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Annotated Bibliography

Overy, Katie. Making music in a group: synchronization and shared experience". Vol. 1252. N.p.: nals of the New York Academy of Sciences, 2012.

The main idea of this article is to explain how forms of music making tend to include social interaction, synchronization, body movements, and positive shared experiences (65). In other words, working on music in a group helps great better music. Overy starts off the article by explaining how musical behavior, especially in childhood, is an important fundament part of human experience and learning.Musical learning during childhood, can have a positive impact in other learning domains, from high academic performance (65), the previous quote is one of her explanations for why music is important in childhood. Music also plays an important role in the lives of those who do not consider themselves to be musical and adolescents. Music can help adolescents strengthen their identity formation and social independence. Cases such as working in a group on music or even football fans at a game involve exuberant, whole-body, synchronized movement with opportunities for variation, creativity, leadership, limitation, error, and humor (and little fear of individual performance exposure) (66). She finishes the article by stating We should not ask the question, does music have an impact, but rather can specific kinds of musical experience have an impact, and how and when. (67).

Ballantine, Christopher. Music in Society: A Guide to the Sociology of Music. Vol. 48. N.p.: Music Library Association, 1991.

This article is a book review for Music in Society: A Guide to the Sociology of Music. Ballantine starts of by stating, the original author Ivo Supicic is mainly know for article International Review of the Aesthetics and Sociology of Music. Supicic has for some time been concerned with attempting to conceive of the sociology of music as unified field of endeavor. On page 134 he explains how one of the sections reviews the relationship between sociology of music and various related disciplines (such as social history of music, musicology, ethnomusicology, aesthetics, philosophy); introduces the idea of social conditioning; and gives examples of the kinds of questions the sociology f music might ask and the kinds pf methods it might use. According to Supicic the sociology of music should examine the aesthetic, artistic, and human values of music only as sociological or historical facts, not as aesthetic, artistic and human values (134)

Coupland, Nikolas. Voice, place and genre in popular song performance. 5th ed. Vol. 15. N.p.: Journal of Sociolinguistics, 2011.

The paper explores a wider agenda for the sociolinguistics of popular song, theorized as a diverse field of performance organized according to genre. (573). throughout the paper the following genres were closely reviewed: classic rock and roll, folk/country, and punk rock. The paper begins to compare American vs. British voice placement. Unlike the British, Americans regularly think about how voice and place my shape the meaning of the song. On page 575 and 576, Coupland discusses certain general limitations. These limitations are directed toward Americans and include: equating the voice with speech and distinctive perspectives of variationist and performance-oriented sociolinguistics. In the following section he discusses the term popular music. Ballantine explains how the shift in who is associated by popular song changed over the last 60 years. From the 1950s for many decades popular song tended to be associated with youth, and not simply because its performed and consumers were young- in many cases they were not. (576). On page 579 he begins to discuss, in more detail, genre and performance. Later on in the paper, Coupland argues that we consume and find value in popular song against different ideological templates according to genre. (576). He then discusses songs by performers such as Chuck Berry, James Taylor, and the Sex Pistols. With these songs he discusses each one in relation to the following genres: rock and roll, folk/country, and punk rock. In his conclusion he discusses how these genres are associated with a different sense of vernacular experience.

Luvas, Brent. Re-Producing Pop: The aesthetics of ambivalence in a contemporary dance music. Vol. 9. N.p.: International Journal of Cultural Studies, 2006.

Throughout this article the keywords used are consumption, dance music, mass media, performance, popular culture, style and youth. In this article, I analyze the ephemeral, pop c culture trend of electroclash as a set of aesthetic tactics for living through the confusion and contradictions of life in media-saturated late capitalist world economy. (168). Electroclash is defined as a style of electronic dance labeled by the press of popular music. On page 173 Luvas begins to discuss how electroclash, like many others, developed through the years and how it became to be the way it is now. In this page she also tells the audience that electroclash still stays true to the way it was many years ago, in certain aspects. The very same trend-prone urbanites that constituted the electroclash scene moved on to new things, or perhaps more accurately, new versions of other old things. (183). Not only is pop culture reproduced but is being remixed, reworked and reinvested.