Relevant bibliographies by topics / Contemporary popular music

Academic literature on the topic 'Contemporary popular music'

Author: Grafiati
Published: 4 June 2021
Last updated: 26 July 2024

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Contents

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Contemporary popular music.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "Contemporary popular music"

1

Homan, Shane. "A contemporary cultural policy for contemporary music?" Media International Australia 158, no. 1 (February 2016): 37–47. http://dx.doi.org/10.1177/1329878x15622077.

Full text
Abstract:
Creative Nation confirmed the shift by federal governments to viewing popular music as part of the Australian cultural economy, where the ‘contemporary music’ industries were expected to contribute to economic growth as much as providing a set of creative practices for musicians and audiences. In the 19 years between Creative Nation and Creative Australia, much has changed. This article examines relationships between the music industries, governments and audiences in three areas. First, it charts the funding of popular music within the broader cultural sector to illuminate the competing discourses and demands of the popular and classical music sectors in federal budgets. Second, it traces configurations of popular music and national identity as part of national policy. Third, the article explores how both national policy documents position Australian popular music amid global technological and regulatory shifts. As instruments of cultural nationalism, Creative Nation and Creative Australia are useful texts in assessing the opportunities and limits of nations in asserting coherent national strategies.
APA, Harvard, Vancouver, ISO, and other styles
2

Park, Juyong. "Networks of Contemporary Popular Musicians." Leonardo 45, no. 1 (February 2012): 78–79. http://dx.doi.org/10.1162/leon_a_00341.

Full text
Abstract:
The Internet has enabled easy storage and retrieval of various network data, including data showing the relationship between music professionals. “High-Throughput Humanities” is a new way of thought that aims to bring analysis of such large-scale data to the study of traditional humanities subjects including music. Here we present how networks of musical professionals can help us understand the process of collective music production and the human perception of musical similarity.
APA, Harvard, Vancouver, ISO, and other styles
3

Chakravarty, Devpriya. "Popular Musics of India: An Ethnomusicological Review." Journal of Ethnic and Cultural Studies 6, no. 3 (December 18, 2019): 111. http://dx.doi.org/10.29333/ejecs/267.

Full text
Abstract:
This article brings into discussion the presence of a contemporary popular music culture amongst globalised, urban, Indian youth which is perpetuated by Electronic Dance Music (EDM) festivals. This paper begins with the argument as to how there is no one monolithic popular music scene in India by presenting a historical analysis of a timeline for popular musics of India, a scene that has received scanty scholarly attention.
APA, Harvard, Vancouver, ISO, and other styles
4

Zosim, Olga. "Popular Music in Contemporary Church Chants." Journal of History Culture and Art Research 9, no. 2 (June 25, 2020): 227. http://dx.doi.org/10.7596/taksad.v9i2.2508.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Ho, Wai-Chung. "Secondary school students’ preferences for popular music and perceptions of popular music learned in school music education in Mainland China." Research Studies in Music Education 39, no. 1 (April 5, 2017): 19–37. http://dx.doi.org/10.1177/1321103x17700688.

Full text
Abstract:
This study examined popular music and school music education as cultural constructs of teenage students amid the shifting cultural and social dynamics of contemporary China. Data were drawn from questionnaires completed by 6,780 secondary students (mainly ages 12 through 17) from three cities—Beijing, Changsha, and Shanghai. The survey results revealed the extent of Chinese youths’ preferences for a variety of popular music styles in their daily lives, the relationship between their preference for popular idols and their music learning, and their views on learning popular music in school music education. The discussion in this article focuses on the dynamics of teaching popular music and learning other music styles (not limited to either popular or classical music) within the school environment in relation to teenage students’ daily music experiences and school music learning, school music teachers, and teacher education in contemporary China.
APA, Harvard, Vancouver, ISO, and other styles
6

Adjoteye, Eugene Agbasi. "The Cultural Environment of Popular Music Discourses in Contemporary Ghana: A Media and Communication Approach." Budapest International Research and Critics Institute (BIRCI-Journal): Humanities and Social Sciences 4, no. 1 (January 16, 2021): 330–35. http://dx.doi.org/10.33258/birci.v4i1.1597.

