Academic literature on the topic 'Crossing-culture music'
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Journal articles on the topic "Crossing-culture music"
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Berry, Venise T. "Crossing Over: Musical Perceptions Within Black Adolescent Culture." Journal of Popular Music Studies 5, no. 1 (March 1993): 26–38. http://dx.doi.org/10.1111/j.1533-1598.1993.tb00080.x.
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Cain, Melissa. "Musics of ‘The Other’: Creating musical identities and overcoming cultural boundaries in Australian music education." British Journal of Music Education 32, no. 1 (February 23, 2015): 71–86. http://dx.doi.org/10.1017/s0265051714000394.
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The binary opposition between ‘own music’ and ‘other's music’ is the ‘result of deep conditioning’ (Drummond, 2010, p. 118) and is almost impossible to overcome.By exploring the underlying constructs that influence students’ and teachers’ perceptions of minority cultures and their musics, this paper explores the notion of ‘the other’ in Australian music education. In particular, how the many factors which play a role in cultural identity serve to both promote and prevent musical understanding and appreciation. An examination of Australian multicultural policy and music curriculum documents in the state of Queensland provides a foundation for the discussion of data obtained from interviews with teachers from state and private primary schools in the capital Brisbane. The results reveal that while music educators are generally inquisitive about incorporating musics of ‘other’ cultures into their lessons, they are less comfortable with crossing cultural boundaries, and do not wish to threaten the position of Australia's own musical culture – ultimately highlighting a disconnect between policy, rhetoric and practice in the area of culturally diverse music education in classrooms today.
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Randel, Don Michael. "Crossing over with Rubén Blades." Journal of the American Musicological Society 44, no. 2 (1991): 301–23. http://dx.doi.org/10.2307/831606.
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Having won two Grammy Awards, attracted considerable attention in the English-language media, and appeared in several Hollywood films, Latin popular singer Rubén Blades has been much discussed as a crossover, that is, as an artist who, with a well-defined audience (in this case Hispanic), produces work that appeals in addition to another audience (here the audience for mainstream American popular music). El Gran Combo de Puerto Rico, in contrast, continues to appeal to its traditional Hispanic audience and remains the undisputed leader in popularity with that audience. A comparison of a piece by El Gran Combo with one by Blades suggests ways of thinking about the relationship of both to their audiences and to each other and ways in which musicology might approach such questions in specifically musical terms. Blades is seen not to be crossing over from one audience to another but to represent transformations in his Hispanic audience, which is itself crossing over to become increasingly imbued with Anglo culture while remaining rooted in its own traditions.
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Gbogi, Michael Tosin. "Contesting Meanings in the Postmodern Age." Matatu 48, no. 2 (2016): 335–62. http://dx.doi.org/10.1163/18757421-04802007.
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Recent years have seen an explosion in the production and consumption of hip hop music in Nigeria. From the MTV Africa Music Awards to the BET Awards, Nigerian hip hop heads have continued to push the boundaries of their music on the international front, linking it, in the process, to a sort of global Hip Wide Web. Yet, despite these breakthroughs, the general perception of the discursive landscape of this music is not altogether positive in Nigeria itself. In particular, the message(s) of the music’s lyrics has been severally described as a venture that has no meaning beyond its noisy character. This is especially the case when the music is being evaluated by older generations of Nigerian critics who do not share in, and are almost averse to, the hip hop culture that has newly ascended as the dominant youth culture. Problematizing these evaluations under five paradigms—crossing, multilingualism, and styling, repetition, inversion of order, meaninglessness, and pornography—this essay contends that what appears as meaninglessness in Nigerian hip hop music inscribes a masked matrix of meanings in the postmodern age. It argues that the elements of the lyrical gamut that are often perceived as meaningless are in fact meaningful and valuable resources that the artists, and by extension their audience members, harness to perform their generational ingroupness and multiplex postmodern identities.
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Kushch, Viktoriia. "Pop-song and academic chamber vocal music: points of crossing." National Academy of Managerial Staff of Culture and Arts Herald, no. 2 (September 17, 2021): 273–78. http://dx.doi.org/10.32461/2226-3209.2.2021.240083.
