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W całości na żywo : koncerty jako forma upamiętniania albumów muzycznych


W całości na żywo : koncerty jako forma upamiętniania albumów muzycznych

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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

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Udzielam licencji. Uznanie autorstwa 3.0 Polska Except where otherwise noted, this item's license is described as Udzielam licencji. Uznanie autorstwa 3.0 Polska