Full text
Abstract:
The field of popular music is important within the cultural matrix of contemporary Ghana. This paper posits the cultural environment of contemporary music discourses in Ghana as a relevant and significant terrain of media and communication worthy of research in Africa. The paper also sets off the relationship between popular music discourses and micro-identity formation in Ghana and subsequently sets off the nexus between the systemic world and the life world of contemporary Ghanaian quotidian sphere. The first part discusses the terrain of contemporary music discourses in Ghana, whilst the second part treats the emerging issues in terms of popular music discursive functionality and dysfunctionality within the interstices of the Ghanaian cultural environment.
APA, Harvard, Vancouver, ISO, and other styles
7

PARK, JUYONG, OSCAR CELMA, MARKUS KOPPENBERGER, PEDRO CANO, and JAVIER M. BULDÚ. "THE SOCIAL NETWORK OF CONTEMPORARY POPULAR MUSICIANS." International Journal of Bifurcation and Chaos 17, no. 07 (July 2007): 2281–88. http://dx.doi.org/10.1142/s0218127407018385.

Full text
Abstract:
In this paper, we analyze two social network datasets of contemporary musicians constructed from allmusic.com (AMG), a music and artists' information database: one is the collaboration network in which two musicians are connected if they have performed or produced an album together, and the other is the similarity network in which they are connected if they were musically similar according to the music experts. We find that, while both networks exhibit typical features of social networks such as high transitivity (clustering), we find that they differ significantly in some key network features such as the degree and the betweenness distributions. We believe that this highlights the fundamental differences in the construction mechanism (self-organized collaboration and human-perceived similarity) of the new networks.
APA, Harvard, Vancouver, ISO, and other styles
8

Kim, Gooyong. "Neoliberal feminism in contemporary South Korean popular music." Politics of Sound 18, no. 4 (June 12, 2019): 560–78. http://dx.doi.org/10.1075/jlp.18058.kim.

Full text
Abstract:
AbstractThis paper examines how South Korean popular music (K-pop) promotes neoliberal feminism by a discourse of resilience. In a therapeutic narrative of overcoming obstacles and achieving goals, K-pop videos deliver a hegemonic message that individuals have to be responsible for their success and well-being rather than blaming external, institutional conditions. While ostensibly promoting female empowerment, the videos update and reinforce patriarchal gender norms and expectations. To substantiate this point, I analyze music videos of the most successful K-pop group, Girls’ Generation’s “Into the New World” (2007) and “All Night” (2017) to investigate how they promote resilience discourse along with neoliberal positive psychology as a hegemonic ideal of female subjectivity.
APA, Harvard, Vancouver, ISO, and other styles
9

Кондратенко, М. В. "Oscillation of Opposites in Contemporary Icelandic Popular Music." Музыкальная академия, no. 1(785) (March 25, 2024): 36–45. http://dx.doi.org/10.34690/362.

