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Journal articles on the topic 'Funk (Music)'

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Author: Grafiati
Published: 4 June 2021
Last updated: 5 March 2023

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1

Youngman, Angela. "Junk funk music!" 5 to 7 Educator 2008, no. 43 (July 2008): xv1—xv2. http://dx.doi.org/10.12968/ftse.2008.7.7.29538.

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2

Valnes. "“Make It Funky”: Funk, Live Performance, and the Concept “Genre Works”." American Music 38, no. 3 (2020): 353. http://dx.doi.org/10.5406/americanmusic.38.3.0353.

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3

Brinck, Lars. "Funk jamming in New Orleans: Musical interaction in practice and theory." International Journal of Music Education 36, no. 3 (May 19, 2018): 430–46. http://dx.doi.org/10.1177/0255761418771994.

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This article reports long-term fieldwork on jamming funk musicians’ interaction from a combined anthropological, ethnographic, and grounded theory perspective. The study draws from over 20 years of data collection through personal interviews with New Orleans funk musicians, personal experiences with jamming and second-lining, and participant observation of funk jam sessions and second line parades. Also the author’s personal funk jam teaching experiences are included. The article is in four parts to mark the historical phases in the longitudinal research process towards a theoretical, empirical argument for how funk musicians think and act when they jam. The final theory suggests funk jamming to be guided by overarching notions of “making the music feel good” and “making them dance” and in an iterative spiral process of “open approach,” “prioritized focusing,” “categorical reflection,” and “artistic realization.” Based on this, some educational implications for learning and teaching how to jam conclude the article.
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4

Cook, Terence, Ashlin R. K. Roy, and Keith M. Welker. "Music as an emotion regulation strategy: An examination of genres of music and their roles in emotion regulation." Psychology of Music 47, no. 1 (October 26, 2017): 144–54. http://dx.doi.org/10.1177/0305735617734627.

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Research suggests that people frequently use music to regulate their emotions. However, little is known about what kinds of music may regulate affective states. To investigate this, we examined how the music preferences of 794 university students were associated with their use of music to regulate emotions. We found that preferences for pop, rap/hip-hop, soul/funk, and electronica/dance music were positively associated with using music to increase emotional arousal. Soul/funk music preferences were also positively associated with using music for up-regulating positive emotionality and down-regulating negative emotionality. More broadly, energetic and rhythmic music was positively associated with using all examined forms of musical emotion regulation, suggesting this dimension of music is especially useful in modulating emotions. These results highlight the potential use of music as a tool for emotion regulation. Future research can extend our findings by examining the efficacy of different types of music at modulating emotional states.
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5

Resende, Sara Pimenta, and Marcelo De Rezende Pinto. "Cool Identity Construction in the Context of Young Funk Music Consumers." CBR - Consumer Behavior Review 6, no. 1 (October 11, 2022): 253353. http://dx.doi.org/10.51359/2526-7884.2022.253353.

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Objective: This paper reports the results of a research that aimed to understand the articulation between sociocultural practices and symbolic processes in the construction of a cool identity by young people inserted in the funk environment. Method: Fieldwork focused on participant observation at funk events and dances and in-depth interviews with 3 MCs and 26 young people. To analyze the data, the content analysis methodology proposed by Bardin (1995) was used. Results: Among the results, it is noteworthy that, because funk is part of the daily lives of young people, their diverse experiences with funk enhance the creation of a cool identity that makes these individuals find a place in this universe of signs and meanings. Originality: The article discusses the concept of cool identity in order to understand the (re)construction of the identity of a group of urban young people supported by and in consumption.
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6

Coutinho, Paulo, and Inês Rocha. "“Funk não é música”: faces da diferença, diversidade e discriminação." Opus 27, no. 3 (November 7, 2021): 1–13. http://dx.doi.org/10.20504/opus2021c2709.

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O funk como expressão musical se constitui em um contrassenso binário entre o seu apogeu midiático e, ao mesmo tempo, o imaginário social discriminatório atribuído por heranças preconceituosas que se perpetuam no horizonte da vida social das pessoas. A expressão “funk não é música” é facilmente ventilada em uma roda de conversa entre amigos e, muitas vezes, naturalizada pelo senso comum. Tal expressão é o mote deste estudo, que busca propor uma reflexão sobre o valor discriminatório atribuído ao funk, entendendo tal fenômeno como elemento indispensável nas discussões sobre práticas de ensino diante da diversidade em música. Para esta reflexão, buscamos suporte teórico em estudos do campo da educação e cultura e do campo da educação musical em suas interfaces com a etnomusicologia. O estudo contou, como procedimento de coleta de dados, com a observação de aulas e o uso de entrevistas semiestruturadas com cinco estudantes e dois professores de música que participaram deste estudo. A análise crítica dos dados, apresentada ao longo de duas seções no presente texto, problematiza as formas como o funk atravessa o imaginário social cotidiano, a partir das narrativas dos participantes do estudo. Nas considerações, apontamos questões que podem se tornar pontes reflexivas para pensarmos a complexidade da diversidade musical como fenômeno inerente à sala de aula e, ao mesmo tempo, problematizarmos diversidade e diferença como conceitos fundamentais para pensarmos práticas educativo-musicais contemporâneas.
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7

Valnes, Matthew. "Janelle Monáe and Afro-Sonic Feminist Funk." Journal of Popular Music Studies 29, no. 3 (September 2017): e12224. http://dx.doi.org/10.1111/jpms.12224.

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8

Oshio, Atsushi. "THE RELATIONSHIP BETWEEN DICHOTOMOUS THINKING AND MUSIC PREFERENCES AMONG JAPANESE UNDERGRADUATES." Social Behavior and Personality: an international journal 40, no. 4 (May 1, 2012): 567–74. http://dx.doi.org/10.2224/sbp.2012.40.4.567.

