標(biāo)題: Titlebook: Eastern European Popular Music in a Transnational Context; Beyond the Borders Ewa Mazierska,Zsolt Gy?ri Book 2019 The Editor(s) (if applica [打印本頁(yè)] 作者: Filament 時(shí)間: 2025-3-21 17:16
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書(shū)目名稱(chēng)Eastern European Popular Music in a Transnational Context影響因子(影響力)學(xué)科排名
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書(shū)目名稱(chēng)Eastern European Popular Music in a Transnational Context讀者反饋
書(shū)目名稱(chēng)Eastern European Popular Music in a Transnational Context讀者反饋學(xué)科排名
作者: Myocyte 時(shí)間: 2025-3-21 20:52 作者: Semblance 時(shí)間: 2025-3-22 02:00
Loopholes in the Iron Curtain: Obtaining Western Music in State Socialist Czechoslovakia in the 1970titutes of other socialist states. Besides analysing various ways of obtaining music and describing the different motivations for participating in the smuggling, selling or trading of Western records, the chapter also explores what the possession of precious records meant to their owners in terms of generating different kinds of capital.作者: 愛(ài)哭 時(shí)間: 2025-3-22 07:07
Authenticity and Orientalism: Cultural Appropriations in the Polish Alternative Music Scene in the 1 cultures. The social construction of authenticity in alternative lifestyles was connected to one’s perceived otherness from the social majority and at times ‘invented’ otherness against both the dominant culture and the suppressive political power.作者: 莎草 時(shí)間: 2025-3-22 10:04
Eastern Europe as Punk Frontier own international networks, allowing them to tour throughout the European Union. The last part of the chapter examines the strategies underground Estonian clubs use to attract touring foreign bands. By analysing these strategies, we see certain principles that are in common with the European underground scene.作者: 慷慨不好 時(shí)間: 2025-3-22 15:11 作者: 慷慨不好 時(shí)間: 2025-3-22 20:19 作者: CUB 時(shí)間: 2025-3-23 01:03
Francesca Mastorci,Jacopo Agrimi cultures. The social construction of authenticity in alternative lifestyles was connected to one’s perceived otherness from the social majority and at times ‘invented’ otherness against both the dominant culture and the suppressive political power.作者: 共同生活 時(shí)間: 2025-3-23 05:00 作者: Heart-Rate 時(shí)間: 2025-3-23 07:37
Adolescent Pregnancy and Parentingolish audiences acquired in the 1990s. It argues that the collaboration was profitable for both the Yugoslav and Polish sides, resulting in records selling in high numbers and concert tours. However, it also points out that the Yugo-Polish collaboration was a parochial affair, whose success was limited to Poland.作者: 牛馬之尿 時(shí)間: 2025-3-23 11:53 作者: Frequency 時(shí)間: 2025-3-23 15:34 作者: Toxoid-Vaccines 時(shí)間: 2025-3-23 20:47
Adolescent Decision-Making Toward Motherhoodt a career in Poland and exploring Polish culture through his work was ultimately more important to him than participating in the global music market. His story is thus ‘post-colonial’ in the sense of experiencing both liberation from colonial influences and not caring about colonial powers.作者: SKIFF 時(shí)間: 2025-3-23 23:57 作者: 人充滿(mǎn)活力 時(shí)間: 2025-3-24 03:57
https://doi.org/10.1007/978-3-030-82583-6 pan-European network that connected popular music industries on both sides of the Iron Curtain, and how Intervision contributed to the forming of a common European popular culture by showcasing stars who were popular in both Eastern and Western Europe.作者: 古董 時(shí)間: 2025-3-24 10:29 作者: gonioscopy 時(shí)間: 2025-3-24 12:56 作者: fixed-joint 時(shí)間: 2025-3-24 15:40 作者: 別炫耀 時(shí)間: 2025-3-24 19:58
Success, Failure, Splendid Isolation: Czes?aw Niemen’s Career in Europet a career in Poland and exploring Polish culture through his work was ultimately more important to him than participating in the global music market. His story is thus ‘post-colonial’ in the sense of experiencing both liberation from colonial influences and not caring about colonial powers.作者: Chemotherapy 時(shí)間: 2025-3-25 03:11
Balkan High, Balkan Low: Pop-Music Production Between Hybridity and Class Struggleials of the social substrate situated at the periphery of the capitalist system, from the masses within the peripheral regions to immigration. Hence this logic reveals the hidden class nature of Balkan pop music, dividing its current streams into two different camps of producers and consumers.作者: slow-wave-sleep 時(shí)間: 2025-3-25 03:36 作者: amphibian 時(shí)間: 2025-3-25 11:14 作者: heartburn 時(shí)間: 2025-3-25 12:42
Celine A. Saulnier,Cheryl Klaimanaternalist public sphere and, on the other hand, the increasing commercialisation of the festival. As a consequence, Hungarian bands and participants alike felt excluded at the event which re-branded itself for the affluent European middle class and integrated the cult of youth into its cosmopolitan image.作者: 作嘔 時(shí)間: 2025-3-25 18:01 作者: 調(diào)情 時(shí)間: 2025-3-25 20:55
