A economia cultural do patrimônio da música popular
DOI:
https://doi.org/10.11606/issn.2238-7714.no.2021.192818Palavras-chave:
Patrimônio, Música popular, Economia da cultura, ValorResumo
Quais são o significado, a significância e a função da herança da música popular, um campo de práticas que passou por considerável expansão desde a virada do século? Este artigo situa tal eflorescência no contexto de uma maior democratização do patrimônio, memória, arquivo e da história ao examinar a singularidade desse campo por meio das lentes da economia da cultura. A partir de evidências oriundas de uma variedade de exemplos contemporâneos, discute-se como os valores culturais e econômicos são produzidos através de práticas políticas, das instituições culturais, das comunidades interessadas e da indústria musical. As atividades de preservação, performance e promoção do patrimônio musical popular o cristalizam como um conceito que possibilita uma forma particular de conhecer o passado. Enquanto essa herança pode expressar um impulso democrático, a reprodução das hierarquias e desigualdades na cultura da música popular podem ser percebidas como um espaço contínuo de negociações de significados.
Downloads
Referências
About The Team. (n.d.). Jaminc. Recuperado em 06/fev/2022, de https://wemanagelegends.com/about-the-team/
‘All things must pass’ 50th Anniversary releases. (2021, 30 de julho). George Harrison. https://www.georgeharrison.com/atmp50/
Australian Music Vault. (2020). Highways of hope: Our story within. https://www.australianmusicvault.com.au/music%20stories/banding%20together/highways%20of%20hope%20our%20story%20within/
Backtracks. (n.d.). Home. Backtracks. https://backtracks.fm/
Bakare, L. (2021, 14 de setembro). Design Museum to host major Amy Winehouse retrospective. The Guardian. https://www.theguardian.com/music/2021/sep/14/design-museum-to-host-major-amy-winehouse-retrospective
Baker, C. (2015). Beyond the island story?: The opening ceremony of the London 2012 Olympic Games as public history. Rethinking History, 19(3), 409-428. https://doi.org/10.1080/13642529.2014.909674
Baker, S., & Collins, J. (2015). Sustaining popular music’s material culture in community archives and museums. International Journal of Heritage Studies, 21(10), 983-996. https://doi.org/10.1080/13527258.2015.1041414
Baker, S., Istvandity, L., & Nowak, R. (2019). Curating pop: Exhibiting popular music in the museum. Bloomsbury.
Baker, S., Strong, C., Istvandity, L., & Cantillon, Z. (Eds.). (2018). The Routledge companion to popular music history and heritage. Routledge.
Ballico, C., & Watson, A. (2020). Music cities: Evaluating a global cultural policy concept. Palgrave Macmillan.
Bamat, J. (2013, 18 de outubro). Europunk goes mainstream for Paris music museum. France 24. https://www.france24.com/en/20131018-europunk-paris-art-exhibition-cite-musique-sex-pistols-punk-rock
Barber, S. (2019). My jazz world: The rise and fall of a digital utopia. In N. Gebhardt, N. Rustin-Paschal & T. Whyton (Eds.), The Routledge companion to jazz studies (pp. 455-464). Routledge.
Barman, E. (2016). Caring capitalism: The meaning and measure of social value. Cambridge University Press.
