By John Encarnacao
Joanna Newsom, Will Oldham (a.k.a 'Bonnie Prince Billy'), and Devendra Banhart are might be the simplest recognized of a iteration of self sustaining artists who use components of folks tune in contexts which are faraway from conventional. those (and different) so referred to as "new folks" artists problem our notions of 'finished product' via their recordings, intrinsically guided by way of practices and rhetoric inherited from punk. This ebook strains a fractured trajectory that comes with Harry Smith's Anthology of yank people song, Bob Dylan, psych-folk of the sixties (from Vashti Bunyan to The impressive String Band), and lo-fi and outsider recordings (from Captain Beefheart and The citizens to Jandek and Daniel Johnston) to contextualise the 1st colossal attention of latest people. within the method, Encarnacao stories the literature on people and punk to argue that tropes of authenticity, even though buildings, hold substantial strength within the construction and reception of recorded works. New methods to song require new analytical instruments, and during the research of a few 50 albums, Encarnacao introduces the kinds of labyrinth, immersive and montage varieties. This ebook makes a compelling argument for a reconsideration of renowned song historical past that highlights the everlasting compulsion for spontaneous, imperfect and performative recorded artefacts.
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Additional resources for Punk Aesthetics and New Folk: Way Down the Old Plank Road
Webb’s ‘Milieu Cultures’ One of the case studies through which Peter Webb expands upon his notion of milieu cultures is of the neo-folk movement, also known as apocalyptic folk, 5 Here, I am using the term ‘rock music’ very specifically. Other innovations were, of course taking place in various aspects of popular music to which we might look to James Brown, John Coltrane, Aretha Franklin, Scott Walker and others. 6 Biron is here paraphrasing John Barth. 32 Punk Aesthetics and New Folk post-industrial, and by other names.
As Cottrell (2010: 24) writes, staff notation ‘suggests that music thus represented is subject to the same tempered intervals and metrical structures prevailing in the Western art music for which the notation was designed’. I believe that the use of musical notation often makes it possible to ignore the elephant in the corner of the room of academic analyses of popular music – its sound. Allan Moore (2001: 120-126) has addressed this problem in his suggestion of the ‘sound box’ as a model with which to imagine and describe the dimensions of the mix of a recording.
I agree that it is commonplace for theorists to refer to ‘songs’ when the analysis is concerned with a particular recording and/or arrangement of a song (Gracyk 1996: viii-x). While it may occasionally refer to the experience and reportage of live performances of particular artists, my study is grounded in the analysis of recordings. This seems the most reliable way to discuss similarities and differences of style and approach between musical instances that are decades apart. Recordings as texts are the instances of musical production that may be commonly referred to and accessed.