Full text
Abstract:
Исландия — самая удаленная от континента европейская страна. Ее непростая история и специфические географические особенности в немалой степени повлияли на сохранение и распространение культуры, в том числе музыкальной. Долгое время страна оставалась изолирована от окружающего мира, а также находилась в зависимости от других северных государств. Несмотря на сравнительно недавнее обретение независимости и быстрое развитие разных экономических, социальных и культурных отраслей, в том числе музыки, Исландия до сих пор остается для многих загадочным местом. Суверенитет, полученный в 1944 году, запустил процесс конструи­рования исландцами национальной идентичности. Помимо возрождения древних традиций, наблюдается появление множества новых культурных феноменов, основанных на специфике природы, языка и литературы страны. Музыка не осталась в стороне — по сей день появляется множество разнообразных музыкальных коллективов. В процессе анализа истории Исландии мы постоянно сталкивались с феноменом сосуществования противоположностей в разных сферах. Совмещение и слияние несовместимого в одновременности часто встречается и в исландской музыке. Эту тенденцию метафорически можно связать с географическим расположением острова, через который проходит разлом тектонических плит. Центральным в данной работе стало пришедшее из метамодернистского дискурса понятие осцилляции, отражающее, на наш взгляд, актуальные процессы современной популярной музыки Исландии. Iceland is the furthest European country from the continent. Its difficult history and specific geographical features have profoundly influenced the preservation and spread of culture, including music. The country remained isolated from the outside world for a long time and depended on other northern states. Despite the relatively recent acquisition of inde­pendence and the rapid development of various economic, social and cultural sectors, including music, Iceland remains a mysterious place for many. Sovereignty gained in 1944 launched the process of Icelanders constructing a national identity. In addition to the revival of ancient traditions, there is the emergence of many new cultural phenomena based on the specific nature, language and literature of the country. Music has not remained on the sidelines—to this day, many different musical groups appear. While analyzing Iceland’s history, we constantly encountered the phenomenon of the coexistence of opposites in different areas. The theme of combining and merging incompatible things into simultaneity is often found in Icelandic music. This trend can be metaphorically associated with the geographical location of the island, through which a tectonic plate fault passes. Central to this work was the concept of oscillation, which came from metamodernist discourse, reflecting, in our opinion, the current processes of modern popular music in Iceland.
APA, Harvard, Vancouver, ISO, and other styles
10

Perrone, Charles A. "Brazil." Popular Music 6, no. 2 (May 1987): 219–26. http://dx.doi.org/10.1017/s0261143000006000.

Full text
Abstract:
With its blends of Amerindian, African and European sources, Brazil has one of the richest and most diverse musical cultures in the world. Primitive tribal musics flourish in the Amazon, rural and urban regions practise many folk/traditional forms, and cosmopolitan art music has been produced since before the time of Villa-Lobos. Various musics that can be considered popular reflect both this wide national spectrum and the impact of international mass media pop music. Here, a description of the major tendencies in contemporary urban popular music of Brazil will be followed by bibliographical and discographic indications for further study or research.
APA, Harvard, Vancouver, ISO, and other styles
More sources

Dissertations / Theses on the topic "Contemporary popular music"

1

Viol, Claus-Ulrich. "Jukebooks: contemporary British fiction, popular music, and cultural value." Heidelberg Winter, 2004. http://deposit.ddb.de/cgi-bin/dokserv?id=2772862&prov=M&dok_var=1&dok_ext=htm.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Bochanty-Aguero, Erica Jean. "Music that moves television music, industrial travel, and consumer agency in contemporary media culture /." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1851096631&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Yuan, Xiaorong. "Chinese Minority Popular Music: A Case Study of Shanren, a Contemporary Popular Band." Kent State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=kent1461073565.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Lord, Cristina Danielle. "The influence of popular music in the contemporary classical aesthetic." Thesis, California State University, Long Beach, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10118887.

Full text
Abstract:

Newsfeed is a composition for eight performers and electronics, written in 2016. It incorporates elements from popular music, namely in the form of borrowed instrumentation and influx of styles, in its aesthetic. A discussion of the ideologies behind the crossover of popular music within contemporary classical composition prefaces specific examples from recent composers that have also sought to bridge the gap between these two realms of music. The observations of musicologists, as well as artist statements from the composers themselves, justify the philosophical and cultural ramifications of the cross-pollination between popular and art music. The composers discussed in this report use a variety of methods to crossover the two realms, which range from instrumentation, incorporation of popular styles, and references to popular music and contemporary media within their works. Following this is a discussion of popular artists who have made a similar crossover into the art world.

APA, Harvard, Vancouver, ISO, and other styles
5

Nicholls, Matthew. "Interactions between contemporary American independent cinema and popular music culture." Thesis, University of Southampton, 2011. https://eprints.soton.ac.uk/367385/.