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The purpose of the article is to identify the points of crossing of pop songs and academic chamber vocal music in the Ukrainian cultural and artistic space of the second half of the 20th century. The methodology involves the use of analytical, systemic and historical, and cultural methods to identify the relationship between the pop song genre and academic chamber vocal music in the Ukrainian musical culture of the second half of the 20th century. The scientific novelty of the work lies in the characterization of I. Karabits’ pop songs from the point of view of combining the features of pop and academic chamber vocal music in them. Conclusions. Pop song and chamber vocal music, represented by the genre of solo singing, developed separately in the Ukrainian cultural space of the 1950s-1980s, but their paths often crossed. In the context of their interaction in pop-song creativity, the process of academization takes place, and in academic music – hitting. Based on the analysis of two popular pop songs by I.Karabits «My land is my love» and «A song for good», a specific feature of a number of vocal compositions of the composer was discovered and described, which are functionally ambivalent and correspond to the aesthetics of both academic and pop music, and therefore, they are indicated as works of dual-use – for both the academic and the pop scene. This duality is based on the musical component of a vocal work, which, with variability in the interpretation of the instrumental (and sometimes vocal) component, can enhance the features of both academic and pop music.
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Weber, Jane. "CHARLEY PATTON MED SAKRALNIM IN PROFANIMCHARLEY PATTON BETWEEN SACRAL AND PROFANE." Traditiones 48, no. 2 (June 28, 2019): 149–80. http://dx.doi.org/10.3986/traditio2019480208.
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Prispevek obravnava sakralne skladbe Charleyja Pattona, posnete med letoma 1929 in 1934 na gramofonskih ploščah z 78 o/min. Na njih so dokumentirane Pattonove številne glasbene značilnosti. Moč njegove glasbe je na primer pogosto najočitnejša v njegovih spiritualih in gospelih. Avtor preučuje ločnico med posvetno in sakralno glasbo v Pattonovi glasbeni zapuščini in širše v afroameriški kulturi, pri čemer se osredinja na prehajanja te ločnice in prepletanje glasbenih slogov ter ugotavlja, da se je Patton v glasbenih izvedbah zlahka sprehajal med sakralnim in posvetnim.***The article introduces Charley Patton’s religious songs on 78 rpm gramophone records recorded in the period from 1929 to 1934. Almost all of Patton’s varied musical skills come out on those records. For example, the power of his music is often most evident in his spiritual and gospel work. The author writes about the divide between secular and sacred music in Afro-American culture and particularly in Patton’s legacy. The author was also mainly interested in crossing of that dividing line and in blending of various styles, and he ascertained that in his performances Patton easily crossed the line of separation between sacred and profane.
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Paiuk, Gabriel. "Tactility, Traces and Codes: Reassessing timbre in electronic media." Organised Sound 18, no. 3 (November 12, 2013): 306–13. http://dx.doi.org/10.1017/s1355771813000289.
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This article starts by arguing that in diverse approaches to electronically produced sound in music of recent times a shift in focus has occurred, from the creation of novel sounds to the manipulation of sound materials inherent in a culture of electric and electronic devices of sound production.Within these practices, the use of lo-fi devices, circuit-bending, cracked electronics and a resurfacing of older technologies is coupled with digital technology in a process which emphasises the devices characteristic modes of sound production and artefacts. Electronic sound becomes regarded as embedded on a reservoir of qualities, memories and registers of technologies that inhabit our sound environment.From this starting point our apprehension of technologically produced sound is reassessed, constituted as the crossing of particular conditions of production and reception, cultural traces and codes inherent in the practices and characteristics of media.This perspective lays the ground for a compositional approach that exposes and problematises the interaction of these multiple conditions.
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Dombrauskene, Galina Nikolaevna, and Dmitrii Nikolaevich Bolotin. "Philosophical and astronomical image of space in E. Artemiev’s music for A. Tarkovsky’s “Solaris”." PHILHARMONICA. International Music Journal, no. 6 (June 2020): 20–44. http://dx.doi.org/10.7256/2453-613x.2020.6.33661.
