Leo Jehne and his contribution to popular music research

The dependence of popular music on the media for its dissemination throws up a new set of challenges for scholars operating with traditional music and art music. However being music he/she still has to investigate the time tested sources along with new sources that are now usually used or looked up to for data. However, such sources or the new approach uses established source that popular music research has spun. This paper therefore highlights these sources and shares the personal experience in using both the conventional and unconventional sources in the hope that it will ultimately reduce wastage of resources and increase the quality of scholarship in popular music. Keywords: Data, Popular music, Music Research, Nigerian Music, Music Scholarship

American Popular Music. Volume 1, The Nineteenth Century and Tin Pan Alley. Volume 2, The Age of Rock. Edited by Timothy E. Scheurer. Bowling Green, OH: Bowling Green State University Popular Press, 1989. 181 pp. and 267 pp. - Popular Music Research: an Anthology From NORDICOM-Sweden. Edited by Keith Roe and Ulla Carlsson. Göteborg: Nordicom Information Center, University of Göteborg Department of Political Science, 1990. 167 pp. - Volume 10 Issue 1

(1989). One step up and two steps back: A heuristic model for popular music and communication research. Popular Music and Society: Vol. 13, No. 1, pp. 9-21.

A characteristic of the field of popular music studies in Australia and New Zealand (Australasia) is the strong and enduring presence of ethnomusicology and allied ethnographic approaches to popular music research in this region. In Australasia, ethnomusicology offers popular music researchers the opportunity to engage in a meaningful and direct way with a range of musical practices by Indigenous and migrant performers. Meanwhile, popular music studies provides ethnomusicologists with a way of demonstrating that they are interested in more than just traditional or ancestral musical practices. This article will provide a history of the interdisciplinary relationship between ethnomusicology and popular music studies in Australasia, and will examine the role of Indigenous and migrant music research in fostering links between these two disciplinary fields

A characteristic of the field of popular music studies in Australia and New Zealand (Australasia) is the strong and enduring presence of ethnomusicology and allied ethnographic approaches to popular music research in this region. In Australasia, ethnomusicology offers popular music researchers the opportunity to engage in a meaningful and direct way with a range of musical practices by Indigenous and migrant performers. Meanwhile, popular music studies provides ethnomusicologists with a way of demonstrating that they are interested in more than just traditional or ancestral musical practices. This article will provide a history of the interdisciplinary relationship between ethnomusicology and popular music studies in Australasia, and will examine the role of Indigenous and migrant music research in fostering links between these two disciplinary fields.

The very existence of popular music research in its various aspects can be considered, with its investment of attention, as a general value judgement on the music's potentialities. Moreover, we should not forget that a serious interest in popular music research would probably not have been possible without the emergence of more ambitious musical products testifying to a need for emancipation. Even so, perhaps because of a bitter awareness of its own roots in the same cultural and political processes, popular music research has somehow more and more tended to ignore ‘quality’ products in the field, whether because of their decline since the 1970s, or for the sake of some ‘scientific’ suspension of value judgement.

The very existence of popular music research in its various aspects can be considered, with its investment of attention, as a general value judgement on the music’s potentialities. Moreover, we should not forget that a serious interest in popular music research would probably not have been possible without the emergence of more ambitious musical products testifying to a need for emancipation. Even so, perhaps because of a bitter awareness of its own roots in the same cultural and political processes, popular music research has somehow more and more tended to ignore ‘quality’ products in the field, whether because of their decline since the 1970s, or for the sake of some ‘scientific’ suspension of value judgement.

(1981). The battered and neglected orphan: Popular music research and books. Popular Music and Society: Vol. 8, No. 1, pp. 43-59.

The book explores the development of popular music research in the Czech lands and neighbouring socialist states, a field that was institutionalised here well before it was in the West. Based on the analysis of previously unprocessed archival sources, the authors examine the preconditions for the early establishment of ‘popular musicology’ in the Czech lands in the context of Marxist music criticism and communist cultural policy, focusing on the milestones of 1948, 1968, and 1989. The authors discuss how popular music research was organised in the Czech lands, its protagonists, how their work was influenced by the environment of the respective countries behind the Iron Curtain, and how their approaches differed from the ones of their Western colleagues.