Full text
Abstract:
In recent years, many American independent films have become increasingly engaged with popular music culture and have used various forms of pop music in their soundtracks to various effects. Disparate films from a variety of genres use different forms of popular music in different ways, however these negotiations with pop music and its cultural surroundings have one true implication: that the 'independentness' (or 'indieness') of these movies is informed, anchored and embellished by their relationships with their soundtracks and/or the representations of or positioning within wider popular music subcultures. Independent American cinema, often distinguished from mainstream Hollywood cinema in terms of the separateness of its production or distribution, or its thematic and/or formal transgressions, can also be seen as distinctive in terms of its musical expression. This thesis will investigate the impact that these popular music cultures have had on contemporary American independent film since the 1980s. The primary objective of this thesis is not to discuss how these films are positioned within the industry (this has been done elsewhere), nor is it the aim to scrutinise a film's independentness (or 'unindependentness') in terms of its production, but rather to assert how music functions in these films and how a notion of independence (indieness) can be measured from the relationship between the film, its soundtrack, and a wider music culture. This will involve textual analyses of how popular music has been used to score a selection of key independent films (ranging from Blue Velvet and Do the Right Thing through to Ghost World and Juno), how popular music trends and subcultures have been represented on screen (such as dance music culture in Go), and how the film and music worlds have interacted, particularly through collaborations between directors and pop musicians (such as Darren Aronofsky and Clint Mansell).
APA, Harvard, Vancouver, ISO, and other styles
6

Fu, Lok-yi Alice. "Contemporary Cantopop reception of crossover music in Hong Kong /." Click to view the E-thesis via HKUTO, 2008. http://sunzi.lib.hku.hk/hkuto/record/B39634334.

Full text
Abstract:
Thesis (M. Phil.)--University of Hong Kong, 2008.
Includes Chinese version of questionnaire (leave 132-133), transcript of interviewees in Chinese (leave 134-141) and Chinese texts of translated songs (leave 142-154). Also available in print.
APA, Harvard, Vancouver, ISO, and other styles
7

Luckman, Susan Heather. "Party people : mapping contemporary dance music cultures in Australia /." [St. Lucia, Qld.], 2002. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe16686.pdf.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Torres, Nora Gamez. "Living in transition : popular music and social change in contemporary Cuba." Thesis, City University London, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.544452.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Anderson, Lauren. "Investigating audience responses to popular music in contemporary romantic comedy films." Thesis, Aberystwyth University, 2009. http://hdl.handle.net/2160/cc4ece5f-c1df-4198-be56-c7afb3067dcb.

Full text
Abstract:
Despite the rapidly growing body of critical academic writing around sound and music on screen, and studies of the increasing role of popular music within contemporary films, there has to date been little empirical exploration of audience responses to popular music in film. This thesis investigates how audiences hear and relate to popular music in romantic comedy soundtracks, specifically those of Love Actually (2003, dir. Richard Curtis), What Women Want (2000, dir. Nancy Meyer), and 10 Things I Hate About You (1999, dir. Gil Junger). Building upon a detailed critique of existing theoretical approaches to audiences’ engagements with popular music soundtracks, the findings in this study are based on two rounds of semi-structured interviews. Initially, the selected films were discussed in four focus group interviews, recruited according to age and gender (under-25-year-old men and women, and over-45-year-old men and women). Four subsequent individual interviews with one participant from each focus group concentrated on one particular sequence from Love Actually. A key assumption underlying theorised audience responses within literature on film music is a dichotomy between knowing and not-knowing pre-existing pop music in films: ‘knowing’ the music is seen to result in a more complex reading of a scene, as well as a more critical, distanced mode of engagement with the film; ‘not-knowing’, on the other hand, means the viewer is more immersed in the film and more likely to adopt its ideological messages uncritically (see for example Kassabian, 2001; J. Smith, 1998). The present research challenges this position: interview analyses indicate that patterns of talk are not as unified or consistent as these existing theoretical models suggest. Participants drew on several different modes of engagement in making sense of popular music in film, including: evaluating the music according to a diverse range of criteria and categorisations; relating the music to life stages and personal memories; and managing perceived involvement with the films and their soundtracks. These findings do not easily fall within any singular model of proposed audience responses to film music, but instead suggest that a new way of thinking about film audiences must account for taste processes, accommodate audiences’ vernacular categorisations, and incorporate a broader conception of ‘knowledge’ and ‘ways of knowing’.
APA, Harvard, Vancouver, ISO, and other styles
10

Jones, Craig Owen. "Y cantorion newydd : a study of contemporary Welsh-language popular music." Thesis, Bangor University, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.534645.

