{"id":500,"date":"2019-02-15T17:36:47","date_gmt":"2019-02-15T16:36:47","guid":{"rendered":"http:\/\/www.buerozwei.berlin\/fr\/?p=500"},"modified":"2019-05-03T11:50:26","modified_gmt":"2019-05-03T09:50:26","slug":"une-sociologie-des-musiques-populaires-simon-frith","status":"publish","type":"post","link":"https:\/\/www.buerozwei.berlin\/fr\/2019\/02\/une-sociologie-des-musiques-populaires-simon-frith\/","title":{"rendered":"Une sociologie des musiques populaires : Simon Frith"},"content":{"rendered":"<p>&nbsp;<\/p>\n<img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-501\" src=\"https:\/\/www.buerozwei.berlin\/fr\/wp-content\/uploads\/sites\/3\/2019\/02\/une-sociologie-des-musiques-populaires-f-192x300.jpg\" alt=\"\" width=\"192\" height=\"300\" \/>\n<p>Deux \u00e9tudes, in\u00e9dites en fran\u00e7ais, du sociologue et critique musical britannique Simon Frith, pionnier des <em>popular music studies\u00a0<\/em>viennent d&rsquo;\u00eatre publi\u00e9es aux presses du r\u00e9el. Le premier texte (\u00ab\u00a0Pourquoi les chansons ont-elles des paroles ?\u00a0\u00bb) offre une exploration critique de son champ d&rsquo;\u00e9tude \u00e0 travers la question de l&rsquo;analyse des textes de chansons populaires. Le second (\u00ab\u00a0L\u2019industrialisation de la musique populaire\u00a0\u00bb) aborde la dimension technologique des musiques populaires.<\/p>\n<p>Fran\u00e7ois Ribac (dir.), <em>Une Sociologie des musiques populaires : Simon Frith<\/em>, Les presses du re\u0301el, Dijon, 2018. Traductions de l&rsquo;anglais r\u00e9alis\u00e9es par Charlotte Bomy et Fran\u00e7ois Ribac.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Deux \u00e9tudes, in\u00e9dites en fran\u00e7ais, du sociologue et critique musical britannique Simon Frith, pionnier des popular music studies viennent d&rsquo;\u00eatre publi\u00e9es aux presses du r\u00e9el. <\/p>\n","protected":false},"author":2,"featured_media":501,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[2],"tags":[25,9,27,24,23,7,26,10],"class_list":["post-500","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-publication","tag-charlotte-bomy","tag-frith","tag-industrialisation","tag-musicologie","tag-publication","tag-ribac","tag-rock-progressif","tag-sociologie-de-la-musique"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.buerozwei.berlin\/fr\/wp-json\/wp\/v2\/posts\/500","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.buerozwei.berlin\/fr\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.buerozwei.berlin\/fr\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.buerozwei.berlin\/fr\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.buerozwei.berlin\/fr\/wp-json\/wp\/v2\/comments?post=500"}],"version-history":[{"count":8,"href":"https:\/\/www.buerozwei.berlin\/fr\/wp-json\/wp\/v2\/posts\/500\/revisions"}],"predecessor-version":[{"id":509,"href":"https:\/\/www.buerozwei.berlin\/fr\/wp-json\/wp\/v2\/posts\/500\/revisions\/509"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.buerozwei.berlin\/fr\/wp-json\/wp\/v2\/media\/501"}],"wp:attachment":[{"href":"https:\/\/www.buerozwei.berlin\/fr\/wp-json\/wp\/v2\/media?parent=500"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.buerozwei.berlin\/fr\/wp-json\/wp\/v2\/categories?post=500"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.buerozwei.berlin\/fr\/wp-json\/wp\/v2\/tags?post=500"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}