages 228 to 230| Christopher Bateman & Al Fingers, In Fine Style: The Dancehall Art of Wilfred Limonious | Erin C. MacLeod
    • ]]>         tag:cairn.info,2005:numero:E_VOLU_131 <![CDATA[ The Punk Scene in France | Volume ! (2016/2 13:1) ]]> 2016-11-23T00:00:00+01:00 2016-11-23T00:00:00+01:00
  • Pages 7 to 15| “We’re Fed up with the Beatles and Their Shitty Music!” | Luc Robène, Solveig Serre
  • Pages 17 to 29| At the Very Beginning of Parisian Punk: From the Charlemagne Highschool to the Club 100 | Hervé Zénouda
  • Pages 31 to 45| The First Punk Scene in Normandy (1976-1980) | Christophe Pécout
  • Pages 47 to 59| The Emergence of Punk in France: Between Dandies and Autonomists (1976-1981) | Pierre Raboud
  • Pages 61 to 85| Bérurier Noir. Cultural Sociogenesis and Personal Career-Path | François Guillemot
  • Pages 87 to 111| Territoriality and Advertising: OTH’s Multi-scalar Trajectory | Thomas Loué
  • Pages 113 to 121| “Getting Stoned” in the French Punk Scene (1976-1984) | Alexandre Marchant
  • Pages 123 to 139| The Punk Body, From Transgression to Innovation (1976-2016) | Philippe Liotard
  • Pages 141 to 155| Punkness and Everyday Life in Late 1970s Paris | Marie Roué, Gérôme Guibert
  • Pages 157 to 171| Is the Corpse Still Warm? | Simon Le Roulley
  • Pages 173 to 178| Radio Electrical Waves | David Puaud
  • Pages 179 to 184| On the Origins of the Punk Grotto, from the Conservation of Bones to the Wandering of Feelings | Christophe Massé
  • Pages 185 to 188| “Keep it Simple, Make it Fast (KISMIF). Crossing Borders of Underground Music Scenes”, 13-17 July 2015 | Christine Feldman-Barrett
  • Pages 190 to 191| ‪Tōru Mitsui (ed.), Made in Japan: Studies in Popular Music‪ | Gerry McGoldrick
  • Pages 191 to 194| ‪‪Amber ‪ Clifford-Napoleone‪ , ‪Queerness in heavy metal music: metal bent‪ ‪ | Rosemary Lucy Hill
  • Pages 194 to 196| Dominique Caubet, Shouf Shouf Hollanda: succesvol en Marokkaan | Frank Weij
  • Pages 196 to 199| Michel Delville, Radiohead OK Computer | Jérôme Lamy
    • ]]>         tag:cairn.info,2005:numero:E_VOLU_122 <![CDATA[ Special Beatles Studies | Volume ! (2016/1 12:2) ]]> 2016-03-22T00:00:00+01:00 2016-03-22T00:00:00+01:00
  • Pages 7 to 12| “Musicological Fields Forever”? The Beatles and Music on the Programme | Grégoire Tosser
  • Pages 15 to 42| 50 Years of Beatles Studies | Olivier Julien
  • Pages 45 to 53| The Beatles as a “Historical Object” | Bertrand Lemonnier
  • Pages 55 to 73| The Beatles and the Birth of Youth Culture in Great Britain | Sarah Pickard
  • Pages 75 to 85| “Within You Without You”: The Beatles and the British Left | Jeremy Tranmer
  • Pages 87 to 107| History, Place and Time: the British Invation Begins | Ian Inglis, Charlotte Wilkins
  • Pages 109 to 126| “Tangerine Trees and Marmalade skies”: Cultural Agendas or Optimistic Escapism | Sheila Whiteley
  • Pages 129 to 143| The Use of the Recording Studio in Sgt. Pepper’s Lonely Hearts Club Band | Matthieu Thibault
  • Pages 145 to 160| A Mosaic Approach to ‪Abbey Road‪ | Thomas MacFarlane
  • Pages 161 to 179| Hey Maths! Formal and Computational Models in the Service of the Beatles | Moreno Andreatta, Mattia G. Bergomi, Franco Fabbri
  • Pages 181 to 191| The Beatles’ Nostalgia: Towards an Application of Harmonic Vectors Theory to Pop Music | Philippe Cathé
  • Pages 193 to 203| The Beatles, Popular Music and Society MA | Michael Brocken
  • Pages 205 to 215| Sheila, Take a Bow | Derek B. Scott, D. Ferrett, Ian Inglis, Nicola Spelman, Christian Lloyd, Deborah Finding, Simon Warner, Shara Rambarran, Tom Attah, Gérôme Guibert
  • Pages 218 to 220| Simon Critchley, Bowie | Richard Mèmeteau
  • Pages 220 to 223| Lee Marshall and Dave Laing (eds.), Popular Music Matters, Essays in Honour of Simon Frith | Jérémy Vachet
  • Pages 223 to 225| Nick Crossley, Networks of Sound, Style and Subversion: the Punk and Post-punk Worlds of Manchester, London and Sheffield, 1975-1980 | Loïc Riom