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The relationship between dichotomous thinking and music preferences was investigated with a sample of 176 Japanese undergraduates (111 males, 65 females). Participants completed the Dichotomous Thinking Inventory (Oshio, 2009) and the Short Test of Music Preferences (Rentfrow & Gosling, 2003). Individuals who thought dichotomously preferred intense and rebellious, energetic and rhythmic, and fast and contemporary music rather than music that was complex and conventional. Specifically, they most liked rock, alternative, soul, funk, and heavy metal and disliked classical music.
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9

Toop, Richard. "Beyond the ‘crisis of material’: Chris Dench's “Funk”." Contemporary Music Review 13, no. 1 (January 1995): 85–115. http://dx.doi.org/10.1080/07494469500640301.

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10

Sá, Simone, and Gabriela Miranda. "Brazilian Popular Music Economy Aspects: The Baile Funk Circuit." IASPM@Journal 3, no. 1 (June 10, 2013): 9–18. http://dx.doi.org/10.5429/2079-3871(2012)v3i1.2en.

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11

Moutinho, Renan. "Montagens de funk carioca: processos afrodiaspóricos com o ciclo rítmico do congo, a capoeira e o maculelê." Opus 28 (December 26, 2022): 1–40. http://dx.doi.org/10.20504/opus2022.28.22.

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Este artigo apresenta evidências sobre a influência de elementos musicais de origem banto em montagens de funk carioca realizadas na primeira metade da década de 1990. Com base nos trabalhos de Mukuna (1990) e Mukuna e Pinto (1998), sobre persistências e descartes nos processos musicais da Diáspora Africana, o presente trabalho de pesquisa demonstra a inclusão de sonoridades afrodiaspóricas no que ficou conhecido como nacionalização do funk carioca a partir de 1989. Para a realização desta etnografia histórica, foram utilizados os seguintes métodos: a) pesquisa exploratória em produções musicais da época, como as montagens da Equipe Pipo’s e do DJ Alessandro (Equipe Laser Rio), b) entrevistas semiestruturadas com produtores da época, e c) análise musical. Em suma, demonstrou-se a existência da: 1) popularização da técnica de produção de montagens a partir do advento de samplers acessíveis a produtores e equipes de pequeno e médio porte do Rio de Janeiro; 2) utilização de uma gravação acústica do instrumento berimbau na montagem intitulada Berimbau, da Equipe Pipo’s, e o início de uma fase do processo de nacionalização estabelecida entre a capoeira e as produções musicais associadas aos bailes funk; 3) influência da montagem Berimbau da Pipo’s para as montagens criadas pelo DJ Alessandro da Equipe Laser Rio com elementos oriundos da capoeira e do maculelê; e 4) relação de continuidade estabelecida entre o toque maculelê, tido por base na montagem intitulada Macumba Lelê (1994), com o toque congo de ouro (candomblé de caboclo) e o ciclo rítmico do congo, de origem banto.
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12

Bielefeldt, Christian. "Beyond Postmodernism? Prince and Some New Aesthetic Strategies." Musicological Annual 42, no. 1 (December 1, 2006): 89–101. http://dx.doi.org/10.4312/mz.42.1.89-101.

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Former postmodernist Prince’s album Musicology (2004) re-occupies authorship and history, evoking a »real«, non-technological kind of music in the line of funk and hip-hop. The article is reading that as a strategy of »reflexive modernism«, an aesthetic challenging the postmodern denial of ontology with interim ontologies marked as such.
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13

Luna, Jared Jonathan. "All Styles All Stars: Jazz funk burn1." Acta Ethnographica Hungarica 60, no. 1 (June 2015): 85–92. http://dx.doi.org/10.1556/022.2015.60.1.10.

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14

Mota, Marcus. "Peças de Ocasião: Cenas E(m) Música III." Dramaturgias, no. 14 (September 28, 2020): 472–504. http://dx.doi.org/10.26512/dramaturgias14.34393.

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Reunião de partituras elaboradas a partir de contextos diversos, mas com uma coisa em comum: estabelecer relações entre sons e referentes extra-musicais. Entre as obras temos, Music of No Changes V, Odd Funk,Waiting for You, FIboNUts, Baião, Tertian Piano.
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15

Davies, Matthew, Guy Madison, Pedro Silva, and Fabien Gouyon. "The Effect of Microtiming Deviations on the Perception of Groove in Short Rhythms." Music Perception 30, no. 5 (December 2012): 497–510. http://dx.doi.org/10.1525/mp.2013.30.5.497.

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Groove is a sensation of movement or wanting to move when we listen to certain types of music; it is central to the appreciation of many styles such as Jazz, Funk, Latin, and many more. To better understand the mechanisms that lead to the sensation of groove, we explore the relationship between groove and systematic microtiming deviations. Manifested as small, intentional deviations in timing, systematic microtiming is widely considered within the music community to be a critical component of music performances that groove. To investigate the effect of microtiming on the perception of groove we synthesized typical rhythm patterns for Jazz, Funk, and Samba with idiomatic microtiming deviation patterns for each style. The magnitude of the deviations was parametrically varied from nil to about double the natural level. In two experiments, untrained listeners and experts listened to all combinations of same and different music and microtiming style and magnitude combinations, and rated liking, groove, naturalness, and speed. Contrary to a common and frequently expressed belief in the literature, systematic microtiming led to decreased groove ratings, as well as liking and naturalness, with the exception of the simple short-long shuffle Jazz pattern. A comparison of the ratings between the two listener groups revealed this effect to be stronger for the expert listener group than for the untrained listeners, suggesting that musical expertise plays an important role in the perception and appreciation of microtiming in rhythmic patterns.
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16

LUISA NOGUEIRA RANGEL, PATRICIA, DILERMANDO MORAES COSTA, and JOSÉ GERALDO DA ROCHA. "DANCE AND MUSIC: FUNK AS BODY LANGUAGE IN PHYSICAL EDUCATION LESSONS." Fiep Bulletin- Online 87, no. I (January 1, 2017): 100–102. http://dx.doi.org/10.16887/87.a1.24.

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17

Gaines, Kevin. "Birds of Fire: Jazz, Rock, Funk, and the Creation of Fusionby Kevin Fellezs." Journal of Popular Music Studies 25, no. 1 (March 2013): 116–19. http://dx.doi.org/10.1111/jpms.12019.

