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Empire of song
The Eurovision Song Contest (ESC) is more than a musical event that ostensibly “unites European people” through music. It is a spectacle: a performative event that allegorically represents the idea of “Europe.” Since its beginning in the Cold War era, the contest has functioned as a symbolic realm for the performance of European selves and the negotiation of European identities. Through the ESC, Europe is experienced, felt, and imagined in singing and dancing as the interplay of tropes of being local and/or European is enacted. In Empire of Song: Europe and Nation in the Eurovision Song Contest, contributors interpret the ESC as a musical “mediascape” and mega-event that has variously performed and performs the changing visions of the European project. Through the study of the cultural politics of the ESC, contributors discuss the ways in which music operates as a dynamic nexus for making national identities and European sensibilities, generating processes of “assimilation” or “integration,” and defining the celebrated notion of the “European citizen” in a global context. Scholars in the volume also explore the ways otherness and difference are produced, spectacularized, challenged, or even neglected in the televised musical realities of the ESC. For the contributing authors, song serves as a site for constituting Europe and the nation, on- and offstage. History and politics, as well as the constant production of European subjectivities, are sounded in song. The Eurovision song is a shifting realm where old and new states imagine their pasts, question their presents, and envision ideal futures in the New Europe. Essays in Empire of Song adopt theoretical and epistemological orientations in their exploration of “popular music” within ethnomusicology and critical musicology, questioning the idea of “Europe” and the “nation” through and in music, at a time when the European self appears more fragmented, if not entirely shattered. Bringing together ethnomusicology, music studies, history, social anthropology, feminist theory, linguistics, media ethnography, postcolonial theory, comparative literature, and philosophy, Empire of Song will interest students and scholars in a vast array of disciplines.
eBook
Performing civility
Although competitions in classical music have a long history, the number of contests has risen dramatically since the Second World War, all of them aiming to launch young artists' careers. This is not the symptom of marketization that it might appear to be. Despite the establishment of an international governing body, competitions are plagued by rumors of corruption, and even the most mathematically sophisticated voting system cannot quell accusations that the best talent is overlooked. Why do musicians take part? Why do audiences care so much about who wins? This is the first book to address these questions. In this groundbreaking study, Lisa McCormick draws from firsthand observations of contests in Europe and the US, in-depth interviews with competitors, jurors and directors, as well as blog data from competition observers to argue that competitions have endured because they are not only about music, they are also about civility.
Book
Sight over sound in the judgment of music performance
Social judgments are made on the basis of both visual and auditory information, with consequential implications for our decisions. To examine the impact of visual information on expert judgment and its predictive validity for performance outcomes, this set of seven experiments in the domain of music offers a conservative test of the relative influence of vision versus audition. People consistently report that sound is the most important source of information in evaluating performance in music. However, the findings demonstrate that people actually depend primarily on visual information when making judgments about music performance. People reliably select the actual winners of live music competitions based on silent video recordings, but neither musical novices nor professional musicians were able to identify the winners based on sound recordings or recordings with both video and sound. The results highlight our natural, automatic, and nonconscious dependence on visual cues. The dominance of visual information emerges to the degree that it is overweighted relative to auditory information, even when sound is consciously valued as the core domain content.
Journal Article
Transformation into anti-manipulation method in voting. Changes in properties
This paper examines the properties of the anti-manipulation method in voting. Such a method can be used by committees and similar bodies to ensure that votes reflect genuine preferences. The anti-manipulation method is based on the Borda Count and discourages strategic voting by excluding scores that deviate excessively from the mean. The method does not eliminate strategic voting but diminishes the motivation to apply it. We compare the properties of the Borda Count and the anti-manipulation method. The properties, which are most often found in the literature, were chosen for comparison. Thus, the following properties are examined: consistency, vulnerability to the no-show paradox, vulnerability to the subset choice condition, homogeneity, monotonicity, and vulnerability to the reversal bias paradox as well as the Condorcet winner and loser paradoxes. The anti-manipulation method fails to satisfy most of these properties. A real data example, the voting of a certain jury, is used as a counterexample in most cases.