Barnes, M. (2020, 21 de dezembro). ‘It speaks to an ancient history’: Why South Africa has the world’s most exciting dance music. The Guardian. https://www.theguardian.com/music/2020/dec/21/south-africa-dance-music-afrohouse-gqom-amapiano
Bates, E. (2020). Vinyl as event: Record Store Day and the value-vibrant matter nexus. Journal of Cultural Economy, 13(6), 690-708. https://doi.org/10.1080/17530350.2019.1668822
Bennett, A. (2009). “Heritage rock”: Rock music, representation and heritage discourse. Poetics, 37(5-6), 474-489. https://doi.org/10.1016/j.poetic.2009.09.006
Bennett, A, & Strong, C. (2018). Popular music heritage, grass-roots activism and web 2.0: The case of the ‘save the palace’ campaign. Cultural Sociology, 12(3), 368-383. https://doi.org/10.1177%2F1749975518762569
Berman, J. (2018, 9 de maio). For Viv Albertine, honesty is as punk as it gets. Literary Hub. https://lithub.com/for-viv-albertine-honesty-is-as-punk-as-it-gets
Bonacchi, C. (2021). Heritage transformations. Big Data & Society, 8(2), 1-4. https://doi.org/10.1177%2F20539517211034302
Bottomley, A. J. (2016). Play it again: Rock music reissues and the production of the past for the present. Popular Music and Society, 39(2), 151-174. https://doi.org/10.1080/03007766.2015.1036539
Brandellero, A., & Janssen, S. (2014). Popular music as cultural heritage: Scoping out the field of practice. International Journal of Heritage Studies, 20(3), 224-240. https://doi.org/10.1080/13527258.2013.779294
Brandellero, A., Janssen, S., Cohen, S., & Roberts, L. (2014). Popular music heritage, cultural memory and cultural identity. International Journal of Heritage Studies, 20(3), 219-223. https://doi.org/10.1080/13527258.2013.821624
British Phonographic Industry. (2021). Tellin’ stories: The art of building & maintaining artist legacies. https://www.bpi.co.uk/news-analysis/tellin-stories-the-art-of-building-maintaining-artist-legacies/
Broven, J. (2010). Record makers and breakers: Voices of the independent rock ’n’ roll pioneers. University of Illinois Press.
Bromley Bowie. (n.d.). Sobre [página do Facebook]. Facebook. https://www.facebook.com/bromley.bowie
Cantillon, Z., Baker, S., & Nowak, R. (2021). A cultural justice approach to popular music heritage in deindustrialising cities. International Journal of Heritage Studies, 27(1), 73-89. https://doi.org/10.1080/13527258.2020.1768579
Caswell, M. (2021). Urgent archives: Enacting liberatory memory work. Routledge.
CGGB’s. (n.d.). Sobre [página do Facebook]. Facebook. https://www.facebook.com/groups/454802538043546/
CNN. (2017). Soundtracks episode 101 [Vídeo]. https://edition.cnn.com/videos/tv/2017/11/09/cnngo-soundtracks-episode-101-kent-state-vietnam.original-series
Collen, P. (2015) Adrenalized: Life, Def Leppard, and beyond. Atria.
Covach, J. (2021). Rock historiography: Music, artists, perspectives, and value. In A. Moore & P. Carr (Eds.), The Bloomsbury handbook of rock music research. Bloomsbury.
Cuk, S. (2021). Do-it-yourself music archives: A response and alternative to mainstream exclusivity. The Serials Librarian, 1-8. https://doi.org/10.1080/0361526X.2021.1910614
Def Leppard Vault. (n.d.). About. https://www.leppardvault.com/
Dr Tolstoyevsky (2021, 15 de outubro). Sublime [Comentário em Website]. Amazon UK. https://www.amazon.co.uk/dp/B09CRTQ9N5#customerReviews.
Eril, A., & Nünning, A. (Eds.). (2008). A companion to cultural memory studies: An international and interdisciplinary handbook. Walter De Gruyter.
Fairchild, C. (2017). Understanding the exhibitionary characteristics of popular music museums. Museum & Society, 15(1), 87-99. https://doi.org/10.29311/mas.v15i1.664
Fildes, N. (2020, 11 de dezembro). From Bob Dylan to Blondie: Why investors are buying up hit songs. Financial Times. https://www.ft.com/content/71c2be62-b823-47d9-9f43-ab322883aa8c
Forde, E. (2021a). Leaving the building: The lucrative afterlife of music estate. Omnibus.
Forde, E. (2021b, 14 de junho). No sales must pass: The music box set Bonanza. Forbes. https://www.forbes.com/sites/eamonnforde/2021/06/14/no-sales-must-pass-the-music-box-set-bonanza/?sh=76b2049e5fa9
Gentry, K., & Smith, L. (2019). Critical heritage studies and the legacies of the late-twentieth century heritage canon. International Journal of Heritage Studies, 25(11), 1148-1168. https://doi.org/10.1080/13527258.2019.1570964
Graham, B. (2002). Heritage as knowledge: Capital or culture? Urban studies, 39(5-6), 1003-1017. https://doi.org/10.1080%2F00420980220128426
Gruner, O., & Krämer, P. (Eds.). (2019). ‘Grease is the word’: Exploring a cultural phenomenon. Anthem Press.