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18

Androutsopoulos, Jannis, and Arno Scholz. "Spaghetti Funk: Appropriations of Hip-Hop Culture and Rap Music in Europe." Popular Music and Society 26, no. 4 (December 2003): 463–79. http://dx.doi.org/10.1080/0300776032000144922.

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19

Clarence, Judy, Paula Elliot, Stephen Landstreet, and Howard Rodriguez. "“Look That Up in Your Funk and Wagnall's!”." Music Reference Services Quarterly 8, no. 3 (March 22, 2004): 25–36. http://dx.doi.org/10.1300/j116v08n03_02.

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20

Lazarte Moron, Eduardo Daniel, and Fernando César Costa Xavier. ""FUNK COMO LE GUSTA?" JUÍZO DE GOSTO, ARTE E CENSURA." RFD- Revista da Faculdade de Direito da UERJ, no. 39 (August 11, 2021): 171–85. http://dx.doi.org/10.12957/rfd.2021.49588.

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“Funk Como Le Gusta” é uma banda paulistana com um repertório que abrange música latina, samba-rock, black music e música eletrônica, e cujo nome sugere a capacidade de agradar às audições mais heterodoxas. Os autores tomam de empréstimo o nome da banda para revisitar o debate sobre a Ideia Legislativa 65.513, que pretendeu tipificar o funk e os “pancadões” como “crime de saúde pública a crianças, aos adolescentes e a família (sic)”. Para isso, o artigo revisita o debate filosófico (em Immanuel Kant, Theodor Adorno e Martin Heidegger) sobre se haveria um critério objetivo com o qual se poderia julgar a qualidade das representações artísticas em geral, para em seguida discutir se ao direito seria legítimo criar normas sobre assuntos diretamente relacionados ao campo supostamente não-normativo do juízo de gosto.
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21

Sneed, Paul. "Bandidos de Cristo : Representations of the Power of Criminal Factions in Rio's Proibidão Funk." Latin American Music Review 28, no. 2 (2007): 220–41. http://dx.doi.org/10.1353/lat.2007.0035.

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22

McCallum, Clinton. "Falling Up." Journal of Popular Music Studies 33, no. 2 (June 1, 2021): 99–129. http://dx.doi.org/10.1525/jpms.2021.33.2.99.

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This article investigates melodic figures and harmonic sequences that miraculously only step up to illuminate an aesthetic lineage that connects gospel to electronic dance music. It argues that the synth-risers and ever-opening filters of contemporary euphoric rave music like happy-hardcore and uplifting-trance find precedence in compositional devices that made their way into funk/soul and disco/garage from Black gospel music, and that these gospel inventions were derived from the Afro-diasporic ring-shout. Cognitive linguistic and psychoacoustic theories premise an analytical framework for musical representations of endless ascent. Through close readings of representative recordings—a 1927 Pentecostal sermon by Reverend Sister Mary Nelson, James Cleveland’s “Peace Be Still,” Chic’s “Le Freak,” Trussel’s “Love Injection,” and DJ Hixxy’s remix of Paradise's “I See the Light”—the article examines various historical intersections with parlour music, European art music, and modal jazz, and suggests that musical ascent has a non-causal but, nevertheless, objective relationship with a type of spiritual transcendence.
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23

Hill, Rosemary Lucy, David Hesmondhalgh, and Molly Megson. "Sexual violence at live music events: Experiences, responses and prevention." International Journal of Cultural Studies 23, no. 3 (December 2, 2019): 368–84. http://dx.doi.org/10.1177/1367877919891730.

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Recent media reporting has highlighted that incidents of sexual violence frequently occur at live music events. Sexual violence has significant impacts on the health of those who experience it, yet little is known of how it impacts on everyday engagements with music, nor what measures venues and promoters might take to prevent and respond to incidents. Through interviews with concert goers, venue managers, promoters and campaigning groups, we investigated experiences of sexual violence at indie, rock, punk and funk gigs in small venues in one English city. We show that sexual violence at live music events significantly impacts on (predominantly) women’s musical participation. We argue that venues and promoters must work proactively to create musical communities that act as a defence against the normalisation of sexual violence, taking inspiration from safer space policies.
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24

GOLDSCHMITT, K. E. "Anitta's ‘Girl from Rio’, Digital Fatigue, and Stereotype." Twentieth-Century Music 19, no. 3 (October 2022): 495–516. http://dx.doi.org/10.1017/s1478572222000317.

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AbstractIn May 2021, Brazilian pop-funk superstar Anitta released ‘Girl from Rio’. The song was based on the melodic foundation of the bossa nova song ‘The Girl from Ipanema’ that became a huge international hit at the end of the 1960s bossa nova craze. ‘Girl from Rio’ features trap beats on top of the familiar melody with a clear lyrical message that critiques international stereotypes of women from Brazil. When Anitta attempted to capture the US market through TikTok and a high-profile remix, much of her critique disappeared. This article employs the concept of ‘digital fatigue’ to explore how viral musical content loses crucial aspects of its meaning through circulation and endless embodied repetition. By focusing on how the repetition of viral musical media perpetuates stereotypes, it shows how the environment for transnational success requires easy associations to spread.
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25

Stewart, Alexander. "‘Funky Drummer’: New Orleans, James Brown and the rhythmic transformation of American popular music." Popular Music 19, no. 3 (October 2000): 293–318. http://dx.doi.org/10.1017/s0261143000000180.

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The singular style of rhythm & blues (R&B) that emerged from New Orleans in the years after World War II played an important role in the development of funk. In a related development, the underlying rhythms of American popular music underwent a basic, yet generally unacknowledged transition from triplet or shuffle feel (12/8) to even or straight eighth notes (8/8). Many jazz historians have shown interest in the process whereby jazz musicians learned to swing (for example, the Fletcher Henderson Orchestra through Louis Armstrong's 1924 arrival in New York), but there has been little analysis of the reverse development – the change back to ‘straighter’ rhythms. The earliest forms of rock 'n' roll, such as the R&B songs that first acquired this label and styles like rockabilly that soon followed, continued to be predominantly in shuffle rhythms. By the 1960s, division of the beat into equal halves had become common practice in the new driving style of rock, and the occurrence of 12/8 metre relatively scarce. Although the move from triplets to even eighths might be seen as a simplification of metre, this shift supported further subdivision to sixteenth-note rhythms that were exploited in New Orleans R&B and funk.
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26

Wang, Xianbo. "Study of the Adaptation and Production of Funk Works on the Electronic Organ." BCP Social Sciences & Humanities 15 (March 13, 2022): 82–91. http://dx.doi.org/10.54691/bcpssh.v15i.366.