Journal Article
Postwar Europe and the Eurovision song contest
Postwar Europe and the Eurovision Song Contest examines how the Eurovision Song Contest has reflected and become intertwined with the history of postwar Europe from a political perspective. Established in 1956, the Eurovision Song Contest is the world's largest popular music event and one of the most popular television programmes in Europe, currently attracting a global audience of around 200 million people. Eurovision is often mocked as cultural kitsch because of its over-the-top performances and frivolous song lyrics. Yet there is no cultural medium that connects Europeans more than popular music, the development of which has always been tied to cultural, economic, political, social and technological change - making Eurovision the ideal tool to explain the history of Europe in the last sixty years. This book uses Eurovision as a vehicle to address topics ranging from the Cold War, liberal democracy and communism to nationalism, European integration, economic prosperity and human rights. It analyses these subjects through their cultural, political and social relationships with Eurovision entries as expressed through lyrics and music, as well as by examining public debates that have accompanied the selection of the entries and the organisation of the contest itself. Postwar Europe and the Eurovision Song Contest also considers how states have used Eurovision to define their identities in a European context, be it to assert their national distinctiveness, highlight political issues or affirm their Europeanism or Euroscepticism in the context of European integration.
Book
Idolized : music, media, and identity in American idol
The hit television program American Idol provides a stage where the
politics of national, regional, ethnic, and religious identity are performed for
millions of viewers. Diversity is carefully highlighted and coached into a viable
commodity by judges, argues Katherine Meizel, with contestants packaged into
familiar portraits of American identities. Consumer choice, as expressed by audience
voting, also shapes the course of the show -- negotiating ideas of democracy and
opportunity closely associated with the American Dream. Through interviews with
audience members and participants, and careful analyses of television broadcasts,
commercial recordings, and print and online media, Meizel demonstrates that
commercial music and the music industry are not simply forces to be criticized or
resisted, but critical sites for redefining American culture.
eBook
Bandslam
\"A gifted young singer-songwriter recruits the new kid in town to manage her fledgling rock band in this music-driven comedy starring Vanessa Anne Hudgens and Gaelan Connell. Charlotte Banks (Aly Michalka) has what it takes to be a true rock star, and with the battle of the bands approaching she's determined to win. Her chief opponent in the upcoming competition is none other than her egotistical ex-boyfriend Ben (Scott Porter). Ben may be cocky, but there's no denying his charisma when he takes the stage. With a little help from new arrival Will Burton (Connell), Charlotte's band begins to develop a unique sound and starts writing some original songs. Meanwhile, as Will and singer/guitarist Sa5m (Hudgeons) start to make a love connection, disaster strikes, and the band is forced to choose between conceding the competition or standing tall and finally living up to their true potential\"--AllRovi, Sept. 28, 2011.
DVD
Fiddling for Norway
Fiddling for Norway is an engrossing portrait of a fiddle-based folk revival in Norway, one that in many ways parallels contemporary folk institutions and festivals throughout the world, including American fiddling. It is a detailed case study in the politics of culture, the causes and purposes of folk revivals, and the cultivation of music to define identity.
The book begins with an investigation of the people and events important to Norwegian folk fiddling, tracing the history of Norwegian folk music and the growth and diversification of the folk music revival. The narrative takes us to fiddle clubs, concerts and competitions on the local, regional, and national levels, and shows how conflicting emphases—local vs. national identity, tradition vs. aesthetic qualities—continue to transform Norwegian folk music. Goertzen utilizes a large anthology of meticulously transcribed tunes to illustrate personal and regional repertoires, aspects of performance practice, melodic gesture and form, and tune relationships. Ethnomusicologists and readers who fiddle will enjoy both the music and the stories it tells.
eBook