Full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Books on the topic "Contemporary popular music"

1

Council, Scottish Arts. Contemporary popular music. Edinburgh: Scottish Arts Council, 2001.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
2

Dumnić Vilotijević, Marija, and Ivana Medić, eds. Contemporary Popular Music Studies. Wiesbaden: Springer Fachmedien Wiesbaden, 2019. http://dx.doi.org/10.1007/978-3-658-25253-3.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Rego, Enylton José de Sá. MPB, contemporary Brazilian popular music. Abq. [ i.e. Albuquerque], N.M: Latin American Institute, University of New Mexico, 1985.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
4

Sarrazin, Natalie. Focus: Popular Music in Contemporary India. New York : Routledge, 2020. | Series: Focus on world music: Routledge, 2019. http://dx.doi.org/10.4324/9780429505249.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Mark, Harrison. Contemporary music theory. Milwaukee: Hal Leonard, 2001.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
6

1952-, Swiss Thomas, Sloop John M. 1963-, and Herman Andrew 1957-, eds. Mapping the beat: Popular music and contemporary theory. Malden, MA: Blackwell Publishers, 1998.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
7

Zamora, Mercy Díaz. El Guayabero: A contemporary minstrel. Holguín: Publicigraf, 1995.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
8

Stern's guide to contemporary African music. London: Zwan, 1988.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
9

Contemporary art culture. 2nd ed. Dubuque: Kendall Hunt Pub Co, 2009.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
10

Centre, Stern's African Record, ed. Stern's guide to contemporary African music. London: Pluto Press, 1989.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Book chapters on the topic "Contemporary popular music"

1

LeVine, Mark, and Jonas Otterbeck. "Muslim Popular Music." In Handbook of Contemporary Islam and Muslim Lives, 1–25. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-319-73653-2_107-1.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

LeVine, Mark, and Jonas Otterbeck. "Muslim Popular Music." In Handbook of Contemporary Islam and Muslim Lives, 797–821. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-32626-5_107.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Levine, Mark, and Jonas Otterbeck. "Muslim Popular Music." In Handbook of Contemporary Islam and Muslim Lives, 1–15. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-319-73653-2_42-2.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Szarecki, Artur. "Towards posthegemonic popular music studies." In Contemporary Popular Music Studies, 279–87. Wiesbaden: Springer Fachmedien Wiesbaden, 2019. http://dx.doi.org/10.1007/978-3-658-25253-3_26.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Marx, Tobias. "Collaboration in semi-professional music groups." In Contemporary Popular Music Studies, 173–81. Wiesbaden: Springer Fachmedien Wiesbaden, 2019. http://dx.doi.org/10.1007/978-3-658-25253-3_16.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Ludewig, Bianca. "Researching popular music through transmedia festivals." In Contemporary Popular Music Studies, 251–57. Wiesbaden: Springer Fachmedien Wiesbaden, 2019. http://dx.doi.org/10.1007/978-3-658-25253-3_23.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Vilotijević, Marija Dumnić, and Ivana Medić. "Introduction." In Contemporary Popular Music Studies, 9–14. Wiesbaden: Springer Fachmedien Wiesbaden, 2019. http://dx.doi.org/10.1007/978-3-658-25253-3_1.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Fredriksson, Daniel. "Pathways of pop: Arts and education policy, studieförbund and genre hierarchies." In Contemporary Popular Music Studies, 101–8. Wiesbaden: Springer Fachmedien Wiesbaden, 2019. http://dx.doi.org/10.1007/978-3-658-25253-3_10.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Guerra, Paula, and Carles Feixa. "Golfos, punkis, alternativos, indignados: Subterranean traditions of youth in Spain, 1960 ̶ 2015." In Contemporary Popular Music Studies, 111–26. Wiesbaden: Springer Fachmedien Wiesbaden, 2019. http://dx.doi.org/10.1007/978-3-658-25253-3_11.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Guerra, Paula, and Ana Oliveira. "Heart of glass: Gender and domination in the early days of punk in Portugal." In Contemporary Popular Music Studies, 127–36. Wiesbaden: Springer Fachmedien Wiesbaden, 2019. http://dx.doi.org/10.1007/978-3-658-25253-3_12.