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With the continuous development of economy and human thinking, there has emerged the electronic organ, a product of modern science and technology. The electronic organ possesses the volume advantages of the organ and the solemn characteristics of the pipe organ, thus becoming an indispensable instrument in modern music performances. With rich expressive power, the sound of the electronic organ can be integrated with various musical styles. Therefore, it is necessary for a performer to be able to play different instruments, and master various professional skills for performance and composition. Taking the funk work Mr. Toad’s Wild Ride as an example, this article studies and analyzes the adaptation of Funk works on the electronic organ from the perspective of the short band score and the sound production of the electronic organ, especially focusing on the analysis of the distribution of band parts and performing techniques.
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27

Bachorik, Justin Pierre, Marc Bangert, Psyche Loui, Kevin Larke, Jeff Berger, Robert Rowe, and Gottfried Schlaug. "Emotion in Motion: Investigating the Time-Course of Emotional Judgments of Musical Stimuli." Music Perception 26, no. 4 (April 1, 2009): 355–64. http://dx.doi.org/10.1525/mp.2009.26.4.355.

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MUSIC ELICITS PROFOUND EMOTIONS; HOWEVER, THE time-course of these emotional responses during listening sessions is unclear. We investigated the length of time required for participants to initiate emotional responses ("integration time") to 138 musical samples from a variety of genres by monitoring their real-time continuous ratings of emotional content and arousal level of the musical excerpts (made using a joystick). On average, participants required 8.31 s (SEM = 0.10) of music before initiating emotional judgments. Additionally, we found that: 1) integration time depended on familiarity of songs; 2) soul/funk, jazz, and classical genres were more quickly assessed than other genres; and 3) musicians did not differ significantly in their responses from those with minimal instrumental musical experience. Results were partially explained by the tempo of musical stimuli and suggest that decisions regarding musical structure, as well as prior knowledge and musical preference, are involved in the emotional response to music.
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28

Demers, Joanna. "Sampling the 1970s in hip-hop." Popular Music 22, no. 1 (January 2003): 41–56. http://dx.doi.org/10.1017/s0261143003003039.

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Musical borrowings, or samples, have long been a means of creating lineage between hip-hop and older genres of African-American music such as funk, soul, and rhythm and blues. DJs who sample from this so-called ‘Old School’ attempt to link hip-hop to older, venerable traditions of black popular music. This article investigates the importance of 1970s pop and culture to hip-hop music. This era is depicted as a time in which African-American identity coalesced, and a new political consciousness was born. The primary source for images of the 1970s was and continues to be blaxploitation film, a genre of low-budget, black-oriented crime and suspense cinema. This article will detail how blaxploitation distilled certain societal concerns of the 1970s, and how in turn hip-hop feeds off blaxploitation both dramatically and musically, reusing its story lines and sampling its soundtracks.
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Sioros, George, Guy Madison, Diogo Cocharro, Anne Danielsen, and Fabien Gouyon. "Syncopation and Groove in Polyphonic Music." Music Perception 39, no. 5 (June 1, 2022): 503–31. http://dx.doi.org/10.1525/mp.2022.39.5.503.

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Music often evokes a regular beat and a pleasurable sensation of wanting to move to that beat called groove. Recent studies show that a rhythmic pattern’s ability to evoke groove increases at moderate levels of syncopation, essentially, when some notes occur earlier than expected. We present two studies that investigate that effect of syncopation in more realistic polyphonic music examples. First, listeners rated their urge to move to music excerpts transcribed from funk and rock songs, and to algorithmically transformed versions of these excerpts: 1) with the original syncopation removed, and 2) with various levels of pseudorandom syncopation introduced. While the original excerpts were rated higher than the de-syncopated, the algorithmic syncopation was not as successful in evoking groove. Consequently, a moderate level of syncopation increases groove, but only for certain syncopation patterns. The second study provides detailed comparisons of the original and transformed rhythmic structures that revealed key differences between them in: 1) the distribution of syncopation across instruments and metrical positions, 2) the counter-meter figures formed by the syncopating notes, and 3) the number of pickup notes. On this basis, we form four concrete hypotheses about the function of syncopation in groove, to be tested in future experiments.
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30

Loydell, Rupert. "Shake the Foundations: Militant Funk & the Post-Punk Dancefloor 1978‐1984, 3CD Box Set, Various Artists." Punk & Post Punk 10, no. 2 (June 1, 2021): 341–42. http://dx.doi.org/10.1386/punk_00100_5.

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31

Kurapov, Anton, and Mykhailo Kandykin. "CONNECTION BETWEEN PERSONAL VALUES AND MUSIC PREFERENCES." Bulletin of Taras Shevchenko National University of Kyiv. Series “Psychology”, no. 2 (12) (2020): 52–56. http://dx.doi.org/10.17721/bsp.2020.2(12).9.

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This article describes the main correlations that were obtained between music preferences and personal values. It has been discovered that personal values play a significant role in people’s music preferences and they are at the forefront in proposing a map that links personal values to music preferences. According to the results, music preferences can be defined by personal values since people tend to listen to a specific type of music if corresponding values are projected such as conservatism and openness. In this case, music is broken into four preference dimensions which include reflective and complex for folk, jazz, and classical, rebellious and intense comprising of punk, rock, and alternate, conventional and upbeat comprising of pop, country, and soundtracks, and lastly rhythmic and energetic including funk, electronica, hip-hop, and soul. Besides, preferences may be defined by socio-demographic characteristics such as age and gender such that the young people tend to prefer music because of what the other peers listen to and enjoy music in social places such as bars, restaurants, and music festivals, middle-aged people listen to the music of their preferences and at the time of their choosing at homes or while carrying out activities, the aged tend to have less music preference but some cannot do anything without listening to music and therefore have to keep their preference music always. Males tend to focus on certain genres of music such as heavy metal and rock which are associated with cognitive listening and demonstrates a negatively conservative nature of music while females prefer listening to pop music more than males. This article discloses the main results that were obtained in the empirical study of different articles concerning the topic of the relationship between personal values and music preferences. No such research was conducted on Ukrainian-speaking samples before.
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32

COLE, ROSS. "“Fun, Yes, but Music?” Steve Reich and the San Francisco Bay Area's Cultural Nexus, 1962–65." Journal of the Society for American Music 6, no. 3 (August 2012): 315–48. http://dx.doi.org/10.1017/s175219631200020x.

