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'Dance a yard before you dance abroad': reggae as a music production culture in Jamaica and in Britain 1968 - 1981

“在国外跳舞之前先跳一码”：1968 - 1981 年牙买加和英国雷鬼音乐作为一种音乐制作文化

基本信息

批准号：
2589565
负责人：
金额：
--
依托单位：
Birmingham City University
依托单位国家：
英国
项目类别：
Studentship
财政年份：
2021
资助国家：
英国
起止时间：
2021 至无数据
项目状态：
未结题

来源：
https://gtr.ukri.org/projects?ref=studentship-2589565
关键词：
Dance yard before dance abroad

项目摘要

This project explores reggae's emergence as a music and a culture in Jamaica and Britain from 1968 to 1981: the period between the release of the first recognised reggae record - "Do the Reggay" by Toots & The Maytals - and the death of the music's international ambassador, Bob Marley. Such a project raises significant issues about:- the internationalisation of popular music forms beyond the influence of US music on Europe;- the profound role of recorded music in national popular culture and the way that relates to cultural changes that result from migration; - and the insights that can be gained into the production of culture from a study of the cultures of music production.While cultural studies of popular music have been attentive to reggae as a consumption culture (Hebdige 1979, 1988; Jones 1988), and there have been a slew of journalistic histories and star biographies (Barrow and Dalton 1997; Bradley 2001), we lack historically and culturally-located studies of this influential music. Accordingly, I avoid simple chronology, detailed study of fandom, and developments beyond 1981. Instead, I account for the way the different musical cultures of Jamaica and Britain produced diverse meanings for the music and how the one incorporated (and sometimes was appropriated by) the other. This is a timely response to questions raised by the Windrush Scandal and Black Lives Matter movement, and the success of Steve McQueen's Small Axe television series.

这个项目探索了1968年至1981年雷鬼在牙买加和英国作为一种音乐和一种文化的兴起：从第一张公认的雷鬼唱片--图茨和梅塔尔的《Do the Reggay》--发行到音乐的国际大使鲍勃·马利去世。这样的项目提出了以下重大问题：-流行音乐形式的国际化，超越了美国音乐对欧洲的影响；-唱片音乐在国家流行文化中的深刻作用，以及与移民导致的文化变化有关的方式；-以及从音乐生产文化研究中可以获得的对文化生产的洞察。尽管对流行音乐的文化研究一直关注雷鬼作为一种消费文化(Hebdige 1979,1988；Jones 1988)，并且已经有许多新闻史和明星传记(Barrow和Dalton 1997；Bradley 2001)，但我们缺乏对这种有影响力的音乐的历史和文化定位的研究。因此，我避免简单的年表，对粉丝的详细研究，以及1981年以后的发展。相反，我解释了牙买加和英国不同的音乐文化如何为音乐产生不同的含义，以及一种音乐如何融入另一种音乐(有时还被另一种音乐侵占)。这是对Windrush丑闻和黑人生命也是运动提出的问题的及时回应，也是对史蒂夫·麦昆的电视连续剧小斧头的成功的回应。