Hall, S. (2005). Whose Heritage? Un-settling “the heritage”, re-imagining the post-nation. In J. Littler & R. Naidoo (Eds.), The politics of heritage: The legacies of race (pp. 25-35). Routledge.
Harvey, E. (2017). Siding with vinyl: Record Store Day and the branding of independent music. International Journal of Cultural Studies, 20(6), 585-602. https://doi.org/10.1177%2F1367877915582105
Haslam, D. (2015). Life after dark: A history of British nightclubs & music venues. Simon & Schuster.
Head, R. C. (2010). Preface: Historical research on archives and knowledge cultures: An interdisciplinary wave. Archival Science, 10(3), 191-194. https://doi.org/10.1007/s10502-010-9130-1
Helsinki Musical Tour. (n.d.). Viator. https://www.viator.com/tours/Helsinki/Helsinki-Musical-Tour/d803-51192P18
Henderson, M., & Shelver, A. (2021, 28 de setembro). How covid-19 exposed music industry fault lines and what can be done. Unctad. https://unctad.org/news/how-covid-19-exposed-music-industry-fault-lines-and-what-can-be-done
Hewison, R. (1986). The heritage industry: Britain in a climate of decline. Methuen.
HM Treasury. (2021, 23 dez.). Autumn Budget and Spending Review 2021 (HTML). GOV.UK. https://www.gov.uk/government/publications/autumn-budget-and-spending-review-2021-documents/autumn-budget-and-spending-review-2021-html
Homan. S. (2020). Submission to house of representatives. Standing committee on communication and the arts inquiry: Australia’s creative and cultural industries and institutions. https://www.aph.gov.au/DocumentStore.ashx?id=93f3150b-435d-4885-ae8f-2e893839188b&subId=694822
Home of Metal. (n.d.). Home of Metal. https://homeofmetal.com/
Huyssen, A. (2003). Present pasts: Urban palimpsests and the politics of memory. Stanford University Press.
Inveniem. (n.d.). Sobre nós. Linkedin. https://www.linkedin.com/company/inveniem
Istvandity, L. (2021). Creative heritage: An approach for research and practice integrating heritage and the performing arts. International Journal of Heritage Studies, 27(11), 1149-1162. https://doi.org/10.1080/13527258.2021.1958364
Jeff Jampol. (n.d.). Jaminc. https://wemanagelegends.com/about-the-team/jeff-jampol/
Jentsch, E. W. (2012, dezembro). Hair band history: Teasing hair and playing rock ’n’ roll at Smithsonian Music. Smithsonian Music. https://music.si.edu/story/hair-band-history-teasing-hair-and-playing-rock-n-roll
Jones, G. (2010). Last shop standing: Whatever happened to record shops? Omnibus.
Kong, L. (1999). The invention of heritage: Popular music in Singapore. Asian Studies Review, 23(1), 1-25. https://doi.org/10.1080/10357829908713218
Leonard, M. (2007). Constructing histories through material culture: Popular music, museums and collecting. Popular Music History, 2(2), 147-167. https://doi.org/10.1558/pomh.v2i2.147
Leonard, M., & Strachan, R. (Eds.). (2010). The beat goes on: Liverpool, popular music and the changing city. Liverpool University Press.
Long, P. (2015). “Really saying something?”: What do we talk about when we talk about popular music heritage, memory, archives and the digital? In S. Backer (Ed.), Preserving popular music heritage: Do-it-yourself, do-it-together (pp. 62-76). Routledge.
Long, P., Baker, S., Istvandity, L., & Collins, J. (2017). A labour of love: The affective archives of popular music culture. Archives and Records, 38(1), 61-79. https://doi.org/10.1080/23257962.2017.1282347
Long, P., Cantillon, Z., & Baker, S. (no prelo). Conceptualising popular music’s heritage as an object of policy: Preservation, performance and promotion. In S. Homan (Ed.), Bloomsbury handbook of popular music policy. Bloomsbury.