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AbstractThis article traces Steve Reich through the Bay Area's cultural nexus during the period 1962–65, exploring intersections with Luciano Berio, Phil Lesh, Terry Riley, Robert Nelson, the San Francisco Mime Troupe, and the San Francisco Tape Music Center. The aim is to present a revised history of this era by drawing on personal interviews with Tom Constanten, R. G. Davis, Jon Gibson, Saul Landau, Pauline Oliveros, and Ramon Sender. In addition, previously unused source materials and contemporaneous newspaper reception are employed to provide a more nuanced contextual framework. Reich's heterogeneous activities—ranging from “third stream” music and multimedia happenings to incidental scores and tape collage—deserve investigation on their own terms, rather than from within narratives concerned with the stylistic development of “minimalism.” More appropriate and viable aesthetic parallels are drawn between Reich's work for tape and Californian Funk art.
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33

McNally, James. "Favela Chic: Diplo,Funk Carioca, and the Ethics and Aesthetics of the Global Remix." Popular Music and Society 40, no. 4 (February 2016): 434–52. http://dx.doi.org/10.1080/03007766.2015.1126100.

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Coração, Cláudio Rodrigues, and William David Vieira. "Convergências e apaziguamentos na música pop: quando funk, axé music e sertanejo se encontram na linha evolutiva da MPB // Convergences and appeasement in pop music: when funk, axé music and sertanejo meet each other in the evolutionary line of MPB." Contemporânea Revista de Comunicação e Cultura 18, no. 3 (March 11, 2021): 69. http://dx.doi.org/10.9771/contemporanea.v18i3.30547.

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Neste artigo, analisamos movimentos de entrada executados por determinados artistas de gêneros e cenas musicais distintos na chamada linha evolutiva da MPB . Tais ocorrências revelam tensões mercadológicas e de representatividade na fonografia brasileira e também o esvaziamento destas. Travamos metodologicamente nossa investigação partindo da concepção de pretensão à legitimidade cultural, acionada aqui como referência à conquista de espaço desses gêneros e cenas. Esclarecem esses movimentos de convergência e apaziguamento das tensões os videoclipes das canções Cheguei Pra Te Amar, com Ivete Sangalo e MC Livinho, Ta Tum Tum, com Simone & Simaria e Kevinho, e Sua Cara, com Major Lazer, Anitta e Pabllo Vittar.
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Wright, Brian F. "Jaco Pastorius, the Electric Bass, and the Struggle for Jazz Credibility." Journal of Popular Music Studies 32, no. 3 (August 27, 2020): 121–38. http://dx.doi.org/10.1525/jpms.2020.32.3.121.

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This article explores Jaco Pastorius’s efforts to legitimize himself as a jazz electric bassist. Even though the instrument had existed at the margins of jazz for decades, by the 1970s it was overwhelmingly associated with rock and funk music and therefore carried with it the stigmatized connotations of outsider status. Building on the work of Bill Milkowski, Kevin Fellezs, Lawrence Wayte, and Peter Dowdall, I situate Pastorius’s career within the broader context of 1970s jazz fusion. I then analyze how he deliberately used his public persona, his virtuosic technical abilities, the atypical timbre of his fretless electric bass, and his work as a composer and bandleader to vie for acceptance within the jazz tradition. As I argue, Pastorius specifically attempted to establish his jazz credibility through his first two solo albums, initially by disassociating himself from his own instrument, and then by eventually abandoning the musical style that had made him famous. Ultimately, Pastorius’s story serves as a useful case study of the tangible ramifications of authenticity disputes and the complicated ways in which musicians have attempted to navigate contested musical spaces within popular music.
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Wright, Brian F. "Jaco Pastorius, the Electric Bass, and the Struggle for Jazz Credibility." Journal of Popular Music Studies 32, no. 3 (August 26, 2020): 121–38. http://dx.doi.org/10.1525/jpms.2020.323009.

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This article explores Jaco Pastorius’s efforts to legitimize himself as a jazz electric bassist. Even though the instrument had existed at the margins of jazz for decades, by the 1970s it was overwhelmingly associated with rock and funk music and therefore carried with it the stigmatized connotations of outsider status. Building on the work of Bill Milkowski, Kevin Fellezs, Lawrence Wayte, and Peter Dowdall, I situate Pastorius’s career within the broader context of 1970s jazz fusion. I then analyze how he deliberately used his public persona, his virtuosic technical abilities, the atypical timbre of his fretless electric bass, and his work as a composer and bandleader to vie for acceptance within the jazz tradition. As I argue, Pastorius specifically attempted to establish his jazz credibility through his first two solo albums, initially by disassociating himself from his own instrument, and then by eventually abandoning the musical style that had made him famous. Ultimately, Pastorius’s story serves as a useful case study of the tangible ramifications of authenticity disputes and the complicated ways in which musicians have attempted to navigate contested musical spaces within popular music.
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Morant, Kesha M. "Language in Action: Funk Music as the Critical Voice of a Post–Civil Rights Movement Counterculture." Journal of Black Studies 42, no. 1 (May 21, 2010): 71–82. http://dx.doi.org/10.1177/0021934709357026.

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Bowman, Rob. "The Stax sound: a musicological analysis." Popular Music 14, no. 3 (October 1995): 285–320. http://dx.doi.org/10.1017/s0261143000007753.