(1982). First international conference on popular music research. Popular Music and Society: Vol. 8, No. 2, pp. 125-128.

What is popular music to Slovene listeners? How is it conceived of in terms of vocabulary, and what can be said of the political potential of its aesthetic instance? In the field of Slovene popular music and audience research, these issues have thus far remained un(der)explored. Nevertheless, they need to be addressed: if carefully contextualized, looking into the questions of what popular music signifies, and is connected with, for different Slovene audiences points to the cultural meaning-assigning power-play at work. Bearing this issue in mind, the text attempts to provide a contextually informed overview of how Slovene popular music audiences of different—inductively singled out—age groups conceive of the aesthetics of Slovenian popular music. The text analyzes 150 semi-structured interviews with popular music audiences in Slovenia, conducted in 2012 as part of the HERA POPID project. It employs a Bakhtinian conceptual framework and attempts to locate the aesthetic coordinates of popular music discourse in Slovenia, arguing that the aesthetic moment might offer a possibility of escaping stabilized connections between popular music, nation, identity, and ideology.

The underlying conceptual models and assumptions present in works-based bibliographic systems are at odds with the ontological status of music as something that takes place in time. One approach to modeling metadata for music is to use the idea of the music scene. A number of key debates of popular music scenes research are introduced and then two short cases studies are used to demonstrate the challenges and opportunities music presents to the construction of metadata for music, particularly in relation to the idea of music scenes and linked open data. Finally some questions for future work and areas of critique are presented.

In recent years, interest within popular music research in describing, analysing and discussing the music itself, the sounding object, has considerably increased. To the English speaking world, the most well known example perhaps is the work of Allan Moore (1993). At my department in Gothenburg, however, by the middle of the 1980s already several dissertations were being written taking the structure of popular music as their starting point to analyse the functions and meaning of popular music in society (Åhlen 1987, Björnberg 1987, Lilliestam 1988). The only problem with these dissertations, as well as with my book on the tin-pan alley tradition in Sweden (1989), is that they are all written in Swedish (although the dissertations have summaries in English or German).

The status of popular music research in North American ethnomusicology has changed significantly in the last 25 years. Expanding rapidly in the late 1990s and early 2000s, popular music research in ethnomusicology was part of a set of broader intellectual developments that challenged the liberal inclusionism that dominated the discipline during this period, developments that, as other writers have observed, included the growing prominence of critical approaches to humanistic inquiry, new ideas about media and culture, and the rise of the neoliberal university. This article tracks the shifting reception of popular music research in ethnomusicology during this period and the place that this work held in these wider transformations. Taking institutional history as its starting point, the article discusses the position of ethnomusicology among other music disciplines in the North American academy, the debates that surrounded the formation of the Popular Music Section of the Society for Ethnomusicology (PMSSEM) and the relationship between PMSSEM and the International Association for the Study of Popular Music. Examining the interplay between residual and emergent elements of intellectual culture in today’s discipline, the article explores the reciprocities and tensions between liberal inclusionism and radical cultural critique, the ethnomusicologist’s productive resistance to defining the notion of popular music, the charges of ethnocentrism that have recently been levelled at the ethnomusicology of popular music, and the differing approaches to the question of populism at play in contemporary ethnomusicology’s politics of culture.

Předložená studie pojednává o kariéře Josefa Kotka (1928-2009); badatele, který jako člen muzikologického pracoviště Československé akademie věd a později Akademie věd České republiky více než třicet let soustředěně zkoumal problematiku populární hudby.Pozornost je věnována východiskům Kotkovy profesní dráhy stejně jako institucionalizaci českého výzkumu populární hudby na přelomu padesátých a šedesátých let 20.století pod vlivem marxistické muzikologie.Dále Kotkovým badatelským, publicistickým i organizačním aktivitám v letech 1962-1998, kdy dotyčný působil na akademii věd