Long, P., & Collins, J. (2016). Affective memories of music in online heritage practice. In J. Brusila, B. Johnson & J. Richardson (Eds.), Memory, space, sound (pp. 85-101). Intellect.
Maalsen, S. (2016). Reissuing alternative music heritages: The materiality of the niche reissued record and challenging what music matters. Popular Music and Society, 39(5), 516-531. https://doi.org/10.1080/03007766.2015.1067068
Mall, A. (2021). Vinyl revival. Journal of Popular Music Studies, 33(3), 73-77. https://doi.org/10.1525/jpms.2021.33.3.73
Marshall, G. (1969). Taking the Beatles seriously: Problems of text. The Journal of Popular Culture, 3(1), 28-34. https://www.proquest.com/scholarly-journals/taking-beatles-seriously-problems-text/docview/1297358358/se-2
McDonnell, E. (2019, 29 de março). The manhandling of rock ‘n’ roll history. Longreads. https://longreads.com/2019/03/29/the-manhandling-of-rock-n-roll-history
McGuigan, J. (2009). Cool capitalism. Pluto Press.
Michelsen, M. (2004). Histories and complexities: Popular music history writing and Danish rock. Popular Music History, 1(1), 19-36. http://doi.org/10.1558/pomh.v1i1.19
Moore, S. (2021, 25 de maio). Robert Plant says he assembled a personal archive over lockdown that will be publicly released “when I kick the bucket”. NME. https://www.nme.com/news/music/robert-plant-says-he-assembled-a-personal-archive-over-lockdown-that-will-be-publicly-released-when-i-kick-the-bucket-2947931
Nothing is Real. (2021). This tin-eared, dead-eyed co-opting of the Fabs as some kind of cultural panacea by this Budget, seems greatly at odds to [Post]. Facebook. https://www.facebook.com/groups/1201681553346132/?hoisted_section_header_type=recently_seen&multi_permalinks=1933407270173553
O’Brien, G. (2004). Sonata for jukebox: Pop music, memory, and the imagined life. Counterpoint.
Paraguayan Metal Museum. N.d. Sobre [página do Facebook]. Facebook. https://www.facebook.com/ParaguayanMetalMuseum
Pasted and Wasted. (n.d). About. https://www.pastedandwasted.com.au/aboutus
Peter, B. (2019). Experiential knowledge: Dance as source for popular music historiography. Popular Music History, 12(3), 275-294. https://doi.org/10.1558/pomh.39678
Primary Wave. (2021). Primary wave marketing book Update 8_3_2021. Primary Wave.
Punk Girl Diaries. (n.d.). About. https://punkgirldiaries.com/about/
Reagan, K. A. (2020). The Cornell hip hop collection: An example of an archival repository. Global Hip Hop Studies, 1(1), 149-155. https://doi.org/10.1386/ghhs_00009_1
Regev, M. (2013). Pop-rock music: Aesthetic cosmopolitanism in late modernity. Polity.
Riley, M. (2014). Bass culture: An alternative soundtrack to Britishness. In J. Stratton & N. Zuberi (Eds.), Black popular music in Britain since 1945 (pp. 101-114). Ashgate.
Roberts, L., & Cohen, S. (2014). Unauthorising popular music heritage: Outline of a critical framework. International Journal of Heritage Studies, 20(3), 241-261. https://doi.org/10.1080/13527258.2012.750619
Roberts, L., & Cohen, S. (2015). Unveiling Memory: Blue plaques as in/tangible markers of popular music heritage. In S. Cohen, R. Knifton, M. Leonard & L. Roberts (Eds.), Sites of popular music heritage: Memories, histories, places (pp. 221-238). Routledge.
Robinson, L. (2018). Exhibition review punk’s 40th anniversary: An itchy sort of heritage. 20th Century British History, 29(2), 309-317. https://doi.org/10.1093/tcbh/hwx047
Robinson, L. (2019). How hard is it to remember Bananarama? The perennial forgetting of girls in music. Popular Music History, 12(2), 152-173. http://doi.org/10.1558/pomh.40052
Rolling Stone. (2021, 15 de setembro). The 500 greatest songs of all time. Rolling Stone. https://www.rollingstone.com/music/music-lists/best-songs-of-all-time-1224767/
Samuel, R. (1994). Theatres of memory: Past and present in contemporary culture. Verso.