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In recent times there has been an encouraging increase in the musicological study of Western popular music by members of the academy. Both Richard Middleton and Alan Moore have published important books that are emphatic about the need for such study (Middleton 1990; Moore 1993). Also there have been a number of articles in a variety of journals over the past several years that have either addressed the need for, suggested various approaches to, or actually taken a musicological approach to one or another aspect of popular music (Foret 1991; Brackett 1992; Hawkins 1992; Moore 1992; Taylor 1992; Walser 1992; Middleton 1993). Despite this flurry of activity, as far as this author is aware, there has been no academic musicological work, other than Robert Walser's recent study of heavy metal (Walser 1993), that has attempted to ferret out the component parts of a given genre through an analysis of a sizable body of repertoire. There is an acute need for such work if popular music scholars are going to begin to understand in concrete terms what is meant by terms such as rock, soul, funk, Merseybeat and so on. This essay is an attempt to begin such a study for the genre of southern soul music as it was manifested by Stax Records in Memphis, Tennessee.
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Morais, Bruno Vinícius Leite de. "Os primórdios da black music brasileira e da linguagem política do orgulho negro nos anos 1960." Mosaico 12, no. 19 (January 19, 2021): 79–101. http://dx.doi.org/10.12660/rm.v12n19.2020.82270.

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Este artigo utiliza a documentação fonográfica para situar o surgimento da Black Music Brasileira nos anos 1960, a partir de hibridações e incorporações de gêneros musicais estadunidenses. Nos primeiros discos lançados por Elza Soares, Jorge Ben, Wilson Simonal e Dom Salvador é identificada a articulação de subgêneros negros do jazz, no que foi chamado de Bossa Negra. Na segunda metade da década ocorre uma incorporação mais explícita do soul e o funk, consolidando a estética Black no Brasil. Nos discos pesquisados também é identificada uma abordagem temática que valoriza a cultura negra e denuncia o preconceito racial. O diálogo com elementos estrangeiros na expressão da realidade racial nas músicas e letras compõe o que está sendo proposto por Linguagem Política do Orgulho Negro.
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Boyle, James Philip Sheng, Mohd Nasir Hashim, and Yi-Li Chang. "THE INFLUENTIAL MUSICAL COMPOSITIONAL TOOLS OF MALAY POPULAR MUSIC IN MALAYSIA OF THE MID 20th AND THE EARLY 21st CENTURY." International Journal of Creative Industries 4, no. 9 (March 6, 2022): 01–18. http://dx.doi.org/10.35631/ijcrei.49001.

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In the mid-20th century, it is noteworthy that Malay popular music composed in this era was heavily influenced by various stylistic and cultural musical forms of both the traditional Malay styles such as asli, inang, joget, zapin and even keroncong, and also by Western idioms and styles. Branded as jazz ballads in the Mid-20th Century, Malay popular music is a key subject in unveiling the musical changes in the Malay popular music history of Peninsula Malaysia. In the 1960s, there was a trend to compose Malay popular music with heavily influenced idiomatic jazz harmonics in the many various Western styles. In the early 21st century, as it has musically and stylistically evolved, Malay popular music became closely associated with the continuous dissemination of patriotic songs in Malaysia as well as an amalgamation of the various trending styles of the Western hemisphere such as funk, pop, rhythm and blues, gospel and even rock music. Throughout it all, the continued and consistent harmonics of Jazz Music have been an ever-present tool for many Malay Popular Music composers since the early years of independence. This paper will focus on four chosen compositions, two from each of the time frames in focus and each tune will have an analysis from a singular compositional viewpoint, be it melodic (Gema Rembulan-Jimmy Boyle, 1956), chordal (Air Mata Berderai-Alfonso Soliano,1964) or the dissertation of the song-form (Selingkuh Kasih-Mokhzani Ismail,2006 & Gemilang-Aubrey Suwito,2005). Through the analysis of the chosen musical scores, this paper intends to reintroduce and refresh the essential elements of composing a Malay Popular Music composition as well as the musical influences and changing mindsets of approach on the different compositional styles of Malay popular music, its culture, and identity, of the mid-20th and the early 21st centuries of Malaysia to the current and future composers of this genre.
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Brown, Matthew P. "Funk music as genre: Black aesthetics, apocalyptic thinking and urban protest in post-1965 African-American pop." Cultural Studies 8, no. 3 (October 1994): 484–508. http://dx.doi.org/10.1080/09502389400490331.

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Voropaieva, Olena. "Tania Maria’s creative work in the context of trends in the development of jazz in the second half of the 20th century (on the example of the 1980s compositions)." Aspects of Historical Musicology 27, no. 27 (December 27, 2022): 57–72. http://dx.doi.org/10.34064/khnum2-27.04.

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Statement of the problem. The globalization process of modern music art constantly creates new phenomena in the research field worthy of detailed study and scientific justification. The active expansion of Jazz in different parts of the world and its interaction with the local folklore and home music production led to the formation of such phenomena as Latin Jazz that presented the world a number of outstanding performers and composers who opened up new horizons for the further development of musical art. Among unique pearls of Latin-American Jazz, the creative personality of a Brazilian performer (piano, vocals) and composer Tania Maria should be highlighted. Analysis of recent research and publications showed that Tania Maria’s creative work in the context of Latin Jazz development has not been sufficiently studied at the present time, being limited mainly by short references to biographical articles and interviews with the artist in foreign online publications. Thus, Tania Maria’s work requires a much deeper study that determines the feasibility and scientific novelty of the proposed research, which aims to reveal the genre and stylistic specificity of Tania Maria’s work in the 80s of the 20th century, the period, when the complex of her individual compositional and performing characteristics was formed. The result of the study was the disclosure, based on historical-genetic, comparative, analytical methods, of the genre-stylistic origins of Tania Maria’s “intonation vocabulary”, where the metrorhythmic and melodic structures of Brazilian samba and the hot-jazz component closely interact with each other, as well as the intonation-textural features of some compositions of the 1980s from the albums “Piquant” and “Come With Me”. Conclusions. Tania Maria’s creative work in the 80s of the 20-th century exemplified by compositions “Yatra ta”, “It’s Not for Me to Say” and “Come With Me” is a combination of genre and stylistic features of funk, Latin-American samba and elements of pop music (jazz-Latin-pop-funk). The musical art of the second half of the 20th century demonstrates a variety of styles and trends that were quite quickly “re-intonated” in the jazz language, which testifies to the universality of jazz as a unique form of musical thinking, creativity and cooperation of musicians. The combination of these styles is organic in line with the trend of development of musical art of that period and at the same time is the basis of Tania Maria’s unique performance style as a representative of both, South American and European jazz music.
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Hoskins, Zachary. "Ben Greenman: Dig If You Will the Picture: Funk, Sex, God, and Genius in the Music of Prince." Journal of African American Studies 21, no. 3 (September 2017): 548–50. http://dx.doi.org/10.1007/s12111-017-9367-3.