  • Pages 225 to 227| Deena Weinstein, Rock’n America: A Social and Cultural History | Russel Reising
  • Pages 228 to 229| Ryan Edwardson, Canuck Rock: A History of Canadian Popular Music | Craig Jennex
    • ]]>         tag:cairn.info,2005:numero:E_VOLU_101 <![CDATA[ The Act of Listening | Volume ! (2013/1 10:1) ]]> 2014-01-02T00:00:00+01:00 2014-01-02T00:00:00+01:00
  • Pages 7 to 20| “Audiologies” | Jedediah Sklower
  • Pages 23 to 44| Listening with Their Eyes: Problems for Radical Intertextuality | Theodore Gracyk
  • Pages 47 to 73| The Production of Success: An Anti-Musicology of the Pop Song | Antoine Hennion
  • Pages 75 to 89| “You can dance, you can jive . . .” Participation of the Listener and Listening Practices in the ABBAWORLD Exhibition | Gaëlle Crenn
  • Pages 93 to 107| Ghetto Voyeurism? Cross-Racial Listening and the Attribution of Sociocultural Distance in Popular Music | Mark Duffett
  • Pages 109 to 110| Research on Music Listening: From Typologies to Interviews with Real People | Lars Lilliestam
  • Pages 111 to 126| Listening to Elvis Fans | Gabriel Segré
  • Pages 129 to 145| “Perfect Attention” or Listening to Irish Songs | Charlotte Poulet
  • Pages 147 to 169| Listeners in Exile: The Relationship of Chileans in Montreal to Two Emblematic Songs | Laura Francisca Jordán Gonzalez
  • Pages 171 to 190| Grounding the Troops: Music, Place, and Memory in the Iraq War | Lisa Gilman
  • Pages 193 to 211| Listening to EDM: Sound Object Analysis and Vital Materialism | Mandy-Suzanne Wong
  • Pages 206 to 208| Music in Everyday Life by Tia DeNora | Michael Siciliano
  • Pages 213 to 225| Listening to So-Called “Electronic” Music | Johan Girard
  • Pages 227 to 228| Consuming Music in the Digital Age: Toward an Analysis of Sound Environments | Raphaël Nowak
  • Pages 229 to 247| Never mind the generation gap? Music listening in the everyday lives of young teenage girls and their parents | Helen Elizabeth Davies
  • Pages 249 to 263| Listening to Music on Trains: Music in the Spaces of the 21st Century | Bruce Darlington
  • Pages 265 to 266| Emotion in Popular Music: A Psychological Perspective | Emery Schubert
  • Pages 267 to 283| Comparing the Incomparable? A Proposal for Some Analytical Hybridizations of Art and Popular Music | Martin Kaltenecker
  • Pages 285 to 287| Figures de l'écoute: circonstances, usages, métaphores | Sarah Benhaim, Maël Guesdon
  • Pages 290 to 295| Veit Erlmann. Reason and Resonance. A History of Modern Aurality | Martin Kaltenecker
  • Pages 295 to 298| Martin Kaltenecker. L'Oreille divisée. L'Oreille divisée. Les discours sur l'écoute musicale aux XVIIIe et XIXe siècles  | Jean-Claire Vançon
  • Pages 298 to 301| Derek Scott, Musical Style and Social Meaning, Selected Essays, and Stan Hawkins (ed.) Critical Musicological Reflections: Essays in Honour of Derek B Scott | Keith Negus
  • Pages 301 to 303| Harris M. Berger. Stance: Ideas about Emotion, Style, and Meaning for the Study of Expressive Culture | Ruth Herbert
  • Pages 304 to 305| Don Ihde. Listening  and Voice: Phenomenologies of Sound | Dario Rudy
  • Pages 306 to 308| Tia DeNora. Music in Everyday Life | Michael Siciliano
  • Pages 308 to 311| Michael Bull. Sound Moves. iPod Culture and Urban Experience | Vincent Rouzé
  • Pages 312 to 315| Anahid Kassabian. Ubiquitous Listening. Affect, Attention, and Distributed Subjectivity  | Raphaël Nowak
  • Pages 313 to 315| Marta García Quiñones, Anahid Kassabian, and Elena Boschi, eds. Ubiquitous  Musics: The Everyday Sounds That We Don't Always Notice | Raphaël Nowak
  • Pages 315 to 319| Anthony Pecqueux and Olivier Roueff, eds. Écologie sociale de l'oreille. Enquêtes sur l'expérience musicale | Jedediah Sklower
  • Pages 320 to 322| Mark Duffett, ed. Popular Music and Society “Fandom” Issue | Tom Attah
  • Pages 322 to 324| Terrain Issue no. 53: “Voir la musique” | Johan Girard
    • ]]>