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In this paper I bring together interaction, media, deviance, self, and identity to make sense of how young Singaporeans consume Korean popular (hereafter, K-pop) music and culture. My overarching goal is to highlight that being a music fan is not a straightforward or even easy experience. Rather, the self as music fan is continually developing within a complex variety of social processes, from the circulation of global, mass media representations to inter- and intra-personal interactions. I present data collected from a study on K-pop music consumption in Singapore, a small island-nation in Southeast Asia with an insatiable thirst for foreign culture. The data show how a group of Singaporean K-pop fans were regularly bombarded with largely negative messages about what it means to be K-pop music fans, and how these meanings affected their own negotiations as fans. K-pop fandom provided a sense of shared identity and status within popular youth culture, yet their experiences were often soured by negative media portrayals of deviant fans, whose behaviors risked stigmatizing the K-pop social identity. This paper thus deals with some of the problems for self that being a music fans entails. [ABSTRACT FROM AUTHOR]

The 1880s saw a burgeoning of exhibitions of 'Women's Work' across the world. These events focused on the artistic and industrial abilities of women, signifying an unprecedented shift away from the emphasis usually placed on maleness and masculinized technology in contemporary exhibition culture. The first Exhibition, held in Bristol in 1885, included a musical novelty: a concert entirely of works composed by women. The next, in Sydney in 1888, included a whole series of such concerts. These concerts—containing works by Kate Loder, Clara Wieck, Fanny Hensel, Agnes Zimmermann, and Maude Valérie White—were extraordinarily well received, applauded in both concept and execution. Yet, their reception appears paradoxical against the contemporary critical climate. In both Britain and Australia, the 'question' of women composers was widely debated, and works met with condescension or hostility. By exploring the expectations surrounding displays of 'women's work', I argue that it was the exhibition context itself that influenced the reception of this music. While Exhibitions were conventionally seen as male-gendered events, 'Women's' Exhibitions allowed organizers to blur the distinctions between private and public space. Similarly, while women composers were criticized for their encroachment in the male concert sphere, these Exhibitions also blurred these boundaries and gave critics an appropriate 'feminine' framework through which to view and critique the works. [ABSTRACT FROM AUTHOR]

In 1889–90 the city of Dunedin staged the New Zealand and South Seas Exhibition, commemorating the fiftieth anniversary of the colony instigated by the signing of the Treaty of Waitangi by indigenous Māori and representatives of the British Crown. In acknowledgement of the bicultural perspective encoded in the Treaty, this article takes a tour of the musical artefacts of the exhibition, including both Māori and Western instruments and musical works, to reveal how colonial identity was forged through museum culture: whereas Māori instruments (taonga puoro) were curated by settlers and exhibited as the curiosities of a supposedly dying race, Western musical instruments and practices were beholden both to narratives of progress and to the rhetoric of the imaginary museum of musical works, inherited from Britain. However, while the framing of music at the exhibition often contradicted Māori perspectives, a closer look at the exhibition of music in New Zealand in 1889–90 reveals unexpected resonance between the two Treaty parties. Moreover, by tracing the afterlife of one of the Māori instruments displayed at the exhibition, this article reveals how Māori have more recently helped to reshape museum culture itself. [ABSTRACT FROM AUTHOR]

A significant amount of previous academic research into popular music museums centres on critiques of the content, design and layout of predominantly authorised institutions. Throughout much of this research, authors consistently criticise the use, or rather, the perceived misuse, of music played within music museums, arguing that the music itself, rather than artefacts, constitutes the most significant part of popular music exhibition. This article seeks to counter this trend by exploring the challenges of incorporating recorded sound into popular music exhibits as understood by curators and exhibit designers. Utilising interviews conducted within 14 authorised and DIY museums devoted to popular music, the researchers demonstrate a distinct contrast between current academic critiques of music use in these museums and the attitudes of the people who create them. The result is a varied discussion surrounding sound in the museal space, including issues of sound bleed, technology and the creation of balance between artefacts and sound. This account draws attention to curators’ intentions of telling the story of popular music history by engaging with both the visual and aural memories of museum patrons, and suggests a new understanding of the purpose underpinning popular music museums in modern contexts. [ABSTRACT FROM AUTHOR]

