W całości na żywo : koncerty jako forma upamiętniania albumów muzycznych

W całości na żywo : koncerty jako forma upamiętniania albumów muzycznych

Communities & Collections

W całości na żywo : koncerty jako forma upamiętniania albumów muzycznych

Show full item record

dc.contributor.author	Smółka, Maciej [USOS126255]	pl
dc.contributor.editor	Juszczyk, Andrzej [SAP11017950]	pl
dc.contributor.editor	Giemza, Natalia [USOS145416]	pl
dc.contributor.editor	Sierzputowski, Konrad [USOS160251]	pl
dc.date.accessioned	2018-12-10T18:02:42Z
dc.date.available	2018-12-10T18:02:42Z
dc.date.issued	2018	pl
dc.identifier.isbn	978-83-63910-87-7	pl
dc.identifier.uri	https://ruj.uj.edu.pl/xmlui/handle/item/63251
dc.language	pol	pl
dc.rights	Udzielam licencji. Uznanie autorstwa 3.0 Polska	*
dc.rights.uri	http://creativecommons.org/licenses/by/3.0/pl/legalcode	*
dc.title	W całości na żywo : koncerty jako forma upamiętniania albumów muzycznych	pl
dc.title.alternative	Live in an entirety : concerts as a form of remembering music albums	pl
dc.type	BookSection	pl
dc.pubinfo	Kraków : AT Wydawnictwo	pl
dc.description.physical	27-42	pl
dc.description.additional	Recenzowane materiały z konferencji: MUTE 2: Live, dn. 26-28.05.2017 r., Kraków	pl
dc.abstract.en	The idea of performing albums in their entireties is an interesting concept that is often used by artists who want to celebrate anniversaries of the release of their work, reward their fans, or just have an urge to do so. However, this process can have interesting implications when it comes to commemorating and remembering music. One could think of such examples as Roger Waters’ The Wall Live tour as one of the best examples of this kind of events. The purpose of this paper is to analyze how concerts at which albums are being performed live in their entireties can influence the ways of remembering music. The research concentrates on analyzing two aspects of remembering – individual and collective. By adopting such perspectives as memory studies and popular music studies along with cultural studies, it is showed how great potential these events have of strengthening the relationship between an audience and an art. Two academic publications were used as a theoretical base – José van Dijck’s Record and Hold: Popular Music between Personal and Collective Memory being the main reference point, and Paul Connerton How Societies Remember as a broader academic background. Therefore, the main questions asked in the paper include those of manners in which albums played live can create or modify memories, the role of musical form, authenticity, artists and their relationship with an audience, which leads to an issue of collective and individual memory. The study shows that albums performed in their entirety reminds audiences about a nostalgic form of music’s distribution while renovating and modernizing it. Such events are a form of celebration and commemorating albums or their authors, within both individual and collective memory, depending greatly on a ritual of repetition as well as ideas of authenticity and nostalgia as a catalyst of those processes.	pl
dc.subject.pl	muzyka	pl
dc.subject.pl	kultura popularna	pl
dc.subject.pl	przemysł muzyczny	pl
dc.subject.pl	popular music studies	pl
dc.subject.pl	memory studies	pl
dc.subject.en	music	pl
dc.subject.en	popular music	pl
dc.subject.en	music industry	pl
dc.subject.en	popular music studies	pl
dc.subject.en	memory studies	pl
dc.description.volume	2	pl
dc.description.publication	1,15	pl
dc.title.container	Muzyka, uniwersytet, technologia, emocje : studia nad muzyką popularną	pl
dc.title.volume	Live	pl
dc.language.container	pol	pl
dc.subtype	Article	pl
dc.rights.original	CC-BY; otwarte repozytorium; ostateczna wersja wydawcy; w momencie opublikowania; 0	pl
dc.identifier.project	ROD UJ / OP	pl
dc.sourceinfo	liczba autorów 16; liczba stron 225; liczba arkuszy wydawniczych 15;	pl