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The authors attempt to reveal the internal interconnection of a traditional mythologem of space with the ideas of a modern astronomical reality in the music by E. Artemiev written for A. Tarkovsky’s movie “Solaris”. The mythologem of space gained its features back within the ancient worldview and formed a sort of a semiotic complex which can be considered as a combination of various symbols connected with basic natural forces, basic forms and numbers. This mythologem was embodied in various art forms, including the music of various historical epochs. Surprisingly, in contemporary culture, which has much wider knowledge of physical (astronomical) space, the ancient ideas of microcosm and macrocosm are still functioning, along with the medieval religious ideas of eternity, metaphysical searches for new spirituality, the divine-humanity of cosmism adherents, etc. Based on M.M. Bakhtin’s concept of chronotope, the authors develop the model of chronotope analysis represented in the form of a table (G. N. Dombruaskene) which allows considering the movie within a vector space, in which the main vectors - the two basic directions - are the chronometry and the chronotope. The table format demonstrates the semantic moments related to space which emerge at the crossing of the three key parameters of the movie: verbal, visual and musical. The full chronotropic, semiotic and computer-based analysis with the sonograms of music examples (D.N. Bolotin) helps to reveal in each space-related fragment of the movie the music and artistic means of expression of its philosophical and astronomical characteristics.
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Pierce, J. Mackenzie. "Global Chopin: The 1949 Centenary and Polish Internationalism during the Early Cold War." Journal of the American Musicological Society 75, no. 3 (2022): 487–545. http://dx.doi.org/10.1525/jams.2022.75.3.487.
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Abstract The 1949 Chopin Year was a large-scale cultural mobilization whose purpose was to bring Chopin’s music to hundreds of thousands of Poles and to promote it around the world, all funded and overseen by Poland’s newly established Communist state. Among the most striking aspects of the Chopin Year was its extensive international programming: not only did Polish diplomatic missions convince around thirty countries to organize Chopin celebrations that paralleled those in Poland, but they targeted countries outside the Soviet-dominated Eastern Bloc, despite the strictures of Stalinist-era anti-Westernism then growing across Eastern Europe. This article draws on unstudied archival sources from Polish ministries, musical institutions, and diplomatic missions to explore the historical and political forces at play in Poland’s Chopin-centered internationalism during the early Cold War. I demonstrate that cultural officials, composers, diplomats, and performers—all with varying stakes in state socialism—competed over the meaning of Chopin and his accomplishments when planning the Chopin Year. These various factions often agreed, however, on a decades-old view of the composer as both a national and an international figure, whose legacy was uniquely capable of promoting Polish causes on the global stage. By showing how the Chopin Year drew on and perpetuated a longue durée of Polish transnational contacts and discourse about the global Chopin, the article places Cold War internationalism within a longer lineage of border-crossing that had been a central aspect of European musical culture since at least Chopin’s lifetime.
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Korolkova, Inga. "The Chant of Russian Pilgrim Singers and its Role in the Russian Folk Music Tradition." PHILHARMONICA. International Music Journal, no. 4 (April 2022): 48–69. http://dx.doi.org/10.7256/2453-613x.2022.4.38875.
