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Sounds French examines the history of popular music in France between the arrival of rock and roll in 1958 and the collapse of the first wave of punk in 1980, and the connections between musical genres and concepts of community in French society. During this period, scholars have tended to view the social upheavals associated with postwar reconstruction as part of debates concerning national identity in French culture and politics, a tendency that developed from political figures' and intellectuals' concerns with French national identity.
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In this book, author Jonathyne Briggs reorients the scholarship away from an exclusive focus on national identity and instead towards an investigation of other identities that develop as a result of the increased globalization of culture.Popular music, at once individual and communal, fixed and plastic, offers an illuminating window into such transformations in social structures through the ways in which musicians, musical consumers, and critical intermediaries re-imagined themselves as part of novel cultural communities, whether local, national, or supranational in nature. Briggs argues that national identity was but one of a panoply of identities in flux during the postwar period in France, demonstrating that the development of hybridized forms of popular music provided the French with a method for expressing and understanding that flux.
Drawing upon an array of printed and aural sources, including music publications, sound recordings, record sleeves, biographies, and cultural criticism, Sounds French is an essential new look at popular music in postwar France. 'Briggss volume marks an important intervention in the nascent field of French popular music studies. With its expansive vision of French pop and its attentiveness to musical texts, Sounds French is a foundation upon which future work in French popular music studies may fruitfully build.' - Eric Drott, H-France Review'an excellent and engaging new reading of French popular-musical history that is expertly researched. Briggs writes knowledgeably, confidently, and always accessibly.
This is a book that should remain useful for both teaching and research purposes for a long time.' - David Looseley, Volume! Sounds French Globalization, Cultural Communities and Pop Music in France, 1958-1980 Jonathyne Briggs From Our BlogThis week, the 61st Eurovision Song Contest, more affectionately Eurovision, will be broadcast to a global audience (including for the first-time a live telecast in the United States) with 42 countries competing in a series of semi-finals before the final, live show on 14 May.
Established in 1956 as part of the then-fledgling European Broadcast Union, the contest has continued to grow in popularity and some would argue in cultural significance.Posted on May 12, 2016.
Gravitational-wave soundsIn thinking about gravitational waves as tools for understandingastronomical objects, one point that I stress very strongly is thatthey cannot be used to form images - GW astronomy cannot be a visualaffair!Instead, I advocate thinking about them as sound-like:Gravitational waves encode in an aural-like manner the dynamics of thesource that generates them. You can almost think of as language-like:The signal that we 'hear' encodes information about its source. Ourgoal as theorists and (eventual) GW astronomers is to understand thatencoding, and thus to map those signals we 'hear' into a deeperunderstanding of their sources.NB: This page is left up to make sure that old links do not break, butis not being supported anymore.
My group's research page, now hostsall information about gravitational-wave sounds, and will be keptup-to-date into the future.Equal mass binary gravitational waves.The following sounds encode the signal that we would measure when twobodies of equal mass spiral into one another. These files areavailable in wav and mp3 formats. The wav format files seem not quiteright - I sometimes find that my wav player doesn't exit cleanly.