Uploaded August 2019 | Updated September 2026, 1 hour ago
crosstowntraffic2018.wordpress.com
This presentation took place as part of the conference Crosstown Traffic: Popular Music Theory and Practice, which was hosted by The University of Huddersfield from September 3 - 5 2018. This event combined the IASPM UK&Ireland Biennial Conference, the 13th Art of Record Production Conference (ARP), an ISMMS conference, and the additional participation of Dancecult.
A recurrent theme within popular music studies has been discussion of how the field can integrate different disciplines and professions, for example exploring both music and its context; involving both practitioners and researchers; and encouraging interdisciplinary and collaborative work. Many different issues make such approaches challenging, and various different popular music focused subject organisations have developed somewhat independently of one another. This conference brought four such groups together, to exchange knowledge, collaborate, and encourage crosstalk.
/// SUPPORT
Popular Music Studies Research Group (PMSRG), University of Huddersfield research.hud.ac.uk/pmsrg/#
Centre for Music, Culture and Identity (CMCI), University of Huddersfield
research.hud.ac.uk/institutes-centres/cmci
The International Association for the Study of Popular Music UK and Ireland Branch (IASPM UK & Ireland)
iaspm.org.uk
Association for the Study of the Art of Record Production (ASARP)
artofrecordproduction.com
Dancecult Research Network (DRN) studies into electronic dance music culture
dancecult-research.net
International Society for Metal Music Studies (ISMMS)
metalstudies.org
/// ORGANIZERS
IASPM UK&I: Rupert Till
ARP: Katia Isakoff, Shara Rambarran
ISMMS: Karl Spracklen
Dancecult: Graham St. John
University of Huddersfield: Jan Herbst, Austin Moore, Lisa Colton, Toby Martin, Catherine Haworth, Mark Mynett
/// CREDITS
This online project was edited, collated, and made available online by Chris McConnell, Jack Zissell, and Colin Frank.
/// PRESENTATION DETAILS
Being Portuguese and European at a same time: identity discourses on the RTP Song Contest
Sofia Vieira Lopes - Ethnomusicology Institute, NOVA University of Lisbon, Portugal Project funded by Fundação para a Ciência e Tecnologia (FCT)
Email: sofiavieiralopes@gmail.com
/// ABSTRACT
The Portuguese Public Television (RTP) organizes the RTP Song Contest since 1964. This is the most longstanding song contest on Portuguese television. For many years it was a “national event”. This Contest has been a stage for original songs and a unique opportunity for different actors. Its winning song represents Portugal at the Eurovision Song Contest, watched by millions of viewers around the world. Due to the audio-visual nature of television, music and performance are crucial discursive tools; they are thought to mediate memories and trigger emotions. Music and expressive behavior acquire different meanings both in national and international contexts. Authors/producers have to negotiate Portuguese and European identities. These multiple identities are shaped to be displayed in a highly media, transnational, and globalized framework and molded by aesthetic, politic and economic assumptions. Identity discourses are set to gather multiple “imagined communities” (Anderson 1983). Through a Cultural Politics of Emotion (Ahmed 2004), authors appropriate identity symbols to create a utopian performance (Dolan 2005). This paper is a work in progress and it is grounded on the ideas outlined by internationalscholars (Tragaki 2013, Bohlman 2004). It aims is to contribute to the debate about the role of music in television and how it can be a pathway to promote identity discourses. I want to understand how music can objectify identities to abroad; to understand the discursive strategies of the Portuguese national television and; how authors and producers negotiate the dichotomies of «Being insider and outsider at the same time» (Meyrowitz 1986).
crosstowntraffic2018.wordpress.com
This presentation took place as part of the conference Crosstown Traffic: Popular Music Theory and Practice, which was hosted by The University of Huddersfield from September 3 - 5 2018. This event combined the IASPM UK&Ireland Biennial Conference, the 13th Art of Record Production Conference (ARP), an ISMMS conference, and the additional participation of Dancecult.
A recurrent theme within popular music studies has been discussion of how the field can integrate different disciplines and professions, for example exploring both music and its context; involving both practitioners and researchers; and encouraging interdisciplinary and collaborative work. Many different issues make such approaches challenging, and various different popular music focused subject organisations have developed somewhat independently of one another. This conference brought four such groups together, to exchange knowledge, collaborate, and encourage crosstalk.
/// SUPPORT
Popular Music Studies Research Group (PMSRG), University of Huddersfield research.hud.ac.uk/pmsrg/#
Centre for Music, Culture and Identity (CMCI), University of Huddersfield
research.hud.ac.uk/institutes-centres/cmci
The International Association for the Study of Popular Music UK and Ireland Branch (IASPM UK & Ireland)
iaspm.org.uk
Association for the Study of the Art of Record Production (ASARP)
artofrecordproduction.com
Dancecult Research Network (DRN) studies into electronic dance music culture
dancecult-research.net
International Society for Metal Music Studies (ISMMS)
metalstudies.org
/// ORGANIZERS
IASPM UK&I: Rupert Till
ARP: Katia Isakoff, Shara Rambarran
ISMMS: Karl Spracklen
Dancecult: Graham St. John
University of Huddersfield: Jan Herbst, Austin Moore, Lisa Colton, Toby Martin, Catherine Haworth, Mark Mynett
/// CREDITS
This online project was edited, collated, and made available online by Chris McConnell, Jack Zissell, and Colin Frank.
/// PRESENTATION DETAILS
Being Portuguese and European at a same time: identity discourses on the RTP Song Contest
Sofia Vieira Lopes - Ethnomusicology Institute, NOVA University of Lisbon, Portugal Project funded by Fundação para a Ciência e Tecnologia (FCT)
Email: sofiavieiralopes@gmail.com
/// ABSTRACT
The Portuguese Public Television (RTP) organizes the RTP Song Contest since 1964. This is the most longstanding song contest on Portuguese television. For many years it was a “national event”. This Contest has been a stage for original songs and a unique opportunity for different actors. Its winning song represents Portugal at the Eurovision Song Contest, watched by millions of viewers around the world. Due to the audio-visual nature of television, music and performance are crucial discursive tools; they are thought to mediate memories and trigger emotions. Music and expressive behavior acquire different meanings both in national and international contexts. Authors/producers have to negotiate Portuguese and European identities. These multiple identities are shaped to be displayed in a highly media, transnational, and globalized framework and molded by aesthetic, politic and economic assumptions. Identity discourses are set to gather multiple “imagined communities” (Anderson 1983). Through a Cultural Politics of Emotion (Ahmed 2004), authors appropriate identity symbols to create a utopian performance (Dolan 2005). This paper is a work in progress and it is grounded on the ideas outlined by internationalscholars (Tragaki 2013, Bohlman 2004). It aims is to contribute to the debate about the role of music in television and how it can be a pathway to promote identity discourses. I want to understand how music can objectify identities to abroad; to understand the discursive strategies of the Portuguese national television and; how authors and producers negotiate the dichotomies of «Being insider and outsider at the same time» (Meyrowitz 1986).