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The article characterizes the musical tradition of Russian singers-wanderers, recorded by collectors in the north-western, northern and central provinces of Russia. For the first time, a comparative study is being carried out of the variants of memorial and zazdravny chants performed by the crossing kaliks and beggars. The study summarizes various sources – auditory recordings of the XIX century, publications of the XX century, unpublished folklore materials. The author draws attention to the little-known recordings of memorial and health chants recorded in the Novgorod, Yaroslavl, Tver, Pskov regions. The objectives of the article are to conduct a comparative study of the tunes of the "poor brethren", to identify their typological properties and intonational origins. The author considers the health and memorial chants as a special phenomenon of Russian folk music culture. The core of this tradition was a chant, which served as a musical formula, to which the calics of the transition sang various texts. On the basis of the facts given in the article, it can be concluded that the main version of the tune of the kalik of the transients is characterized by a one-verse composition and a 10-time basis of small-scale construction. In Russian folklore, the existence of this musical-structural type is limited only to the health and memorial songs of Kalik, spiritual poems and the ballad "Prince Mikhailo", and is not found in other genre spheres. However, the close intonation, rhythmic, compositional relationship of the tune with a wide range of folklore genres indicates that it was formed on the basis of compositional and melodic techniques developed in the practice of peasant song culture. The intonational affinity of the chant with church hymns, especially with the forms of liturgical reading, is an indicator of the closeness of the singing culture of the Kalik of the transients and the church musical tradition as a whole, and also reveals those properties that can be attributed to the category of universals of the Old Russian musical language based on speech intonations.
Books on the topic "Crossing-culture music"
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Eminem: Crossing the line. New York: St. Martin's Press, 2000.
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Eminem: Crossing the line. London: Plexus, 2003.
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Kobrenski, Dave. Djoliba Crossing: Journeys Into West African Music and Culture. Artemisia Books, 2013.
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Kobrenski, Dave. Djoliba Crossing: Journeys into West African Music and Culture. BookBaby, 2020.
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Huxley, Martin. Eminem: Crossing the Line. St. Martin's Press, 2005.
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Huxley, Martin. Eminem: Crossing the Line. St. Martin's Griffin, 2000.
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Huxley, Martin. Eminem: Crossing the Line. Tandem Library, 2000.
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Huxley, Martin. Eminem: Crossing the Line. St. Martin's Press, 2000.
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Eminem: Crossing the Line. Plexus Publishing, Limited, 2000.
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Gibbons, William. Unlimited Replays. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190265250.001.0001.
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This book explores the intersections of values and meanings in two types of replay: where video games meet classical music, and vice versa. From the bleeps and bloops of 1980s arcades to the world’s most prestigious concert halls, classical music and video games have a long history together. Medieval chant, classical symphonies, postminimalist film scores, and everything in between fill the soundtracks of many video games, while world-renowned orchestras frequently perform concerts of game music to sold-out audiences. Yet combining video games and classical music also presents a challenge to traditional cultural values around these media products. Classical music is frequently understood as high art, insulated from the whims of popular culture; video games, by contrast, are often regarded as pure entertainment, fundamentally incapable of crossing over into art. By delving into the shifting and often contradictory cultural meanings that emerge when classical music meets video games, Unlimited Replays offers a new perspective on the possibilities and challenges of art in contemporary society.
Book chapters on the topic "Crossing-culture music"
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Beng Huat, Chua. "East Asian Pop Culture." In Structure, Audience and Soft Power in East Asian Pop Culture. Hong Kong University Press, 2012. http://dx.doi.org/10.5790/hongkong/9789888139033.003.0002.
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Since the 1990s, there has been dense traffic of pop culture routinely crossing the national and cultural boundaries of East Asian countries of Japan, Korea, China, Taiwan, Hong Kong and Singapore. The unequal traffic is predominantly from Japan and Korea into ethnic-Chinese dominant locations, which has a historically long and well established production, distribution and exhibition network; Japan and Korea are primarily production-exporting nations, while China and Singapore as primarily importing-consumption ones, with Taiwan emerging as the production centre in Mandarin pop music and Hong Kong remaining as the primary production location of Chinese languages cinemas. Japanese and Korean pop culture are translated, dubbed or subtitled into a Chinese language in one of the ethnic-Chinese importing locations and then re-exported and circulated within the entire Chinese ‘diaspora’. The structures and processes that engender this transnational flow are the foundational to the emergence of an East Asian regional media cultural economy that increasingly see co-production of films and television dramas.
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Vogel, Joseph. "The Price of the Beat." In James Baldwin and the 1980s. University of Illinois Press, 2018. http://dx.doi.org/10.5622/illinois/9780252041747.003.0002.