Full text
APA, Harvard, Vancouver, ISO, and other styles

Conference papers on the topic "Contemporary popular music"

1

Cai, Huaming. "Influence of Popular Music on Mass Culture in Contemporary China." In International Conference on Education, Management and Computing Technology (ICEMCT-15). Paris, France: Atlantis Press, 2015. http://dx.doi.org/10.2991/icemct-15.2015.144.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Orange, Chris. "Reconceptualising Tertiary Contemporary Music Performance Assessment." In Rangahau Horonuku Hou – New Research Landscapes, Unitec/MIT Research Symposium 2021. Unitec ePress, 2022. http://dx.doi.org/10.34074/proc.2206006.

Full text
Abstract:
Contemporary music performances are typically assessed by criteria such as Musicianship, Accuracy, Technique, Professionalism and Contribution. These measures continue to be used despite low discrimination between them and specific items on the assessment schedules (Thompson & Williamon, 2003). In addition, there is a lack of objective evidence that assessment is truly comprehensive. Greater transparency in domain definition and comprehensiveness may aid understanding of the rubric, and lead to better assessment. This study investigated whether popular-music performance assessment criteria are supported by a multidimensional scaling analysis (MDS). What might an MDS analysis contribute to confidence in the validity of these common measures of music performance? Performance students and tutors at an Aotearoa New Zealand tertiary music institute participated in focus-group sessions where they answered structured questionnaires. These provided descriptors of musical efforts that contribute to successful music shows. These descriptors of performance were then mapped using a mixed-method process with concept mapping (Coxon, 1999; Trochim & Kane, 2005), and card sorting via novel use of web-based user experience (UX) platform OptimalSort (Paea & Baird, 2018). The MDS analysis of the descriptor item set, and comparison of emergent clusters with typical rubric, revealed alternative constructs underlying the language of music performance assessment. Results suggest that the incumbent measures confound important dimensions. The importance of collaborative interaction in the development of musical skill is suggested by our analysis, and this is supported by findings in the literature (Green, 2008; Schiavio et al., 2020). The more comprehensive and detailed description of music performance constructs provided by this MDS approach may illuminate music performance studies and lead to greater understanding of how assessment may best benefit learning.
APA, Harvard, Vancouver, ISO, and other styles
3

Shang, Jinghan. "Research on Popular Music Communication Under the New Media Revolution." In Proceedings of the 4th International Conference on Contemporary Education, Social Sciences and Humanities (ICCESSH 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/iccessh-19.2019.213.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Bagul, Mitali, Divya Soni, and K. Saravanakumar. "Recognition of similar patterns in popular Hindi Jazz songs by music data mining." In 2014 International Conference on Contemporary Computing and Informatics (IC3I). IEEE, 2014. http://dx.doi.org/10.1109/ic3i.2014.7019799.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Jucu, Ioan Sebastian. "REPRESENTING CITIES, PLACES AND CULTURES THROUGH MUSIC TOURISM AND ICONIC MUSIC LEGENDS: A SHORT GEOGRAPHICAL ANALYSIS OF CELINE DION�S MUSIC AND TRAVEL." In 9th SWS International Scientific Conferences on SOCIAL SCIENCES - ISCSS 2022. SGEM WORLD SCIENCE, 2022. http://dx.doi.org/10.35603/sws.iscss.2022/s14.122.