Oramics to Electronica was a 2011 Science Museum project designed to put the tools of museum participation in the service of research into public history, taking the history of electronic music as our example. The primary output was a temporary exhibition. Whereas the term 'public history' is often used to denote popularisation of academic history, in this inflection we are primarily concerned with how lay people like our visitors think about the past in general, and about the past of science and technology in particular. Taking the opportunities that arose, we worked with two 'expert' groups - of original 1960s participants in electronic music and of 12 recruited present-day music enthusiasts. We also enrolled a group of theatre students and another of writers to respond to the themes of the project and, in particular, to the 'Oramics Machine' a unique sound synthesizer created by Daphne Oram. In this essay, an account of our practice is bookended with consideration of related practice and reflections on the implications of the project. It is suggested that the project demonstrated the virtues of proceeding by way of engagement with micro-audiences to understand the 'cognitive exclusion' of potential visitors who do not see their interests represented in museum displays. [ABSTRACT FROM AUTHOR]

Within William Seitz's 1961 exhibition The Art of Assemblage for the New York Museum of Modern Art, the question of framing – of art's exhibitionary situation within and against a given environment – had emerged as perhaps the major issue of postwar avant-garde practice. Beyond the familiar paintings of Johns and Rauschenberg, a strategy of radical juxtaposition in this time extended well beyond the use of new materials, to the very institutions of aesthetic exhibition and spectatorship. Perhaps the most significant example of this disciplinary juxtaposition can be found in the intermingling of the static and the temporal arts. Like many artists of the twentieth century, Robert Breer was fascinated by the aesthetic and philosophical character of movement. Trained as a painter, he turned to cinematic animation as a way of extending his inquiry into modernist abstraction. While the success of his initial Form Phases spurred what would be a lifelong commitment to film, Breer quickly grew frustrated with the kind of abstract animation that might be said to characterise the dominant tradition of visual music. Starting in 1955, his Image by Images inaugurated a radical new vision of hyperkinetic montage that would paradoxically function at the threshold of movement and stasis. As such, Breer's film ‘accompaniment’ to the 1964 production of Stockhausen's Originals has a curious status. While untethered from the musical performance, Breer's three-part ‘film performance’ extended Stockhausen's aesthetic and conceptual framework in rich and surprising ways. It might thus be understood as a ‘post-Cagean’ form of visual music, one in which the sonic and visual components function in a relation of autonomous complementarity within an overarching intermedia assemblage. [ABSTRACT FROM AUTHOR]

The article reviews the Klinger-Beethoven Exhibition of Max Klinger and Ludwig van Beethoven held in Vienna, Austria in 1902.

The article reviews the exhibition "American Sabor: Latinos in U.S. Popular Music" in several cities from October 13, 2007 to May 15, 2011.

Highlights the AISB'99 Symposium on Musical Creativity held on April 6 to 9, 1999 in Edinburgh, Scotland. Attendees; Activities and programs; Sponsors of the event; Keynote speakers.

The article reviews the exhibition "Facing Percy Grainger," at the National Library of Australia from July to October 2006.

The article reviews the music exhibition "Umbel Ballits," by Dylan Martorell at Craft Victoria in Melbourne, Victoria.

The article discusses the purposes of collecting musical instruments. It cites the value of having both in a culture and collecting them to preserve and interpret the unique musical heritage of the world. Reasons for collecting them vary, including the Hapsburg's family in Europe collects for the works of art, for the rareness and decoration, collectors has considered the taxonomic trend of finding similar musical instrument types, and most museums sees preservation as a major responsibility.