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Burger, Birgitta, and Petri Toiviainen. "Embodiment in Electronic Dance Music: Effects of musical content and structure on body movement." Musicae Scientiae 24, no. 2 (August 22, 2018): 186–205. http://dx.doi.org/10.1177/1029864918792594.

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Electronic dance music (EDM) is music produced with the foremost aim to make people move. While research has revealed relationships between movement features and, for example, musical, emotional, or personality characteristics, systematic investigations of genre differences and specifically of EDM are rather rare. This article aims at offering insights into the embodiment of EDM from three different angles: first from a genre-comparison perspective, then by comparing different EDM stimuli with each other, and finally by investigating embodiments in one specific EDM stimulus. Sixty participants moved freely to 16 stimuli of four different genres (EDM, Latin, Funk, Jazz – four stimuli/genre) while being recorded with an optical motion capture system. Subsequently, a set of movement features was extracted from the motion capture data. Results indicate that participants moved with significantly higher acceleration of torso, head, hands, and feet and more overall movement to the EDM stimuli than to the other genres. Between EDM stimuli, several significant correlations were found, suggesting an increase in acceleration of different body parts with clearer and more percussive rhythmic structures and brighter sounds. Within one EDM stimulus, participants’ movements differed in several movement features distinguishing the break from surrounding sections, showing less acceleration, as well as less overall movement and rotational speed during the break. These analyses propose different ways of studying EDM and indicate distinctive characteristics of EDM embodiment.
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Toppins, Aggie. "Dig If You Will the Picture…: Reading Prince's Semiotic World." Design Issues 38, no. 4 (2022): 63–75. http://dx.doi.org/10.1162/desi_a_00698.

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Abstract Prince Rogers Nelson (1958–2016) was an innovative American musician whose life and work defied categorization. His music combined the spiritual with the sexual while spanning funk, rhythm and blues, soul, rock and roll, and pop genres. Prince embraced nonbinary gender performance and, as a Black artist of enormous celebrity, exemplified what W. E. B. Du Bois named double-consciousness: a sensibility gained from looking at oneself through the eyes of others; a “two-ness” derived from being both American and Black. Prince used multivalent signs, symbols, and codes to craft an enigmatic personal mythology. In this essay, I use Roland Barthes's poststructuralist theory and Stuart Hall's writing on stereotypes to examine Prince's semiotic world. By studying recurring motifs in his lyrics, fashion, and visual communication design, I show that Prince's signifying practices constitute a sensual text that, through illegibility, catalyzed emancipatory cultural expressions.
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Pastore, M. Torben, and Nikhil Deshpande. "The evolution and maturation of the electric guitar as a system." Journal of the Acoustical Society of America 151, no. 4 (April 2022): A182. http://dx.doi.org/10.1121/10.0011034.

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The electric guitar came to its initial prominence in the 1940s when its volume allowed jazz guitarists like Charlie Christian to step out in front of the rhythm section like other soloists, competing with the brass, wind, and piano. Further changes in the playing and design of the instrument came with exploitation of the interaction of the electric guitar, tube amplifiers, and analog effects as a larger system. Especially in the rock and funk idioms, the playing and construction of the overall instrument evolved and expanded rapidly with the mainstream embrace of digital technology. This talk will consider the evolution of the electric guitar as a system up through today and consider why it seems the instrument has fully evolved and is unlikely to experience further seismic shifts, especially as the overall thrust of music has shifted to digitally-manipulated sound that is often entirely independent of the physical playing of any instrument.
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BRACKETT, JOHN. "Examining rhythmic and metric practices in Led Zeppelin’s musical style." Popular Music 27, no. 1 (December 13, 2007): 53–76. http://dx.doi.org/10.1017/s0261143008001487.

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AbstractIn this essay, I examine how aspects of rhythm and metre play a fundamental role in shaping and defining Led Zeppelin’s musical style. At the same time, I will show how Led Zeppelin was able to modify, manipulate, and develop pre-existing musical models and forms through various rhythmic and metric strategies. Comparative analyses will be used in an effort to show how Led Zeppelin’s flexible conception of rhythm and metre enabled the band to put their own stylistic ‘stamp’ on (i) specific musical genres (‘The Crunge’ and the song’s relation to James Brown-style funk), (ii) their riff constructions (‘Black Dog’ in relation to Fleetwood Mac’s ‘Oh Well’), and (iii) their cover versions (‘Dazed and Confused’). Drawing upon my analytical points, I re-visit the complex issues that persist regarding the possibility that Led Zeppelin even has an ‘original’ or ‘unique’ style given their often overt reliance upon earlier musical models and forms. Therefore, in my conclusion, I argue that the development of any artist or group’s individual style necessarily involves the ability to assimilate and transform pre-existing musical features – features such as rhythm and metre – in novel ways and where issues relating to musical style intersect with influence.
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Leite Fernandes, Paula Fernanda De Andrade, Alice Fernandes De Andrade, Leticia Ambrosio, and Clau Fragelli. "“É som de preto, de favelado”: o funk como forma de (r)existência para crianças e adolescentes em acolhimento/“Its black marginalized music”: funk as a way of (r)existence for children and young's in foster." Revista Interinstitucional Brasileira de Terapia Ocupacional - REVISBRATO 5, no. 4 (November 8, 2021): 632–38. http://dx.doi.org/10.47222/2526-3544.rbto41463.

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Contextualização: O artigo analisa a prática profissional terapêutica ocupacional em um Serviço de Acolhimento Institucional Infantojuvenil, em uma cidade no interior de São Paulo. Processo de intervenção: Compreendendo a raça como um marcador social de estereótipos e estigmas na vivência cotidiana dos corpos negros e a racialização das infâncias institucionalizadas, analisamos as experiências infantojuvenis nos processos de institucionalização. Análise crítica da prática: A partir de uma perspectiva decolonial e crítica da Terapia Ocupacional e de uma proposta contra hegemônica de atuação, discutimos a respeito de ações interventivas para valorização e reconhecimento da identidade cultural negra dentro do serviço, como uma possibilidade de prática afrorreferenciada e antirracista na/para Terapia Ocupacional.Palavras-chave: terapia Ocupacional. Prática Profissional. Criança Acolhida. Popoluação Negra AbstractContextualization: This article analyzes the professional practice of occupational therapist in an Institutional Childcare Service in a city of São Paulo state, in Brazil. Intervention / Follow-up process: We analyze children's experiences in institutionalization processes understanding race as a social marker. Critical analysis of the practice: The racialization of institutionalized childhoods causes stereotypes and stigmas in the day life experience of black kids. From a decolonial and critical perspective of Occupational Therapy and a counter-hegemonic proposal of action, we discuss interventional actions for valuing and recognizing black cultural identity within the service as a possibility of afro-referenced and anti-racist practice in/for Occupational Therapy.Keywords: Occupational Therapy. Professional Practice. Foster Child. Black People ResumenContextualización: El artículo analiza la práctica profesional terapéutica ocupacional en un Servicio de Acogida Institucional Infantil en una ciudad del interior de estado de São Paulo, en Brasil. Intervención / Proceso de seguimiento: Entendiendo la raza como un marcador social de estereotipos y estigmas en la vida cotidiana de los cuerpos negros y la racialización de la niñez institucionalizada, analizamos las experiencias de los niños en los procesos de institucionalización. Análisis crítico de la práctica: Desde una perspectiva decolonial y crítica de la Terapia Ocupacional y una propuesta de acción contrahegemónica, discutimos las acciones intervencionistas para la valoración y reconocimiento de la identidad cultural negra dentro del servicio como una posibilidad de práctica afro-referenciada y antirracista en/para la Terapia Ocupacional.Palabras clave: Terapia Ocupacional. Práctica Profesional. Ninõ acogido. Población Negra
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Degand, Darnel. "Comics, emceeing and graffiti: A graphic narrative about the relationship between hip-hop culture and comics culture." Studies in Comics 12, no. 2 (November 1, 2022): 239–48. http://dx.doi.org/10.1386/stic_00064_3.

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Hip-hop culture will officially turn 50 years old on 11 August 2023. This cultural movement began in a recreational room in The Bronx, New York City, and is now enjoyed throughout the world. In recognition of its upcoming half-century celebration, this article reviews the origins of hip-hop culture (e.g. hip-hop pioneers such as DJ Kool Herc, Keef Cowboy and Lovebug Starski) and the relationship its emceeing and graffiti elements have with comics culture. I begin with a brief review that demonstrates how graffiti predates hip-hop culture. This is illustrated through depictions of cave paintings, ancient Roman street art and ancient Mayan graffiti. I also highlight hobo graffiti and the graffiti from the Cholos and Bachutos gangs from twentieth-century Los Angeles, California. The introduction of the ‘Kilroy was here’ tag during the Second World War and the protest graffiti from a German anti-Nazi group are also depicted. I conclude the historical review of graffiti with an introduction to the early appearances of hip-hop-styled graffiti. Next, I present multiple historical influences on hip-hop emceeing. Examples include (but are not limited to) West African griots, enslaved Africans, Muhammad Ali, Millie Jackson, The Last Poets and Gil Scott-Heron. Likewise, older genres, such as funk music, blues music, jazz poetry and Black militant poetry inspired much of rap music. Afterwards, I examine the bidirectional relationship between graffiti and comics art, and emceeing and the textual/storytelling aspects of comics. This includes comics-inspired graffiti, hip-hop monikers (e.g. Big Pun, Snoop Dogg, MF Doom and Jean Grae), hip-hop lyrics (from artists such as Grandmaster Caz, Inspectah Deck, Jay-Z and The Last Emperor) and album covers. Conversely, I offer examples of how graffiti has inspired comics visuals and storytelling as well as how emceeing has inspired the comic-book storytelling and the protagonists featured in fictional and non-fictional comic book narratives.
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Bronner, Shaw, Sheyi Ojofeitimi, and Helen Woo. "Extreme Kinematics in Selected Hip Hop Dance Sequences." Medical Problems of Performing Artists 30, no. 3 (September 1, 2015): 126–34. http://dx.doi.org/10.21091/mppa.2015.3026.

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Hip hop dance has many styles including breakdance (breaking), house, popping and locking, funk, streetdance, krumping, Memphis jookin’, and voguing. These movements combine the complexity of dance choreography with the challenges of gymnastics and acrobatic movements. Despite high injury rates in hip hop dance, particularly in breakdance, to date there are no published biomechanical studies in this population. The purpose of this study was to compare representative hip hop steps found in breakdance (toprock and breaking) and house and provide descriptive statistics of the angular displacements that occurred in these sequences. Six expert female hip hop dancers performed three choreographed dance sequences, top rock, breaking, and house, to standardized music-based tempos. Hip, knee, and ankle kinematics were collected during sequences that were 18 to 30 sec long. Hip, knee, and ankle three-dimensional peak joint angles were compared in repeated measures ANOVAs with post hoc tests where appropriate (p<0.01). Peak angles of the breaking sequence, which included floorwork, exceeded the other two sequences in the majority of planes and joints. Hip hop maximal joint angles exceeded reported activities of daily living and high injury sports such as gymnastics. Hip hop dancers work at weight-bearing joint end ranges where muscles are at a functional disadvantage. These results may explain why lower extremity injury rates are high in this population.
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