What Is Post-Punk?
What Is Post-Punk?
复制标题
什么是后朋克？
DOI：
10.3998/mpub.9824609
复制
发表时间：
2020
期刊：
影响因子：
0.5
通讯作者：
Mimi Haddon
中科院分区：
文献类型：
--
作者：
Mimi Haddon
20世纪70年代末和80年代初，美国和英国的流行音乐是广泛的折衷主义和实验性的。“后朋克”，因为它被追溯标记，可以包括电子流行旋律，扭曲的吉他，前卫的工业声音，和雷鬼节拍，因此不是一个容易定义的音乐类别。
什么是Post-Punk？结合阅读1970年代后期的音乐新闻话语与音乐分析和理论的身份，以解开后朋克的地位，作为一个流派。Mimi Haddon通过Sounds、ZigZag、Melody Maker、The Village Voice和The NME等出版物追溯了后朋克的话语基础，并介绍了Wire、PiL、Joy Division、The Raincoats和Pere Ubu等乐队的案例研究。通过将后朋克与朋克、新浪潮、配音和迪斯科等流派相联系，哈登探索了后朋克的边界，并揭示了它是一个品味和偏好的社区，而不是一个风格统一的整体。哈登使后朋克的话语多样化，探索其性别和种族动力学及其原始工业美学，以恢复围绕该流派术语和起源的历史复杂性。
Popular music in the US and UK during the late 1970s and early 1980s was wildly eclectic and experimental. “Post-punk,” as it was retroactively labeled, could include electro-pop melodies, distorted guitars, avant-garde industrial sounds, and reggae beats, and thus is not an easily definable musical category.
What Is Post-Punk? combines a close reading of the late-1970s music press discourse with musical analyses and theories of identity to unpack post-punk’s status as a genre. Mimi Haddon traces the discursive foundations of post-punk across publications such as Sounds, ZigZag, Melody Maker, the Village Voice, and the NME, and presents case studies of bands including Wire, PiL, Joy Division, the Raincoats, and Pere Ubu. By positioning post-punk in relation to genres such as punk, new wave, dub, and disco, Haddon explores the boundaries of post-punk, and reveals it as a community of tastes and predilections rather than a stylistically unified whole. Haddon diversifies the discourse around post-punk, exploring both its gender and racial dynamics and its proto-industrial aesthetics to restore the historical complexity surrounding the genre’s terms and origins.