Schmidt, M. (2018). The Louis Armstrong story, reissues, and the LP record: Anchors of significance. Journal of Social History, 52(2), 304-331. https://doi.org/10.1093/JSH%2FSHY033?sid=semanticscholar
Shaw, G. (1972). Oldies in the 70s. Phonograph Record. n.d.
Shelemay, K. K. (2006). Music, memory and history. Ethnomusicology Forum, 15(1), 17-37. https://doi.org/10.1080/17411910600634221
Small, C. (1998). Musicking: The meanings of performing and listening. Wesleyan University Press.
Smith, L. (2015). Intangible heritage: A challenge to the authorised heritage discourse? Revista d’Etnologia de Catalunya, (40), 133-142. https://www.raco.cat/index.php/RevistaEtnologia/article/download/293392/381920
Smithsonian Folkways Recordings. (n.d.). Smithsonian anthology of hip-hop and rap: various artists. https://folkways.si.edu/smithsonian-anthology-of-hip-hop-and-rap-intl
Strong, C. (2019). Towards a feminist history of popular music: Re-examining writing on musicians and domestic violence in the wake of #MeToo. In L. Istvandity, S. Baker & Z. Cantillon (Eds.), Remembering popular music’s past: Memory-heritage-history (pp. 271-232). Anthem Press.
Tamm, M., & Olivier, L. (Eds). (2019). Rethinking historical time: New approaches to presentism. Bloomsbury.
Terrill, A., Hogarth, D., Clement, A., & Francis, R. (2015). The mastering of a music city: Key elements, effective strategies and why it’s worth pursuing. Music Canada.
Topping, A. (2012, 27 de julho). Olympics opening ceremony: The view from abroad. The Guardian. https://www.theguardian.com/sport/2012/jul/27/olympics-opening-ceremony-view-from-abroad
Tunbridge, J. E., & Ashworth, G. J. (1996). Dissonant heritage: The management of the past as a resource in conflict. Wiley.
UK Music. (n.d.). This Is Music 2021. https://www.ukmusic.org/research-reports/this-is-music-2021/
van Dijck, J. (2006). Record and hold: Popular music between personal and collective memory. Critical Studies in Media Communication, 23(5), 357-374. https://doi.org/10.1080/07393180601046121
Volsing, K. (2010). Resource notes: Rock and pop collecting at the V&A. Popular Music History, 5(2), 217-223. https://doi.org/10.1558/pomh.v5i2.217
Waterton, E., & Watson, S. (Eds.). (2015). The Palgrave handbook of contemporary heritage research. Palgrave Macmillan.
Wikström, P. (2020). The music industry: Music in the cloud. Polity.
Williams, R. (1961). The long revolution. Columbia University Press.
Publicado
Edição
Seção
Licença
Copyright (c) 2021 Paul Long
Este trabalho está licenciado sob uma licença Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.
Proposta de Aviso de Direito Autoral Creative Commons
1. Proposta de Política para Periódicos de Acesso Livre
Autores que publicam nesta revista concordam com os seguintes termos:
- Autores mantém os direitos autorais e concedem à revista o direito de primeira publicação, com o trabalho simultaneamente licenciado sob a Licença Creative Commons Attribution CC Attribution-NonCommercial-NoDerivatives 4.0, que permite o compartilhamento do trabalho com reconhecimento da autoria e publicação inicial nesta revista.
- Autores têm autorização para assumir contratos adicionais separadamente, para distribuição não-exclusiva da versão do trabalho publicada nesta revista (ex.: publicar em repositório institucional ou como capítulo de livro), com reconhecimento de autoria e publicação inicial nesta revista.
- Autores têm permissão e são estimulados a publicar e distribuir seu trabalho online (ex.: em repositórios institucionais ou na sua página pessoal) a qualquer ponto antes ou durante o processo editorial, já que isso pode gerar alterações produtivas, bem como aumentar o impacto e a citação do trabalho publicado.
