If one of the purposes of the 21st-century museum is to facilitate and broaden the general public’s knowledge without losing depth and rigour, then Opera: passion, power and politics, the first exhibition to be staged inside the V&A’s large new underground exhibition space, ranks among the most successful temporary exhibitions I have seen lately. In fact, although opera used to be a particularly popular and exciting genre for a long time in the past, today it is music for a very restricted elite and so this exhibition stands out for bringing a comprehensible account of it to a potential wider audience.
The Museum of Portable Sound is a noteworthy contribution to the preservation and exhibition of sound as objects of culture. Because of its name and content, you might be expecting it to be placed on and accessed through a web page or app, but actually its sound objects are housed in an iPhone, which constitutes the physical museum itself. To visit it, one has to go to the museum’s webpage and book an in-person visit with its director, John Kannenberg. As he is based in London, the museum is primarily visited there; however, it can be visited elsewhere in the world, whenever John is travelling. The fact that the museum is accessed in such a format is clearly intentional: in fact, Kannenberg wanted the sound files to be endowed with a sense of exclusiveness and distinction by means of facilitating access to them through in person visits.
Of all of the museums of popular music that I have ever visited, Ragnarock, the museum for pop, rock and youth culture in Roskilde, Denmark, is for sure the one I have enjoyed the most so far, not just from the aesthetical point of view but also because it is the one whose narrative best conveys contemporary knowledge about popular music, knowledge gained from both popular music studies and ethnomusicology.
The permanent exhibition displays are of an unusual contemporaneity and remarkable design, thereby creating a very attractive and bold environment. Nevertheless, for museums to rely on innovative technology to convey their narratives is becoming more and more common sense. It is therefore the narrative itself that merits my highest praise, in that it completely departs from the approaches of conventional museums as regards music. More to the point, Ragnarock’s narrative reflects the current perspectives of music studies as an endeavour that approaches music as a cultural and social practice, i.e, a practice created not only by music and musicians but also by people using it to develop themselves as individuals with an identity, to build communities, and to produce and challenge societies. Furthermore, in conceptually placing a great emphasis on audiences as consumers of popular music throughout the whole narrative, the museum is ultimately conveying the idea that people do not need to be musicians to engage with and thereby participate in the production of popular music.
ABBA THE MUSEUM is part of a major project called Pop House, set up with the aim of celebrating live music, which comprises three facilities, a hotel, a restaurant and the Abba museum. After a period of resistance, Abba’s members ended up agreeing with the idea of the museum, but on the condition that it would proceed to focus on Abba not in isolation but rather positioned within the larger context of Swedish music. As such, the museum comprises not only a gallery for the permanent exhibition on Abba, but also two rooms for temporary exhibitions on topics from the broader Swedish popular musical scene.
Rockheim is the Norwegian national museum for popular music, which alone is already very singular: despite the growing trend towards celebrating and exhibiting popular music in museums, few are the countries which are given a national museum specifically to take care of and address the country’s popular music. The idea for the museum emerged during a conference in 1998 focusing on the discussion of musical and sound archives, during which the delegates recognised the need to preserve Norwegian popular music as heritage. There then followed a long development process until the museum’s opening in Trondheim in 2010.
The V&A is currently staging Their Mortal Remains, a remarkable exhibition that pays tribute to the band Pink Floyd. The narrative is typically historical, although it does provide here and there a zoom in on some thematic areas; while it offers a retrospective of the band’s 50 years, it then focuses in on their 14 albums, chronologically, one at a time. In short, in terms of displays, this extensive retrospective boasts some overwhelming installations featuring some album sleeves, and over 350 artefacts, some of which have never been seen before, including hand-written lyrics, musical instruments, letters, original artwork and stage props, spanning well over half a century. (more…)