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  • 1.
    Fornäs, Johan
    Södertörn University, School of Culture and Education, Media and Communication Studies.
    Frith’s popular music studies: an essay review of 'Popular Music Matters: Essays in Honour of Simon Frith'2015In: Popular Music, ISSN 0261-1430, E-ISSN 1474-0095, Vol. 34, no 2, p. 312-317Article, book review (Other academic)
  • 2.
    Fornäs, Johan
    Linköpings universitet, Advanced Cultural Studies Institute of Sweden.
    MOVING ROCK: Youth and pop in late modernity1990In: Popular Music, ISSN 0261-1430, E-ISSN 1474-0095, Vol. 9, no 3, p. 291-306Article in journal (Refereed)
    Abstract [en]

    Popular music in late modernity contains crucial ambivalences that ask for a non-reduc­tionist cultural critique. To that end, a multi-dimensional model is suggested for understanding sources, learning pro­ces­ses, recent changes, and resistance forms in pop and youth culture. On an objective level, a growing systemic rationality of technology, politics and economy induces counter-powers and counter-institutions. On a social level, a gradual release from traditional norms and relations inspire experiments with counter-values and counter-groups. On a subjective level new narcissist personal traits develop, leading to counter-identities. On a cultural level a growing reflexivity make counter-cultures try out open and flexible forms of symbolic interaction and music making.

  • 3.
    Fornäs, Johan
    Linköpings universitet, Advanced Cultural Studies Institute of Sweden.
    The future of rock: discourses that struggle to define a genre1995In: Popular Music, ISSN 0261-1430, E-ISSN 1474-0095, Vol. 14, no 1, p. 111-125Article in journal (Refereed)
    Abstract [en]

    Facing the millenial shift, the article enters the debate on the future or alleged death of rock music. Changing technological, eco­nom­ical, institutional, sub­ject­ive, social and aesthetic transformations are analyzed, in order to see how the use values of rock may be affected or even eroded. A wide and a narrow genre definition is contrasted, and their mutual conflict is seen as crucial to the historical development of rock. The article argues that rock survives as long as various actors engage in discursive struggles to define it differently, fighting for the right to rock.

  • 4.
    Muchitsch, Veronika
    Södertörn University, School of Culture and Education, Gender Studies.
    Listening to Anohni's variously vibrating voice: studying transfeminine vocality in 21st-century popular music culture through the concept of vocal figurations2023In: Popular Music, ISSN 0261-1430, E-ISSN 1474-0095, Vol. 42, no 1, p. 59-78Article in journal (Refereed)
    Abstract [en]

    This article examines the work and reception of singer-songwriter Anohni to investigate sonic and discursive negotiations of transfeminine vocality in 21st-century popular music culture. Developing Haraway's concept of feminist figurations, it introduces the concept of vocal figurations, which articulates a performative, relational and multiply mediated understanding of voice, wherein gendered voice takes shape through processes of voicing and listening. I initially examine Anohni's reception to analyse how biologist, trans-exclusionary and othering discourses surrounding voice and gender inform emergent discourses of transfeminine voices in the first decades of the 21st century. Subsequently, I build on trans and queer theorisations of voice and listening to engage Anohni's variably vibrating voice as a vocal figuration that may challenge biologist and marginalising constructions of transfeminine vocality. I suggest that it may attune us to recognise all gendered voices as thoroughly situated yet changeable configurations of sounding voices, bodies, and subjects.

  • 5.
    Werner, Ann
    et al.
    Södertörn University, School of Culture and Education, Gender Studies.
    Gadir, Tami
    RMIT University, School of Media and Communication, Melbourne, Australia.
    De Boise, Sam
    Örebro University, School of Music, Theatre and Art, Örebro, Sweden.
    Broadening research in gender and music practice2020In: Popular Music, ISSN 0261-1430, E-ISSN 1474-0095, Vol. 9, no 3-4, p. 636-651Article in journal (Refereed)
    Abstract [en]

    This article builds on research about gender in music practice, concerned with skewed musical canons, ratios and quotas of gender representation, unfair treatment and power dynamics, and the exclusionary enmeshment with music technologies. The aim is to critically discuss what ‘gender’ is understood to be, how it has been studied and how gendered power has been challenged, in order to suggest new routes for research on gender and music practice. While we count ourselves among the scholars working in the field and critically investigate our own work as well as that of others, the article addresses some additional concerns to those of previous studies by examining how gender is ontologically constructed in these studies, how intersectional approaches can enrich analyses of gender in music practice and how the material dimensions of music practice can be actively addressed. The conclusions outline suggestions for broadening research in gender and music practice.

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