Full text
Abstract:
Cities, cultures, tourism and music have always been connected through the close relations between urban places as music venues, tourists and legendary musicians which perform to largest audiences. This paper aims to briefly examine the most important relations between music, tourism, cities and iconic musicians considering as a case in point, one of the most emblematic artists in the contemporary global popular culture - the iconic songstress Celine Dion. The article unveils the most important features which connect places with different cultures, with the fans as music tourists and with the outstanding artists that shape particular landscapes based on their tours and live performances. The article, in brief unveils, the most important cities and cultures that are frequently inserted in the artists� agenda trying to highlight the places and the cities� cultural specificities through the lens of popular music and lyrics analysis. The main methods used in this paper belongs to media tools analysis using a musical documentary and the discourse analysis of both the artist and the people/music tourists. The main findings highlight that cities and places, beyond remaining emblematic music venues and touristic places for a large number of people that travel from different places to see their favorite artists, are places with specific cultural identities often represented in/through music and, furthermore, through the music of legendary artists and through the artists themselves.
APA, Harvard, Vancouver, ISO, and other styles
6

Meng, Dongqi. "Study on the Influence of Popular Singing on Vocal Music Teaching in Colleges and Universities." In Proceedings of the 5th International Conference on Arts, Design and Contemporary Education (ICADCE 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icadce-19.2019.134.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Szymanska-Stulka, Katarzyna. "TRAJECTORY OF GREEN BY ANDRZEJ KARALOW AND JERZY PRZEZDZIECKI: TOWARDS THE LANDSCAPE MUSIC." In 9th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2022. SGEM WORLD SCIENCE, 2022. http://dx.doi.org/10.35603/sws.iscah.2022/s08.11.

Full text
Abstract:
Andrzej Karalow (b. 1991) is a pianist, composer and improviser. In his approach to music, an avid interest of the young generation, he breaks free from the traditional form and instrumentation, striving for creative freedom and artistic exploration. The composer combines a variety of trends that are fundamental for several genres of music and determine a contemporary world of sounds. Performing as a pianist and guitar player, Karalow creates artistic projects with Jerzy Przezdziecki, a recognised Polish experimental electronic artist. Trajectory of Green, the subject of this analysis, originates from the album Pedestal�s Complement (2020). In this production, Karalow and Przezdziecki present environmental or landscape music that reflects the patterns of the surrounding world. Their works are mostly improvised and are a perfect example of the use of space as a vital element of the composition. Inspirations with the landscape and its components appearing in our perception determine the general vision of the work as well as its details. The composer draws patterns from the space around him and creatively transforms them into a new artistic construct. This prompts the following question: To what extent does the increasingly popular concept of environmental music apply to the work in question? The article offers an analysis of the compositional devices along with the language of expression/artistic style, both at the level of the work�s microform and macroform, while also considering the influence of ambient music on this type of composition. Given the evident landscape component in the idea, form and structure of the work, Trajectory of Green is analysed as an example of landscape music.
APA, Harvard, Vancouver, ISO, and other styles
8

Apostol, Snejana. "The appearance and development of classical stage dance: premises and particularities." In International scientific conference "Valorization and preservation by digitization of the collections of academic and traditional music from the Republic of Moldova". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2023. http://dx.doi.org/10.55383/ca.27.

Full text
Abstract:
The appearence and development of the classical dance and, in particular, ballet was influenced by several internal and external factors and, first of all, by the evolution of popular choreographic art, ballet becoming the superior genre of choreographic art. In the present article, the stages of creation of the classical dance are analyzed at length, starting with the 14th century and ending with the contemporary era. The particularities of the development of the classical dance and ballet in the European countries, including the Republic of Moldova, are characterized. The dominant role of the great performers and choreographers in the development of ballet is also appreciated. At the same time, emphasis is placed on approaching ballet as a kind of synthetic choreographic art, which includes dramaturgy, music, choreography, plastic art.
APA, Harvard, Vancouver, ISO, and other styles
9

Link, Martin. "Signum et gens – Zur Gendersemiotik in Clara und Robert Schumanns Liederzyklus Liebesfrühling." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.62.