Ewa Mazierska,Zsolt Gy?riExamines a previously under-researched area of popular music and Eastern European studies.Written by authors with a local knowledge.Covers production and consumption of popular music, including music 作者: 蕁麻 時(shí)間: 2025-3-26 02:21 作者: 終止 時(shí)間: 2025-3-26 08:21 作者: 血統(tǒng) 時(shí)間: 2025-3-26 11:03 作者: 注視 時(shí)間: 2025-3-26 13:16
978-3-030-17036-3The Editor(s) (if applicable) and The Author(s) 2019作者: dilute 時(shí)間: 2025-3-26 20:07
https://doi.org/10.1007/978-1-4613-8682-7ll attention to the asymmetrical influences between Western and Eastern European music industries and the latter’s peripheral status during the state socialist and postcommunist periods. In addition to superior symbolic value associated with Anglo-American popular music (mainly pop-rock) another ove作者: 不如屎殼郎 時(shí)間: 2025-3-26 23:25 作者: Leaven 時(shí)間: 2025-3-27 02:01 作者: 怕失去錢(qián) 時(shí)間: 2025-3-27 07:08
Francesca Mastorci,Jacopo Agrimimic, and aesthetic influences and dependencies of the mainstream music scene intertwined with what was perceived as an alternative society’s resistance to the system. In the music underground, the moral demand to be authentic led to the appropriation of the images, ideas, styles, and genres of other作者: farewell 時(shí)間: 2025-3-27 10:36 作者: enlist 時(shí)間: 2025-3-27 14:57 作者: Collar 時(shí)間: 2025-3-27 21:03 作者: 圓木可阻礙 時(shí)間: 2025-3-28 01:31
https://doi.org/10.1007/978-3-030-69955-0 superstyle, and, on the other, the local pop-folk musical production in the Balkans themselves. Although both of these genres are characterised by similar features (hybridity, Oriental sounds, transnationalism), they actually create and express two parallel worlds. While Balkan world music has rece作者: 擁護(hù)者 時(shí)間: 2025-3-28 02:45 作者: etidronate 時(shí)間: 2025-3-28 07:36
Celine A. Saulnier,Cheryl Klaiman featuring both international super-productions and emerging local talent, the Sziget experience offered a window to global trends in an atmosphere resembling that of a giant house-party. This chapter examines the event’s internationalisation and the challenges this meant for its local fanbase of mi作者: 鋼盔 時(shí)間: 2025-3-28 12:11 作者: 橫截,橫斷 時(shí)間: 2025-3-28 16:01
Introduction: Crossing National and Regional Borders in Eastern European Popular Music,ll attention to the asymmetrical influences between Western and Eastern European music industries and the latter’s peripheral status during the state socialist and postcommunist periods. In addition to superior symbolic value associated with Anglo-American popular music (mainly pop-rock) another ove作者: Incisor 時(shí)間: 2025-3-28 18:59
Loopholes in the Iron Curtain: Obtaining Western Music in State Socialist Czechoslovakia in the 1970ctions and border controls after the Soviet-led invasion in 1968, there were still several ways of obtaining Western music, including smuggling of records, relying on relatives living abroad, illegal music markets, copying of borrowed albums, listening to foreign radio and even visiting cultural ins作者: angina-pectoris 時(shí)間: 2025-3-29 02:22
Quiet Fanaticism: The Phenomenon of Leonard Cohen’s Popularity in Polandsation of Cohen’s songs, poems and sensibility by the artist’s fans. It focuses on both the quantitative and qualitative dimensions of Cohen’s Polish popularity. The first concerns the presence of Cohen’s music in the Polish music press, radio and television, and its circulation in its original form作者: Insulin 時(shí)間: 2025-3-29 07:00 作者: 反應(yīng) 時(shí)間: 2025-3-29 09:26
Eastern Europe as Punk Frontierlaws make touring relatively easy. With more than 10?years’ experience as a DIY concert promoter and freelance music journalist, the author argues that the punk ethos makes punk more accessible to bands from obscure regions such as Estonia or Romania. Additionally, Estonian bands have built up their作者: STENT 時(shí)間: 2025-3-29 15:27 作者: 格言 時(shí)間: 2025-3-29 15:36 作者: 蒙太奇 時(shí)間: 2025-3-29 22:13
Balkan High, Balkan Low: Pop-Music Production Between Hybridity and Class Struggle superstyle, and, on the other, the local pop-folk musical production in the Balkans themselves. Although both of these genres are characterised by similar features (hybridity, Oriental sounds, transnationalism), they actually create and express two parallel worlds. While Balkan world music has rece作者: 背書(shū) 時(shí)間: 2025-3-30 02:59 作者: reflection 時(shí)間: 2025-3-30 06:35
Between Utopia and the Marketplace: The Case of the Sziget Festival featuring both international super-productions and emerging local talent, the Sziget experience offered a window to global trends in an atmosphere resembling that of a giant house-party. This chapter examines the event’s internationalisation and the challenges this meant for its local fanbase of mi作者: fidelity 時(shí)間: 2025-3-30 08:22
A Tale of Two (or #EverMore) Festivals: Electronic Music in a Transylvanian Townusic (EDM) festivals in Europe—negotiate their regional, national and global identities as part of the festival culture. The chapter also discusses the ways festival organisers appropriate, adapt and express universal symbols and cultural tropes, to make local Transylvanian identities relevant to gl