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This chapter draws on James Baldwin’s final novel, Just Above My Head, to explore the complex role of the black “crossover” artist in America. How have black popular artists been read, represented, and evaluated in American media and culture? What was the price of “crossing over,” of playing to increasingly mass, cross-racial audiences, of working for white labels, of conforming to the demands of a white industry? Why was black success so often accompanied by tragedy? This chapter explores why black music—and the black popular artist—were so important to Baldwin, and what his final novel suggests about its paradoxical power and vulnerabilities.
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Williams, James Gordon. "The Social Science Music of Terri Lyne Carrington." In Crossing Bar Lines, 71–104. University Press of Mississippi, 2021. http://dx.doi.org/10.14325/mississippi/9781496832108.003.0004.
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This chapter explores the music, life, and institutional building of drummer, feminist, and artistic director for the Berklee Institute for Jazz and Gender Justice, Terri Lyne Carrington. Through and examination of her cultural work, this chapter discusses Carrington’s attack on patriarchy in jazz culture through Black feminist thought reflected in her musical practices. Her work exposes the irony of the Black aesthetic values of inclusion at the foundation of African American improvised music in contrast with the patriarchal practice of marginalizing women improvisers. Carrington’s musical arrangement of Bernice Johnson Reagon’s composition “Echo” on The Mosaic Project (2011) is analyzed as linked critique of anti-blackness over and several compositions on Terri Lyne Carrington and Social Science (2019) are analyzed as an intersectional critique of police brutality, gay conversion therapy, celebration of Black feminism, and gender inequity represented respectively in “Bells (Ring Loudly),” “Pray the Gay Away,” “Anthem,” and “Purple Mountains.”
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Dirks, Rita. "Freedom to Know Me: The Conflict between Identity and Mennonite Culture in Miriam Toews’ A Complicated Kindness." In Narratives Crossing Borders: The Dynamics of Cultural Interaction, 33–50. Stockholm University Press, 2021. http://dx.doi.org/10.16993/bbj.b.
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In Miriam Toews’s A Complicated Kindness (2004; Giller Prize finalist; winner of Canada's Governor General's Award) Nomi Nickel, a sixteen-year-old Mennonite girl from southern Manitoba, Canada, tells the story of her short life before her excommunication from the closed community of the fictional East Village. East Village is based on a real town in southern Manitoba called Steinbach (where Toews was born), where Mennonite culture remains segregated from the rest of the world to protect its distinctive Anabaptist Protestantism and to keep its language, Mennonite Low German or Plattdeutsch, a living language, one which is both linguistically demotic yet ethnically hieratic because of its role in Mennonite faith. Since the Reformation, and more precisely the work of Menno Simons after whom this ethno-religious group was christened, Mennonites have used their particular brand of Low German to separate themselves from the rest of humankind. Toews constructs her novel as a multilingual narrative, to represent the cultural and religious tensions within. Set in the early 1980s, A Complicated Kindness details the events that lead up to Nomi’s excommunication, or shunning; Nomi’s exclusion is partly due to her embracing of the “English” culture through popular, mostly 1970s, music and books such as J.D. Salinger’s The Catcher in the Rye. Insofar as Toews’s novel presents the conflict between the teenaged narrator and the patriarchal, conservative Mennonite culture, the books stands at the crossroads of negative and positive freedom. Put succinctly, since the beginnings of the Protestant Reformation, Mennonites have sought negative freedom, or freedom from persecution, yet its own tenets foreclose on the positive freedom of its individual members. This problem reaches its most intense expression in contemporary Mennonitism, both in Canada and in the EU, for Mennonite culture returns constantly to its founding precepts, even through the passage of time, coupled with diasporic history. Toews presents this conflict between this early modern religious subculture and postmodern liberal democracy through the eyes of a sarcastic, satirical Nomi, who, in this Bildungsroman, must solve the dialectic of her very identity: literally, the negative freedom of No Me or positive freedom of Know Me. As Mennonite writing in Canada is a relatively new phenomenon, about 50 years old, the question for those who call themselves Mennonite writers arises in terms of deciding between new, migrant, separate-group writing and writing as English-speaking Canadians.