Full text
Abstract:
The marriage between Clara and Robert Schumann is one of the most popular relationships in music history. In 1840, a song cycle named Liebesfrühling with songs from Clara Schumann as well as from her husband was collectively published under their names. Despite the fact that the married couple did not specify the voice register and gender of the vocal parts within the score, some hints indicating the gender of the personas can be found for instance in the personal pronouns of the text. Yet, some parts of the song cycle do not provide such clues, leaving the question, to which gender the vocal parts are ascribed, completely open. Nevertheless, some scholarly examinations like Melinda Boyd’s publication Gendered voices. The “Liebesfrühling” Lieder of Robert and Clara Schumann try to answer this question using semiology as a method to indicate gender assignments. However, this raises the question of how far gender aspects can be examined through semiotic approaches. What symbols are used to specify gender? Did this change in history? And can these ascriptions be found in the music of Clara and Robert Schumann? The chosen method will show difficulties because of its time-constraint and the problem of relevancy. This is why the proposed theses of Boyd will be inspected regarding the text and the score of the song cycle Liebesfrühling. At the same time, the investigation will try to consider the importance of contemporary performance practice.
APA, Harvard, Vancouver, ISO, and other styles
10

Fukasawa, Masaya, and Masashi Yamada. "Impressions of Musical Pieces in the Pokémon Series." In 15th International Conference on Applied Human Factors and Ergonomics (AHFE 2024). AHFE International, 2024. http://dx.doi.org/10.54941/ahfe1004995.

Full text
Abstract:
In recent years, Japanese anime and video games have been highly regarded as a part of Cool Japan content. Among them, a video game series Pokémon is standing out as globally famous content. The Pokémon series is a role-playing game developed by Game Freak Inc. and sold by The Pokémon Company. It has been popular since the release of Pokémon Red/Green in 1997, with many titles being released up to the latest. Throughout its long history, one of the important factors that has kept Pokémon popular is music.In a previous study, the character design of monsters was investigated, but there was no investigation on the music used in the Pokémon series. Pokémon includes various situations and scenes, such as battles with trainers and monsters, transfer on bicycles, walking around the towns, and visiting the hideouts of evil organizations, and so on. In the Pokémon series, corresponding musical piece is prepared for each situation and scene. The pieces are composed based on the theory and experience of musicians and it is not clarified whether they are matched to the situations or scenes. In the present study, a perceptual experiment was conducted to research the impressions of musical pieces in the Pokémon series using semantic differential method, and investigated whether the musical pieces are matched to the situations and scenes. For the experiment, 151 musical pieces used in the Pokémon series were prepared as sound stimuli. The stimuli were presented through headphones STAX SR-407 at the level of LAeq=55.9-70.4. Eighteen students of Kanazawa Institute of Technology participated as listeners. The participants listened to a stimulus and were requested to rate their impressions for the piece using 25 bipolar seven-step scales. The rated scores were averaged for each scale and used for factor analysis. The results of the factor analysis showed that the three-factor solution accounted for 86.9% of the data variance. These factors were labeled pleasantness, powerfulness and speed, respectively. The tonality of the musical piece determined the pleasantness, i.e. a piece with a major key was perceived as pleasant and a minor key was felt as unpleasant. A piece with a wide range of loudness change sounded powerful and a piece with a narrow range of loudness change sounded powerless. Contemporary game music is produced with various real sound sources and this allows realizing a wide range of loudness change. The rhythm and tempo of the musical piece determined speed. A piece with a fast rhythm and tempo sounded rapid and vice versa. Moreover, the results showed that the musical pieces were suitably composed and matched to the situations and scenes, in the Pokémon series. For example, the pieces used in the battle situations sounded powerful and rapid, the pieces used in the scene of towns sounded powerless, pleasant and slow, and so on. The results of the present study suggest how to compose for a situation or scene suitably, controlling the tonality, dynamic range of the loudness, rhythm and tempo.
APA, Harvard, Vancouver, ISO, and other styles
You might also be interested in the extended bibliographies on the topic 'Contemporary popular music' for particular source types:
Journal articles Dissertations / Theses Books
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography