Journal articles on the topic 'Men of the Deeps (Musical group)'

There is considerable evidence to suggest that music has adaptive characteristics. Individuals use recorded music to transform the emotional landscape to coincide with transitory needs and desires. Also, music has frequently been reported to provoke uncommon emotional and physical reactions often referred to as peak experiences. In many cultures, that have limited industrial and technological development, active participation in musical activities is pervasive and all individuals are considered musical. In contrast, the musical elitism that has evolved in the Western world intimates that musical ability is specific to a talented minority. The elitist notion of musicality restricts the majority to procurers of rather than producers of music. However, experimental and theoretical sources indicate that music is an innate and universal ability and, therefore, active participation in music may have adaptive characteristics at many levels of proficiency. Positive life transformations that occurred for members of a choir for homeless men, since joining the choir, provided an opportunity to determine if group singing was a factor in promoting adaptive behaviour. A phenomenological approach utilizing a semi-structured interview wasemployed to explore the choristers' group singing experience. Analysis of the interviews indicated that group singing appears positively to influence emotional, social and cognitive processes. The choristers' perceptions of the adaptive characteristics of group singing fell within four principal categories: clinical-type benefits, benefits derived from audience-choir reciprocity, benefits associated with group process and benefits related tomental engagement. Active participation in singing may act to alleviate depression, increase self-esteem, improve social interaction skills and induce cognitive stimulation. The themes adhere to the tenets of flow theory which advocate the importance of mental stimulation and social interaction in increased life satisfaction. The emergent themes provide a preliminary basis for the development of a theory of the adaptive characteristics of group singing and also provide a framework for further investigation in this area.

In the following article, based on two years of participatory ethnographic fieldwork with the No Border musical, as well as interviews with 16 of the musical’s 30 participants, community theatre is investigated in a context of deportability. We analyse the working process in the theatre group, in which actors with and without resident permits participated, through the concept of politics of translation. We show how inequalities due to the constant threat of deportation for several members were brought to the forefront during the work process of creating the musical. It concerned risks of detection for the undocumented participants as well difficult living conditions related to deportability (for example insecure access to livelihood, healthcare, housing etc.). The article conceptualizes various dimensions of working together in a group where participants live in unequal conditions as a politics of translation. This concept includes the work of language translation, and also captures translations of the different experiences mentioned above, and how different positions of power can be handled and understood, within a group with the ambition to work together, in this case on a theatrical performance. Our analysis shows how theatre in a context of asylum rights activism can challenge and create alternatives to the conditions of deportability, while these simultaneously condition the activism and translation. The article contributes to knowledge about mobilization in the context of vulnerability and inequality. We hope to also contribute to a development of critical social work both within and outside academia.

Research of age-related features in psychophysiological parameters dynamics under procedures of medical resonance therapeutic music (МРТМ) at practically healthy young men of 15-18 years and young men of the same age group with neurotic frustration was carried out. Procedures МРТМ made taking into account individual preferences in musical fragments, possess expressed аnti stress effects. Effects of МРТМ in essential degree are defined by individual preferences in musical fragments surveyed in a choice, and, on the other hand - depend on age and individual and typologicalfeatures of recipients.

Research of age-related features in psychophysiological parameters dynamics under procedures of medical resonance therapeutic music (МРТМ) at practically healthy young men of 15-18 years and young men of the same age group with neurotic frustration was carried out. Procedures МРТМ made taking into account individual preferences in musical fragments, possess expressed аnti stress effects. Effects of МРТМ in essential degree are defined by individual preferences in musical fragments surveyed in a choice, and, on the other hand - depend on age and individual and typological features of recipients.

This study aims to develop musical intelligence group B children in TK Pertiwi Desa Tanjung District Juwiring Klaten Lesson Year 2012/2013 through the game of musical form perception. This research is a classroom action research (PTK). In this research, the students are group B in TK Pertiwi Desa Tanjung Kecamatan Juwiring Klaten District Lessons Year 2012/2013 as many as 18 children, consist of 12 men and 6 women. This research was conducted in two cycles each cycle consisting of planning stage, action stage, observation, reflection. Children's musical intelligence data was collected through observation methods, and documentation. Data analysis technique used is descriptive qualitative with interactive analysis consisting of data reduction, datapresentation, and conclusion of analysis result. Research results before the implementation of the cycle obtained results of 41.9%, the first cycle reached 56.4%, and the second cycle reached 80.1%. based on research that has been done can be concluded that through the game perception of musical form can improve the musical intelligence of children in kindergarten Pertiwi Village Cape District Juwiring Klaten Lesson Year 2012/2013.

AbstractThis article explores the cultural work of white masculinity in barbershop quartet singing in two historical contexts: the barbershop revival of the 1920s and 1930s and barbershop's struggle for survival in twenty-first century Philadelphia. It first details how revivalists attempted to re-create Victorian white masculinity by codifying and promoting a barbershop musical style and repertory that fostered closeness between men. By performing their musical style in public, masculine spaces, and admitting only white men to their gatherings, the organizers of the Barbershop Harmony Society opposed a number of contemporary social changes in the United States, including shifting gender roles, a rise in immigration, the economic instability of the Great Depression, and New Deal liberalism. The article then documents how and why barbershoppers in Philadelphia at the turn of the twenty-first century still perform this “close,” neo-Victorian mode of white masculinity. In this new context, barbershop whiteness enabled a group of white men to claim belonging in their racially divided city despite years of migration and displacement caused by deindustrialization and urban decay. In both historical moments, barbershoppers used whiteness to challenge social and economic change and to assert the continued relevance of their musical style.

AbstractThis article aims to contribute to an understanding of the evaluation of musical artistry in Africa, through Mali as a case study. The discussion focuses on the informal discourses of the occupational group of Mande artisan-musicians known as jeli (pl. jeliw, jalilu), concerning the ideal of musical greatness, signified by the polysemic term ngaraya; while there is consensus about the ideal, there is much debate about who qualifies. Drawing on extensive interviews and fieldwork with leading jeliw over the past twenty years, it pays special attention to the views of and about Malian women singers, who since the 1980s have – somewhat controversially, as explored here – been the “stars” on the home scene. The article shows how local discourses challenge the widely accepted view that only men are the true masters (ngaraw). Many women jeli singers (jelimusow) have a special claim to ngaraya, and some also seek to position themselves within the canon, as they increasingly move into centre-stage of Malian popular culture. The importance of learning directly from senior master jeliw remains a core issue in the evaluation of ngaraya for both men and women, encapsulated in the phrase “the true ngaraw are all at home”.

In the past and to some extent the present, various Euro North American and other cultural groups marked the period from Christmas Eve to Twelfth Night with rowdy, disguised, playful/ludic or carnivalesque behaviour that mainstream Euro North Americans associate more with Halloween than with this holiday season. Many such customs, termed the “informal house visit” involve a group (usually young men) who perambulate from one location to another within a community. They include performative aspects–often dancing and singing–as well as the expectation of a reward--usually food and/or drink--and some sociability with the visited household members. A seasonal custom performed by young men, almost always on New Year’s Eve, in rural Manitoba Mennonite villages where the church tolerated it, Brommtopp is named after the musical instrument used during the performance. Traditionally a group of some dozen teenaged boys and young married men would drive and/or walk from house to house within their own village and sometimes beyond. At each residence, the group would sing the traditional song which generally asked for money in return for good wishes. We examine the sociohistorical surround of the practice and its past and current racialised and postcolonial implications.

If rock'n'roll represented new, sexualised gender identities for the teenagers of the late 1950s, why (and how) were such identities constructed through the multiple voices of the group? In Buddy Holly's ‘Oh, Boy!’ the chorus plays a prominent supportive role in relation to the lead singer; but its continual echoing of the singer's ‘Oh boy!’ allows also for a literal hearing of cries of mutual desire and admiration between two men. This representation of the ‘buddy group’ has continuities with other group, or dual representations of male identity, where mutual, male selves and desires are constructed around an imagined, comforting woman. The presence of traces of the maternal body (Kristeva's ‘semiotic’ sphere) is audible in ‘Oh, Boy!’ through the chorus's separation of rhythm and melody, and in particular, its use of ‘children's rhythms’, consistent with those analysed by the musicologist Constantin Brailoiu as a cross-cultural phenomenon. In ‘Oh, Boy!’ children's rhythms are reworked in a dialogue between singer and chorus, and between guitar and chorus in the instrumental break, in such a way that after the break the singer is able to resolve the rhythmic tensions introduced in the first half of the song and get ‘everything right’. The new symbolic identity of male adolescent independence is audibly structured by the semiotic, so reversing the surface hearing of the song as involving the subordination of the chorus to lead singer in the consensual hierarchy of ‘buddy’ relations. The relationship of Buddy Holly to Bo Diddley adds a further dimension to this structure, where ostensible equality cannot mask the uncomfortable social hierarchy of the white rock star and black mentor, and where an appeal to the other as ‘boy’ would evoke not the buddy group, but slavery.

Syntactic and Semantic Ambiguity Processing in Neural MT from English to French, Spanish and Italian Despite recent advances in artificial intelligence, human translators outperform MT for at least three types of tasks: identifying referents in anaphora (especially of the interphrastic kind), resolving semantic ambiguity (which is mainly due to polysemy or homonymy), and resolving syntactic ambiguity (especially with poorly inflected source languages such as English). Using the results obtained by two freely available online machine translation programs, Google Translate and DeepL, we examine how these two types of ambiguity are processed in translation from English into French, Spanish and Italian. Our results show that the two programs perform well overall in resolving the simplest cases of syntactic ambiguity, with difficulties arising more frequently for noun phrases featuring atypical syntactic divisions and rarely used collocations. MT output for ambiguous structures involving verb roots followed by the –ING morpheme (flying planes, growing pains) is studied, as well as syntactic structures in which two or more nouns are preceded by one or more adjectives. MT handles relatively well the longest of those structures (ADJ ADJ N N N N), probably because their subsets are part of the bilingual or target language monolingual corpora that underlie MT systems. Structures involving head modification and coordination (ADJ N AND N) are also known to pose problems for MT and human translators alike. But since many of the most frequent N AND N structures involve cohyponyms (men and women, brothers and sisters), antonyms (rights and duties, costs and benefits) or near- synonyms (aid and advice), their translation as a whole unit generally triggers the choice of correct syntact dependencies in translation. Structures in which the adjective only modifies the first noun (fresh air and exercise, social sciences and humanities) are much less frequent and are also probably translated as a whole unit. Structures involving premodification, coordination and post-modification may give rise to four distinct types of structures depending on whether long-range dependencies apply (detailed [knowledge and understanding] of the IT industry, [ethnic group] and [place of birth], invaluable [context and [source of information], [close friend] and confidant] of Mr Jones. Structures in which both long-range dependencies apply (integrated prevention and control of pollution) are the ones which most frequently cause errors for MT. Semantic ambiguity cases have been processed with increasing success by MT, especially when collocates vary widely for the main two meanings of homonyms (a well-known example is the word pen). Processing polysemy (for instance the medical use of conditions in pre-existing conditions) is a bit more of a challenge for MT. Other cases involving concentration of several polysemic terms in the same sentence (Changing the placement of beams relative to the staff involves changing the direction of the stems in the beam) also create difficulties for MT when the polysemic terms are used without any of their usual collocates (here in the specialised field of musical edition). Homonymy cases involving grammatical category changes (N-to-V or V-to-N conversion) seem to continue to pose the most difficulties to neural MT, despite increasing consideration of intra- and extraphrastic context. Potentially ambiguous word sequences (treatment increase in as the daily dose and duration of treatment increase), which were processed incorrectly before neuronal MT, are now correctly translated. But word sequences in which one word belongs to a part of speech which is not the most commonly used one (e.g. the noun remains in what remains can be considered) may cause occasional errors. Several examples that involve the verb founder are studied, and they frequently trigger translation of the noun in all three Romance languages (or translations of the verbs find or found due to incorrect segmentation).

In this article, the author will present some research issues as follows: Musical expressions of love for the homeland, Love among men and women, family affection, and attachment to work. The Khmer inhabiting South Vietnam practice all these expressions. In another short section, common characteristics with the music of other ethnic groups in Vietnam include similar instrumental music, scales used and rhythmic structures applied. Thereby, the author reviews categorizations undertaken in the past demonstrating that Khmer music strictly belongs to one ethnic group in the country. Also, musical instruments have been categorized in similar ways, using the Hornbostel-Sachs descriptive tools: Chordophone, Arephones, Idiophones, Membraphones, which are using a variety of scales and modes. It is also said that the inheritance and promotion of the typical values of Khmer music into social life, was a very pragmatic fact, which needs more attention. The use of the term “Folk Music” is only reflecting on a certain approach supported by cultural policies toward minorities from the 1970s to 2010.

AbstractThe Addaura Cave, located on Monte Pellegrino – Palermo, Sicily, is known for its exquisite engravings dating between the end of the Epigravettian and the Mesolithic periods. The frieze shows a group of men arranged in a circle around two very controversial figures which have generated much scholarly debate. So far, the purely choreographic and musical aspect has been little investigated. From the examination of the position of legs and arms and the presence of particular ornaments it is possible to deduce that these figures are engaged in a dance whose purpose is most probably linked to the ceremonial sphere. The purpose of the present contribution is to return to the concreteness of gesture related to dance, describing the modalities and the possible rhythmic implications.

Background Traditional semi-occluded vocal tract exercises (SOVTEs) are restricted to single-phoneme tasks due to the semi-occlusion at the mouth, which hinders full articulation, continuous speech, and singing. Innovative SOVTEs should overcome this limitation by creating the semi-occlusion outside the oral cavity. Purpose The purpose of this study was to investigate the immediate effects of a semi-occluded water resistance ventilation mask, which allows for continuous speech and singing, on objective (voice range, multiparametric voice quality indices) and subjective (auditory-perceptual, self-report) vocal outcomes in musical theater students. Method A pre-/posttest randomized controlled trial was used. Twenty-four musical theater students (16 women and eight men, with a mean age of 21 years) were randomly assigned into a study group and a control group. The study group received a vocal warm-up session with the innovative water resistance ventilation mask (tube attached to the mask “outside” the mouth), whereas the control group received the traditional water resistance approach (tube “inside” the mouth). Both sessions lasted 30 min and were similar with respect to vocal demand tasks. A multidimensional voice assessment including objective and subjective outcomes was performed pre- and posttraining by an assessor blinded to group allocation. Results The Dysphonia Severity Index significantly and similarly increased (improved) in both the study and control groups, whereas the Acoustic Voice Quality Index solely decreased (improved) in the control group. The intensity range significantly decreased (worsened) and the semitone range significantly increased (improved) in the study group, whereas no differences in voice range profile were found in the control group. Auditory-perceptually, a more strenuous speaking voice was noticed after the use of the traditional water resistance approach. The subjects perceived both SOVTEs as comfortable vocal warm-up exercises that decrease the amount of effort during speaking and singing, with a slight preference for the water resistance ventilation mask. Conclusions Both the innovative water resistance ventilation mask and the traditional water resistance exercise seem effective vocal warm-up exercises for musical theater students. The additional articulatory freedom of the mask might increase the phonatory comfort and the practical implementation of SOVTEs in the daily vocal warm-up of (future) elite vocal performers. The hypothesis of a higher transfer to continuous speech or singing in the mask condition has not been supported by the current study. Larger scale investigation and longer term follow-up studies are needed to confirm these preliminary results. Supplemental Material https://doi.org/10.23641/asha.11991549

Questionnaires were sent to members of some UK University of the Third Age (U3A) music groups and to other people of similar ages, enquiring into their present and past musical tastes and practices, and inviting free comment. This information was intended to identify factors either improving or impairing the enjoyment of music, and to indicate the value of music at that time of life. The first stage of the survey was directed to members of Sheffield U3A music groups, and this was followed by a further selective survey of U3A members throughout England and Wales. In all, 119 responses were received. Where the details were clearly stated, women respondents outnumbered men by about 2 to 1. The range of ages as stated by 38 respondents in the first stage of the survey was 58-86 (mean 68) years. Most groups contacted were devoted to music appreciation and concert-going, and two others to practical music-making. A general preference for music of the baroque, classical, romantic and late-romantic periods had remained unchanged over the recollected years, but many respondents expressed their appreciation of being introduced to more recent works. However, some contemporary music remained impenetrable. Questions of hearing aids and other kinds of instrumentation are considered, as are the benefits of group activities, especially under an expert leader. Further individual comments were received from members of the Incorporated Society of Musicians (ISM). The many individual free statements from all sources spoke of the great value of music, especially in helping to overcome the personal difficulties of that stage of life. A plea is made for better understanding of the musical needs and opportunities of this age group.

This study presented the indigenous products of Ata-Manabo at Talaingod, Davao del Norte using the lens of “indigenous knowledge.” A descriptive qualitative research design was applied. Hence, focus group discussion (FGD) and key informant interview (KII) were utilized in gathering information from the 25 tribal participants, wherein 15 of them are men and 10 are women. Based on the results, the identified indigenous products are classified into indigenous attire, body accessories, handicrafts, musical instruments, weapons and armaments, and hunting tools. Most participants affirmed that their products were created not just for the sake of aesthetics but also for the following purposes: source of income, source of identity, source of food, source of protection, and source of love or relationship. Moreover, they hope and aspire to sell and have a place to sell their products, continue their craft until the next generation, and include their culture and traditions in the school curriculum.

The article is the first part of a work conceived by the author, dedicated to the folk musical traditions of the ethnic group of Poles who migrated from the western Beskyds more than 200 years ago (namely, from the vicinity of the city of Chadca, located on the Kisuca River, northern Slovakia) to the Romanian part of the Carpathians, called Bukovyna. The name of this ethnic group in Poland is gorali czadecki = Chadian gurals. Their descendants still live in several settlements of the Carpathian Bukovyna: the villages of Plesha, Solonetul Nou and Poiana Mikuli, located in the basin of the Humora River in the Suceava region of Romania. The traditional culture of the Chadian highlanders, in particular their musical folklore, is still insufficiently studied by scientists. The material on which the ethnomusical part of the article is based was mainly collected by the author in the course of his own expeditionary research in these territories in the 2000s. A significant part of the article is a summary of the history of the origin and migrations of this group, as well as ethnographic information about it. After all, complex and varied historical events (mainly the so-called «Volosh colonization», which began in the XII century: the resettlement of the Romanian-speaking population to the Carpathian region from the Northern Balkans, historical Transylvania and Moldova), as well as natural landscape living conditions – cattle breeding in high-mountain pastures) identified some of the features of their traditional musical culture. The second section of the publication is a general overview of the main vocal genres of the Chadetsky gurals living in Bukovyna. A specific marker of the local singing repertoire is taidans (local name) – ritual (mostly wedding) or non-ritual (shepherd's) songs / choruses with verses 6 + 6 in a two-line stanza. Their texts are predominantly monostrophic, following in each performance in no particular order. The article examines the problematic aspects of the genre interpretation of these works: these are full-fledged songs or choruses, where words are more important. Memorial songs (of a religious nature) and lamentation over the departed still occupy an important place in traditional life. The memories of older respondents keep archaic games held at night near the dead. Christmas carols of various types, performed by different age groups of carol singers, are still an actively widespread genre: children, youth – the «young brotherhood» (with mummers), older men - the «old brotherhood». Also known is the children's ritual of sowing grain in houses on New Year's morning. Information about song genres is presented in the context of their functioning in everyday life and rituals

The aim of this study was to investigate the communication levels of the students who are studying in music education and preschool education in terms of music and different variables. The universe of the research is composed of students studying in the music education and preschool Department of Ataturk University Kazım Karabekir Faculty of Education in 2017-2018 academic year. The sample group consists of 237 people, 128 women and 109 men, who were educated in music education and preschool education.In this study, “communication skills inventory” developed by ersanlı and balci (1998) was used to investigate the communication levels of students. (Ersanlı, K.) and Balci, S. (1998). The data were analyzed using the SPSS 21 package program and ANOVA Waryans tests were applied to examine the frequency distribution for distribution of demographic variables of the participants, the relationship between two independent variables and communication levels, and the relationship between two independent variables and communication level. The difference between variables p.0,05 was interpreted taking into account the significance level.According to the findings, there was a significant difference between the students ' communication levels and gender, family structure, The type of music they are listening to, the average listening time per week, the use of musical instrument and the duration of use per week. The communication levels of female students were higher than those of male students and the communication levels of the students in the fragmented family structure were higher than those in the other family structure. It is also important to note that the communication levels of students increase as their weekly listening time increases, and the use of the music instrument has a positive effect on the communication level. It was observed that the students who used 1 hour and six musical instruments in the Weekly environment had a high level of communication between the students who did not use the musical instrument and who used it in different periods. It was observed that the communication points of the students who listen to art music and rock music are higher than the students who listen to other types of music.It was determined that there was no significant difference between the communication levels of the students and the age, the Department of Education and the meanings expressed by music. Although there was no significant difference between the variables, it was observed that the communication level of the students aged 22 and above was higher than the students aged 21.As a result of the data obtained from the research, it was concluded that the duration of listening to music, using a musical instrument and the type of music they are listening to have a positive effect on the communication levels of the students. In the context of the results, students are encouraged to use any musical instrument in line with their listening and listening skills and to provide the necessary facilities. It is recommended that music education and preschool teachers, especially at different levels of Education, be aware that music has a positive effect on communication which is important in the development of children and in expressing themselves, and that they direct children to different social and cultural activities related to music.

Bagurau Lapiak is one of the types of saluang dendang (sing along with saluang—a type of recorder—play) performance conducted in the corridors of Payakumbuh stores, using lapiak (mat) for seat. Bagurau Lapiak is organized by a group ‘pagurauan’ (jokers) held on evenings starting at 21.00 until dawn. The singer (‘pendendang’) in the show is a woman who will fulfill the request of the audience to sing and play certain tunes by giving some amount of money to a committee called janang. Previously all singers in Minangkabau are men; women singers are considered to violate traitional and religious norms and it is not appropriate for women to sing along with the men in public let alone at night. However, in the case of saluang pendendang, women sungers play an important role in attracting the ‘joke addict’ in saluang bagurau (joking) activity. This paper aims to reveal the form of presentation of bagurau lapiak in Payakumbuh and the society's view of women as singer. This stuy used qualitative descriptive analysis method with cultural anthropology approach to music which can be seen through the behavior of musical physic and verbal as cultural facts of individuals and community groups. The music and the communities’ behavior have a very close relation. This study also uses feminimisme theory to explain women’s role in the saluang dendang show. The result shows that the tunes, the rhymed text that are sung by women are a kind of communication between the singers and the audience. In the other hand, people support as well as criticize the woman singer based on traditional, religious, and performing art values. Keywords: pendendang women, Bagurau Lapiak, community views

The first chapter provides a short introduction to the Turkic oral epic of Central Asia (Bref aperçu de l’épopée orale turque d’Asie centrale). Among the various traditions of Turkic oral poetry, this and the following chapters focus on the epics of what is termed the « central traditions », i.e. the oral poetry of the Uzbeks, Uighurs, Kazakhs, Karakalpaks and Kirghiz. In these traditions different types of singers can be distinguished: baxši, aqïn, žïraw, manasči and others; these singers are in general professionals who have acquired their art and their repertoire in the course of a more or less formal training with one or more master singers. Although there are many similarities between these traditions, there is also a fair amount of variety as to the form, the genre and the manner of performance of the epics. Epics can be in verse, they can be in a mixture of verse and prose; the verse can be in octosyllabic lines, often alliterating, or in lines of eleven/twelve syllables, often rhyming; in the singers’ repertoire there are both heroic epics and lyrical love romances (dastans); the singer might perform the epic in chanting without the accompaniment of an instrument (as the Kirghiz manasči), he might accompany himself on a plucked or bowed instrument, and he might be further accompanied by another musician or even a small ensemble. In the second chapter the influence of Islam on the Central Asian oral epics is discussed (Le héros et le saint: l’influence islamique sur l’épopée turque d’Asie centrale). Islamic influence is found in epics and oral narratives of an overtly religious persuasion as well as in secular heroic epics and romances. The former (called džañnāma in Uzbek) celebrate the deeds of the Prophet and his followers and successors, their wars against the infidels and their achievements as Moslem leaders. These narratives have also influenced non-religious epics such as for instance the Uzbek dastan of Yusuf and Ahmad. An important role in these and other epics is given to various helper saints, in particular to ‘Alī, the Forty Saints, the Twelve Imams, and various pirs and holy men. In discussing the heterodoxy in the invocations of these saints it is argued that the most important source of religious inspiration in the epics must be sought in the popular Islam of Central Asia, which incorporates many pre-Islamic elements. In the third chapter the pre-Islamic strata as found in the Central Asian epics are further examined (Le héros et le chamane: les strates archaïques de l’épopée turque). It is shown that there is an intimate connection between epic singer and shaman. This emerges from the use of terms like baxši for both the bard and the shaman, from the symbolism of the singer’s instrument, comparable to that of the shaman, and from initiation visions and sicknesses found both among bards and shamans. A closer view at two Altaian epics (Kögütey and Altay Buučay) shows that in this tradition the world of the pre-Islamic Turks is well preserved, but similar archaic strata can also be detected in the epics of the central traditions, among them the transformations of the hero and his horse, heroic adventures in the underworld, various mythological figures and the reanimation of the hero. The fourth chapter is concerned with questions of interpretation (“Sens” et “conjointure”: problèmes d’interprétation). With reference to the distinction between sens and conjointure as made in the introduction to Chrétien de Troyes’ Érec et Énide it is argued that an oral epic such as Qoblan or Manas should not only be interpreted on the textual level but must also be interpreted from a pragmatic point of view. While a close reading of the epic as a work of verbal art (plot, characterisation, style, narrative structure and narrative technique) is indispensable for its analysis, a fuller understanding presupposes a knowledge of the function an epic performance has in an oral (or partially oral) society and the place an epic occupies in its value system. Heroic epics like Qoblan or Manas are felt to be historical (by singer and audience) and they play an important role in identifying the roots of an ethnic group and in re-inforcing its identity. While these heroic epics are believed to reflect historical truth, they have nevertheless undergone considerable transformation in the course of their transmission, thus conforming in the plot and motif structure to mythic patterns as described by M. Eliade. The final chapter examines the actual performance of Central Asian oral epics (La voix vive: aspects de la performance). With the help of the terminological apparatus of the ethnography of communication the various constituents of an epic peformance are described and the event character of oral epic poetry is underlined. By the same token, the comments on the musical aspects of performance in the first chapter are elaborated, with examples from the various central traditions of Turkic epic poetry. While the recitation of epic contains many dramatic elements, the performance of Turkic epic poetry does not cross the borderline to drama as in some African or Asian traditions. It is stressed in concluding that as an oral art the performance aspects of Turkic epic are of the utmost importance for its full appreciation.

This article examines the Ijieleghe and Igbabonelimin acrobatic dances for female and male ensembles. The data was obtained through ethnographic research techniques which include research in the library, interviews, focus group discussions, the use of interlocutors and participant observation. We found that both genres stem from the same source and are similar in dance patterns, repertory and musical instruments. While Ijieleghe performers wear light costumes, those of Igbabonelimin are heavy and sometimes accompanied by male and female masquerades. In Igbabonelimin, however, women are not admitted into any of its departments; while in Ijieleghe, male participants are confined to drumming and singing. Only the female participants perform the dance. This paper asks: Why is it that women cannot be admitted into the membership of the sonic space of men in the Igbabonelimin? What will happen if these ensembles admit members of the opposite sexes into gender restricted areas? These questions are what this paper intends to answer. However, while we are aware that there are gender-based restrictions that are not conducive to integration in this day and age, it is our view that in the light of present-day realities in Nigeria, gender restrictions should be challenged to lengthen and enhance the longevity of these ensembles.

This article discusses the recent emergence of adult male fans of Korean pop (K-pop) music who openly engage themselves in fan activities typically associated with teenagers (particularly teenage girls) and the significance of their adoration of young female celebrities. The recent appearance of the ‘samchon/uncle fans’ in the K-pop culture discourse marks the first instance since the early 1990s, when teenagers became the primary target audience of South Korea’s entertainment industry, in which male adults reclaimed a significant position as a demographic group of fans. The samchon fans differ from the traditional ajossi (middle-aged, patriarchal men) listeners of adult contemporary music in the kinds of singers and musical genres to which they listen, as well as in their self-identification as fans, participation in fan activities and mass media portrayals. I investigate the implications of the men’s consumption pattern and their representation in South Korean mass media within the contexts of the history of the construction of hegemonic masculinity in South Korea and of recent developments in East Asian popular culture. I also explore possible ways to apply, complicate and question existing theoretical and conceptual frameworks to explain the phenomenon and argue for the possibility of politically potent, alternative masculinities constructed and manifested through the men’s conspicuous consumption of cultural commodities.

Several patterns emerge in bachata's discussions of love, sex and relationships with women. There is little sense of place in the songs – rarely is a specific place name mentioned or invoked, in marked contrast to other Caribbean musical genres associated with listeners of rural origins, in which place names are constantly invoked for affective purposes. The people in bachata songs do not seem to exist anywhere – except the bar, which, I suggest, is a metaphor for the urban shantytown itself. Neither is there a sense of movement, of going anywhere. There is no imagery of journey, or travel, unlike other musics, such as Brazilian popular music or US country music, in which the road and trucks figure prominently. People are neither being pulled or pushed anywhere – out of home, into home, out of work, into work.Life, as expressed in bachata songs, seems fragmentary and lacks coherence – and in that sense, these songs are thoroughly modern. The songs as texts are vignettes, brief snapshots – bites, to use contemporary jargon – that evoke salient parts of events or situations, rather than descriptive narratives that carefully develop a story over time and place. (The only exceptions are the double entendre songs, in which narrative is more a necessity as a framework for the word play than an end in itself.)Bachata songs focus on the pain of losing a woman, but the difficulties of city life are implicitly to blame. Given that both men and women experience this pain, it seems odd that bachateros express no sense of solidarity with women, of shared social and economic trouble, as can sometimes be found in rock songs, for example, where singers invoke the power of love to overcome economic hardship or social prejudice. Bachata expresses a strong sense of vulnerability, betrayal, alienation and despair; yet the songs' anger is directed not at those above – the middle and upper classes – who have indeed betrayed and abandoned the poor as a class: instead, men's wrath is directed below, to a group of people – women – even more vulnerable to exploitation than men themselves. As we have seen, in bachata women are often portrayed as the aggressors and men as victims. Yet men certainly know that even if they can no longer control women as they once may have, in the modern world men clearly exercise more power over their lives than women. Men can, in fact, afford the luxury of expressing vulnerability to emotional pain. Women are the silent ones; their voices are not heard, although their presence can nevertheless be felt intensely. These unresolved tensions, between owner and property, aggressor and victim, voice and silence, freedom and control, order and chaos, are all symbolically explored in bachata.

To play a musical instrument, such as the violin or flute, requires controlled, adequate movements performed by the arm, hand, and fingers in an asymmetric playing posture. The movements are monotonous and often of long duration, involving static and repetitive muscle work of the upper extremity and neck-shoulder muscles. This situation may lead to an increased risk of contracting musculoskeletal problems. The aim of this cross-sectional study was to investigate the relationship between physical workload, defined as playing posture and playing time per week, and musculoskeletal disorders in music teachers. A questionnaire was distributed, with items based on work-related musculoskeletal disorders and physical working conditions. The study population consisted of music teachers employed at a Swedish municipal music school. Out of 61 music teachers, 47 (77%) agreed to participate, including 28 women and 19 men. The study group was divided into two groups depending on if they had an asymmetric or symmetric upper extremity/back playing position. Of the total participants, 77% reported musculoskeletal disorders during the preceding 12 months. Female teachers reported significantly more symptoms in the neck, shoulders, and upper back than male teachers. Music teachers with an asymmetric playing posture had significantly more musculoskeletal disorders than music teachers with a symmetric playing posture. This study demonstrates that an asymmetric playing position may affect the amount of musculoskeletal disorders in the upper extremity and back.

Background. The authors developed a specialized set of functional magnetic resonance imaging paradigms, based on data from general psychology, neuropsychology and previous studies, to diagnose the “covert cognition” phenomenon on a Russian-speaking sample of patients with chronic disorders of consciousness. Before using this set with patients, it is advisable to carry out testing on a group of healthy people with preserved consciousness in order to detect significant clusters of activation corresponding to paradigms and to assess their reproducibility at the individual level. Objectives. The study is aimed at testing the proposed set of fMRI paradigms in order to detect the “covert cognition” phenomenon on a sample of healthy volunteers. Study Participants. Sample included 10 healthy volunteers (3 men, 7 women, M = 44 years, SD = 17). Methods. The study was performed on a magnetic resonance imaging scanner “Magnetom Verio”, “Siemens” with a magnetic field strength of 3 Tesla. The hierarchical set of nine passive and three active paradigms was presented to participants. Statistical analysis was carried out using SPM12. Results. As a result of group analysis, significant clusters of activation were observed in six passive paradigms, covering the perception of tactile (“writing” a letter on the abdomen), auditory non-speech (alarm clock, two musical fragments without words) and speech stimuli. Auditory speech paradigms (audio fragment from the film with obscene language, testee`s name within the “cocktail party” effect) were the most reproducible paradigms at the individual level. Conclusions. The obtained results allow us to apply the proven paradigms in further studies to detecting the “covert cognition” phenomenon on a Russian-speaking sample of patients with chronic disorders of consciousness. Data on brain activation in healthy volunteers in different paradigms enriches theoretical understanding of cerebral organization of cognitive functions.

Nyongkolan is one of the processions in a series of wedding traditions of the Sasak tribe of Lombok, West Nusa Tenggara. As a culture that is preserved in the midst of a majority Muslim community, the tradition of Nyongkolan which is carried out with great fanfare, in the form of a bridal procession escorted by the family and community as well as a musical group is interpreted as part of the teachings of the Prophet Muhammad where a marriage must be witnessed and also contains the value of friendship. However, there are several conditions where the implementation of Nyongkolan as a whole violates Islamic teachings, such as the clothes used, the situation where men and women are mixed, as well as the music, singing and dancing that are performed. This study aims to find out the perspectives of Muslim students regarding the implementation of the Nyongkolan tradition. whether in accordance with Islamic values and teachings or not, and must be preserved or not. The method used in this research is descriptive qualitative involving 280 students of FKIP University of Mataram batch 2022 as research subjects using a random sampling technique. The results of the study found that 100% of Muslim students stated that the Nyongkolan tradition was not in accordance with Islamic law, 92% stated that the Nyongkolan tradition could be carried out and preserved with the condition that the clothing used complies with Islamic rules, men and women are separated, music is replaced with drums or tambourines, as well as singing and dancing or dancing abolished. Meanwhile, 8% of students stated that the Nyongkolan tradition should be abolished because it is difficult to change according to the provisions of Islamic teachings. The implication of this research is that it can be concluded that Muslim students have a fairly good understanding of Islamic teachings, both with regard to values, morals and understand how to analyze how far a tradition is considered in accordance with Islamic teachings or not. This research is expected to be used as a consideration for the implementation of the next Nyongkolan.

This study aims to describe the existence of Mondotembe dance in the Tolaki community in Unaaha District, Konawe Regency. The method used in this study was the historical method developed by Kuntowijoyo with the following stages: (1) Selection of topics, (2) Collection of sources, (3) Verification, (4) Interpretation, and (5) Historiography. Literature study used consists of historical concepts and theories, cultural concepts and theories, dance concepts, cultural change concepts, concepts of symbolic meaning, and historiographic review. The results showed that: (1) Mondotambe dance was born during the reign of the Konawe Kingdom centered in Unaaha in the XVIII century. The Mondotambe dance was a dance which dedicated to welcoming the Tamalaki (warriors) who have just returned from the battlefield against the Tobelo pirates with victory. (2) In addition to welcoming the returning soldiers from the battlefield, Mondotambe dance functionS were as a welcoming dance for guests of the Konawe Kingdom in Unaaha, the inauguration of a building, the opening of an activity organized by Konawe Regency government agencies and events. rituals like marriage. The Mondotambe dance was performed by teenage girls and two young men as a companion (3) Changes to the Mondotambe dance appear in: a). Implementation aspects in terms of time and place, b). Accompaniment, c). Clothing and accessories for dancers and musicians, d). Musical accompaniment instrument. (4) The symbolic meaning contained in every detail of the movements and sounds that accompany the Mondotambe Dance, including: a). Hand gesture means the symbol of acceptance and reception, b). Female dancers become a symbol of tenderness and beauty, and c). The sound of "Gong" sounds as an invitation to the public to welcome one or a group of honored guests. Keyword: Existence, Mondotambe Dance, Function, Symbolic Meaning

Pangolins are among the most extensively traded taxa in southeastern Asia mainly due to the perceived medicinal value of their scales and other body parts, putting them at risk of extinction, however, little is known about their trade status in Nepal. The purpose of the study was to assess the status of pangolin trade in Makwanpur district of Nepal. Semi-structured interview with household (n = 90), key informant survey (n = 15), Four focus group discussion at each study site was conducted. Seizure data (2015–2019) were gathered from the law enforcement agencies to identify and analyze the major trade routes. The majority of the respondents (63%) were well aware of the protection status of pangolins. Further, our study found that historically local peoples used pangolin body parts in making rings, bags, jackets, and musical instruments but at present they stopped it. Pangolin traders were typically middle-aged men and unemployed youth. Majority of the hunting was found to be opportunistic but when pangolins were caught, they were generally sold for additional income. Currently, the seizure data has shown the declining trend of pangolin trade within the Makwanpur district. Community forest user groups and community based anti-poaching units are working actively for the conservation and promulgation of threatened pangolins in the Makwanpur district which had long served as a major trade route to China. Thus, we advocate strengthening border security and the formation of community-based anti-poaching units, followed by mobilization, anti-poaching trainings, security assurance, and incentives for worthy conservation results in pangolin-rich communities. Further, we recommend sustained conservation awareness programs, in addition to alternative livelihood opportunities, for the long-term conservation of pangolins and their habitat.

Relevance of the study. The batyar subculture has already become the subject of many scientific works of Polish and Ukrainian researchers as a social phenomenon with its own jargon and cultural traditions. In particular, this issue has become central in the works of U. Jakubowska, A. Kozytsky, O. Kharchyshyn, Y. Vynnychuk, N. Kosmolinska, W. Szolginia and others. Batyar songs as a layer of Lviv city music got a new life thanks to the creativity of V. Morozov, realized in the publication of three albums with neobatyar songs. This group of songs and its genre and intonation parameters have not yet been at the center of musicological research and open up new perspectives for learning of genetic links between urban music and popular contemporary music in Ukraine.The purpose of the study is to analyze the genre and intonation features of Viktor Morozov’s albums, the principles of their cyclization, to explore the genetic links between batyar and neobatyar songs.Results and conclusions. Each of the three albums “Only in Lviv” (“Tilku vi Lvovi”), “Heart of the batyar” (“Serdtse batiara”) and “Batyarsky blues” (“Batiarskyi bliuz”) reveals itself as a large genre, which structure builds an expanded musical dramaturgy. In many aspects, it is connected with principles of the cyclization of academic genres, in particular, the vocal cycle and the program suite. The basis of the dramaturgy development of the albums was the method of contrast at the level of thematic, genre, tempo-metric organization. In addition, all three albums actually formed the one line of transformation of batiar songs from the authentic sound of songs from the period of the 20–30s of the twentieth century, and to new author’s — neobatyar songs, there were created on the basis of modern genres.New plots and themes of the verbal text of neobatyar songs also directly appeal to the original period of the first Lviv batyars at the beginning of the 20th century. The love adventures of the batyars, the struggle for authority and respect among the representatives of the subculture, the love for the native city, the glorification of fearlessness, life with not burdened by laws and fear became the main topics in neobatyar songs too. A characteristic local dialect is preserved, including a combination of vocabulary of various language systems; the use of lexical distortions, obscene vocabulary takes on a new embodiment through modern neologisms, borrowings. Songs are still performed exclusively by men, and the main genre outline is dance, including polkas, waltzes, tango, staer and others. The phenomenon of the double nature of batiar songs is organically embodied, where folklore and author’s songs are expressed through a combination of anonymous and original songs of the prewar period and neobatyar songs created by the authors of the albums. The nebatyars headed by V. Morozov in the albums “Only in Lviv”, “Heart of the batyar” and “Batyar blues” deliberately appeal to the layer of batyar songs, aiming to give new life to the old batyar song genre in the context of modern musical trends, to save the unique phenomenon from oblivion, rethink them in the context of the realities of our time. Thanks to the conceptual approach to the creation of the aforementioned albums, the authors managed not only to organically continue the musical traditions of batyar songs, but also to give them new life at a fresh, even brighter artistic level.

Trumpet Festival in Guca, or The First Trumpet of Dragacevo, which was the initial name of this event, becomes a kind of a brand of Serbia as a tourist destination. Every year this festival is visited by hundreds of thousands of tourists from Serbia and abroad, and brass trumpet bands from around the world. As the Trumpet Festival is among the most important events of 2426 categorized events in Serbia, the survey is conducted in order to determine the differences of the visitors relating to the demographic and socioeconomic indicators: gender, age and educational structure. Motivation and expectations of tourists, visitors of the events similar to the Trumpet Festival in Guca can be characterized as a fairly uniform and specific. The mass musical events which include Trumpet Festival in Guca, Exit Festival in Novi Sad, and many other festivals of this kind, have almost identical client?le and principles of behavior of visitors during the events. When analyzing the results of the survey, one should take into account the structure of the sample, which shows that most respondents were in the age group of 20-29 and 30-39 years of age, the majority of the respondents were men, and that high educational level is the dominant segment (up to 53,5% of respondents were with college and university degree and 42% with secondary education). The fact is that the most of Guca visitors come from the territory of Serbia and the diaspora. Also, visitors of these events generally do not show any significant interest in other attractive tourist facilities in the vicinity or in the local area, and very few visitors of the event stays after the end of festival and after the official program of the festival. On the basis of the evaluation of the Trumpet Festival in Guca done by visitors, it can be concluded that this event is generally perceived as a high-quality event, it is of great national importance and has the real potential for further development of tourism in this region.

Previous literature in cognitive psychology has provided data involving differences in language processing between men and women. It has been found that women are usually more proficient with certain semantic categories such as fruit, vegetables and furniture. Men are reported to be better at other categories semantic, e.g. tools and transport. The aim of this article is to provide an inquiry about possible differences in semantic category processing of living things (LT) and inanimate objects (IO) by Argentinian Spanish-speakers school-aged children. The group of 86 children between 8 and 12 years old (51.16% boys) has been assessed on a semantic fluency task. Six semantic categories have been tested, three of them from the LT domain (animals, fruit/vegetables, and body parts) and three from the IO domain (transport, clothes and musical instruments). Results showed differences in semantic processing between boys and girls. 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In this paper, we explore client resistances in group music therapy with women and men in residential treatment for substance use disorders (SUDs). We describe how we have encountered resident resistances on women's and men's units within a gender-specific treatment facility and offer suggestions for pre-empting and addressing such resistances, offering both nonmusical and musical strategies and techniques. We emphasize a person-centered approach and an experience orientation, in which we view our primary responsibility as providing opportunities for the men and women to engage meaningfully with music, self, therapists, and other residents in order to identify problems and explore alternatives and personal resources.

Sleep deprivation causes cognitive problems such as difficulty in establishing a cause-effect relationship, decreased problem-solving abilities, loss of concentration and attention. This study aims to determine the effect of sleep deprivation on interval, chord, rhythmic, melodic dictation skills and perception in students with Musical Hearing Reading and Writing (MHRW) activity, which has a high relationship with learning and memory. The experimental research was conducted with 18 students (14 men and 4 women) who volunteered to participate (Age: 22±2.1, Mean Body Mass Index: 24,6 ± 2.3). To determine the levels of effect of sleeplessness in the study group, the present experimental study made use of the pre-test – post-test model. Although the participants' pretest and post-test success levels were not statistically significant in intervals and chords (p> .05), a statistically significant decrease was found in rhythmic dictation and melodic dictation writing success levels (p < .05). These findings clearly show that sleep deprivation which negatively affected musical learning and memory consolidation significantly decreases the achievement levels of students in MHRW.

In many countries, life expectancy has increased considerably in past years, and the importance of finding ways to ensure good levels of wellbeing through aging has become more important than ever. Arts based interventions are promising in this respect, and the literature suggests that musical activities can reduce isolation and anxiety and foster feelings of achievement and self-confidence. The present study examined the effects of group music making programs on the health and wellbeing of nursing home residents in Southern Switzerland. A team of professional and student musicians delivered 10 weekly music sessions in four nursing homes, focusing on singing, rhythm-based activities with percussion instruments, and listening to short, live performances. 22 participants (16 women and 6 men, aged 72-95 years, mean 83.6, SD ± 6.9) were recruited to take part in the study and were interviewed after the last music session. The data were analyzed with thematic analysis to investigate how residents experienced group music making and its effects. The findings show that the music programs were beneficial for residents’ wellbeing. Music plays an important role in their lives, both in their pasts and presently, and being involved in musical activities offers engagement and novelty in daily life, providing learning opportunities and facilitating interpersonal relationships. Moreover, these results were due to interactions with the musicians involved. Residents particularly appreciated the opportunity to listen to live performances as part of the sessions. This study suggests that nursing home residents value music and that music based interventions play an important and direct role in enhancing their wellbeing.

The purpose of the study is to explore a new research methodology that will improve our understanding of “flow” through indicators of physiological and qualitative state. We examine indicators of “flow” experienced by musicians of a youth string quartet, two women (25, 29) and two men (23, 24). Electrocardiogram (ECG) equipment was used to record heart rate variability (HRV) data throughout the four movements in one and the same quartet performed during two concerts. Individual physiological indicators of flow were supplemented by assessments of group “state flow” (means from standardized questionnaires) and a group interview in which the musicians provided qualitative data. A matrix was constructed for the characterization of different kinds of demands in the written music in each one of the four movements for each one of the musicians. HRV derived from ECG data showed non-significant trends for group state flow across the eight musical episodes. Individual-level analysis showed that compared to the other players the first violin player had the highest mean heart rate and the lowest increase in high frequency (HF) power in HRV during this particular movement, particularly during the second concert. The qualitative data illustrated how an interplay of synchronized social interactions between this player and their colleagues during the musical performance was associated with a feeling of group state flow and served to support the first violinist. The case illustrates that the proposed mixed methodology drawing on physiological and qualitative data, has the potential to provide meaningful information about experiences of a flow state, both at individual and group levels. Applications in future research are possible.

Companies increasingly seek to use gay protagonists in audio-visual commercials to attract a new affluent target group. There is also growing demand for the diversity present in society to be reflected in media formats such as advertising. Studies have shown, however, that heterosexual consumers (especially men), who may be part of the company's loyal consumer base, tend to react negatively to gay-themed advertising campaigns. Searching for an instrument to mitigate this unwanted effect, the present study investigated whether carefully selected background music can shape the perceived gender of gay male advertising protagonists. In a 2 × 2 between-subjects online experiment (musical connotation × gender of the participant), 218 heterosexual participants watched a commercial promoting engagement rings that featured gay male protagonists, scored with feminine- or masculine-connoted background music. As expected, women generally reacted more positively than men to the advertising. Men exposed to the masculine-connoted background music rated the promoted brand more positively, and masculine music also enhanced (at least in the short term) these men's acceptance of gay men in general (low and medium effect sizes) more than was the case for feminine background music. Carefully selected background music affecting the perceived gender of gay male advertising protagonists may prevent negative reactions from heterosexual audiences and, therefore, motivate companies to use gay protagonists in television commercials on a more regular basis.

Situated within the context of higher music education, the empirical orientation of this study is on the reflective accounts of young musicians participating in collaborative ensemble work in an educational institution in Norway. Drawing on theories of regulated learning from educational psychology, this study explores the affective and relational aspects of music students’ experiences of small ensembles. Specifically, it examines students’ perceptions of an ideal ensemble environment, socio-emotional challenges encountered during rehearsals, and the emotion-regulation strategies employed within these contexts. Eleven participants, 4 women and 7 men, with a median age of 22, were interviewed. The data were analyzed using a combination of inductive and deductive approaches to thematic analysis. The findings reveal that music students highly value collaborative ensembles as a gateway to acquiring new knowledge and performance skills, which are predominantly gained through peer interaction and active participation in the learning processes. Respect and receptivity emerged as critical qualities for fruitful musical collaborations. Notably, participants prioritized the well-being of the socio-emotional climate over musical competency, underscoring the formative role of emotions in these social learning environments. Furthermore, the study explored the self-reported emotion-regulation strategies employed by student musicians to maintain and/or re-establish a positive socio-emotional group climate. These regulation strategies involved both self- and other- directed processes.

The angguk is one among many types ofthe selawatan genre, it is an Indonesian traditional Islamic liturgical music. While the selawatan is normally perfomed by a group of men, the angguk includes a group of female dancers as the accompaniment to the selawatan musicians. This additional accompaniment accommodates the transformation form, from music to perfoming art. This study focuses on the analysis of structure and aesthetics of the performance ofthe “Sri Lestari” female angguk group in the Pripih village,at Kulon Progo district. The art was performed by young female dancers who were dressed in colorful costumesto attract the attention of audience. This study concludes that the performing art has been influenced by other type of the selawatan elements, such as the dolalak, which originated from Purworejo, Central Java. The angguk music which is very simple and monotous as the result of subsequent repetition with only little variations, is the verse reading effect of the pantun, which is a typical of traditional letter’s vocal arts. Whilethe pantun characterizes general musical structure, the instrumentation, rhythmic, and the tempo of the music, gives the essence of aesthetic meaning toward the genre. The dance has been used to enhance the performing aesthetics to invite the attention of the audience. Keywords: Angguk, selawatan, aesthetics.

The angguk is one among many types ofthe selawatan genre, it is an Indonesian traditional Islamic liturgical music. While the selawatan is normally perfomed by a group of men, the angguk includes a group of female dancers as the accompaniment to the selawatan musicians. This additional accompaniment accommodates the transformation form, from music to perfoming art. This study focuses on the analysis of structure and aesthetics of the performance ofthe “Sri Lestari” female angguk group in the Pripih village,at Kulon Progo district. The art was performed by young female dancers who were dressed in colorful costumesto attract the attention of audience. This study concludes that the performing art has been influenced by other type of the selawatan elements, such as the dolalak, which originated from Purworejo, Central Java. The angguk music which is very simple and monotous as the result of subsequent repetition with only little variations, is the verse reading effect of the pantun, which is a typical of traditional letter’s vocal arts. Whilethe pantun characterizes general musical structure, the instrumentation, rhythmic, and the tempo of the music, gives the essence of aesthetic meaning toward the genre. The dance has been used to enhance the performing aesthetics to invite the attention of the audience.Keywords: Angguk, selawatan, aesthetics.

Psychosocial interview-based methodologies have been heavily reliant on what has been long been thought of as a talk-led encounter. Interest in walking as a research method has been driven by the ways in which it alters the research relationship through the kinetic and relational affordances of moving side by side while walking, which also brings place and space into the encounter. However, a walking interview is also an event that occurs in time and, in this article, we explore this temporality through an exploration of the fluctuations of tempo and rhythmicity in a mobile interview group. We draw on theories of communicative musicality, which have focused mainly on parent–infant exchanges, to explore often unconscious dimensions of group communication. We argue that mobile interviews work simultaneously through the temporal/musical and the visual/spatial registers and we develop this theme with reference to a case example taken from a study of the everyday lives of young men accessing an organisation for homeless people. The walking interview allowed for a shared reimagining of a young man’s biography as he escorted us through the scenes, settings and phases of his everyday life. We use this example to consider how the rhythmical aspects of walking together support the communicative musicality of the interview group. Our analysis provides a window onto the unspoken aspects of the interview process which significantly affect our interpretation.

Lessons learned from George Sánchez have been at the heart of the work I do with undergraduate students at the University of California, Irvine (UCI). Many of them face enormous stress as a result of being (or being related to) undocumented Latina/o immigrants in the United States. During the 2011 Winter quarter, several of those students conferred with me about their intention to invite fellow UCI undergraduate students enrolled in our “Histories of the U.S.-Mexico Borderlands” course to join UCI Dreamers. This is an undergraduate student group that supports undocumented immigrant students at our campus as they struggle to finance, complete, and derive full social and intellectual benefit from their undergraduate education. This initiative situated our Chicana/o history course as a productive common ground, a space for this generation of women and men to act in support of each other. Attending UCI Dreamers meetings was not an automatic or random decision but rather the outcome of a series of interactions, discussions, and experiences. Prominent among these was our consideration of music and musical soundscapes that have influenced how life in the US–Mexico borderlands is lived and discussed.

The experience of anxiety is central to the development of chronic pain. Music listening has been previously shown to exert analgesic effects. Here we tested if an active engagement in music making is more beneficial than music listening in terms of anxiety and pain levels during physical activity that is often avoided in patients with chronic pain. We applied a music feedback paradigm that combines music making and sports exercise, and which has been previously shown to enhance mood. We explored this method as an intervention to potentially reduce anxiety in a group of patients with chronic pain (N = 24, 20 female and 4 men; age range 34–64, M = 51.67, SD = 6.84) and with various anxiety levels. All participants performed two conditions: one condition, Jymmin, where exercise equipment was modified with music feedback so that it could be played like musical instruments by groups of three. Second, a conventional workout condition where groups of three performed exercise on the same devices but where they listened to the same type of music passively. Participants' levels of anxiety, mood, pain and self-efficacy were assessed with standardized psychological questionnaires before the experiment and after each condition. Results demonstrate that exercise with musical feedback reduced anxiety values in patients with chronic pain significantly as compared to conventional workout with passive music listening. There were no significant overall changes in pain, but patients with greater anxiety levels compared to those with moderate anxiety levels were observed to potentially benefit more from the music feedback intervention in terms of alleviation of pain. Furthermore, it was observed that patients during Jymmin more strongly perceived motivation through others. The observed diminishing effects of Jymmin on anxiety have a high clinical relevance, and in a longer term the therapeutic application could help to break the Anxiety Loop of Pain, reducing chronic pain. The intervention method, however, also has immediate benefits to chronic pain rehabilitation, increasing the motivation to work out, and facilitating social bonding.

Drawing on recent scholarship (Kelly, Pasler, Wheeldon, Fauser) examining the discursive construction of the reputations of well-known Belle-Époque musicians, this article investigates the case of Gabriel Fauré and the ways in which his posthumous legacy was shaped throughout the 1920s in France. Drawing on wide-ranging journalistic and biographical sources, the article argues that the figure of Fauré was increasingly constructed around the concept of the ‘classic’ in the years immediately following his death in 1924. I suggest that the types of ‘classicism’ associated with Fauré in this context were, however, multivalent and largely contingent on the cultural and aesthetic mandates of those ‘reputational entrepreneurs’ that sought to advocate in favour of his posthumous legacy. This article thus examines the notion of Fauré ‘the classic’ as it was discursively constructed in three specific instances: by the French Republic in its State funeral for the composer; by the young post-war generation of composers (especially Georges Auric of the group Les Six), and by the composer, former student, and biographer of Fauré, Charles Koechlin. These cases reveal that Fauré's classicism was articulated in contrasting ways, ranging from a heroic classicism associated with the celebration of national ‘great men’, an aesthetic classicism linked to French musical traditions, or, finally, a classicism derived from the aesthetics and culture of Ancient Greece.

A folk musician is an important carrier of the folk music tradition. Most of the folk musicians are talented representatives of the musicians’ craft, highly appreciated in the 20th century by the countryside society. Music making is a must at different gatherings and family celebrations (birthday parties, weddings, seasonal festivities, etc.), and this secures a high social status for the musician within the culture environment, though this also gives rise to competition among the musicians. Along with the changes within the countryside culture environment at the turn of the 20th and 21st century, also the society’s attitude towards the folk music- making tradition has changed, on the one hand viewing it as some old-fashioned activity of elderly men (the musicians), while on the other it is viewed as an important object of study for the preservation of the tradition, its renewal and reintroduction into the culture environment of the 21st century. The present study traces the development of the notion “kaktu muzikants” (literally ‘corner musician’ – a busker; self-taught, amateur musician) in Latvia from both historical and contemporary perspective, performing the culture semiotic analysis of the symbolic and mythic meanings of corner. In the Latvian culture discourse the designation “kaktu muzikants” has the following semantic aspects: 1) in the macro space – opposition of the periphery and the centre; 2) in the micro space – a special location in the inner space (the location of the musician, while playing at the dance; the „red” corner); 3) the level of professionalism, its expressive belittlement (playing without the musical score). The present study characterises the importance of the “kaktu muzikants” in the Latvian culture in 1930’s-60’s and in the present day – in the context of the traditional instrumental music. This study also uses the field-work method in order to obtain the empiric material. During field-work the data are gathered in direct interviews, deeply or partially structured interviews, where the data are obtained from the original source in the presence of the interviewer; as the result a joint view of the culture environment of the period under study was formed, along with a view of the importance and place of a country musician in the aforementioned culture environment. In the 1930’s-40’s the folk music-making tradition is mostly a local tradition of some secluded culture environment – within the boundaries of a single family, village or parish. The first skills of music making as well as those of singing are acquired within the family, where these are inherited from the members of family belonging to the older generation. Each village and parish has its musicians. Usually within a parish a single group is formed of musicians having gained recognition by the community, with this group playing at all most important events within that community – like the weddings of the better-off families and the most important dances (e.g. the dance after the remembrance event at the local cemetery). All other musicians are peripheral musicians in relation to this main group, usually playing on their own or in duos. The situations when the music is played without a written score are self-explanatory and characteristic of folk - musicians’ technique. Lacking the knowledge of musical score, the folk - musicians mainly base on the auditory or musical memory and the song’s text, the latter taking the place of notes. In cases of purely instrumental pieces playing is based on musical hearing alone. Such a technique provides good opportunities for improvisation, and reveals the creativity of the musician, his sense of music and taste. Lack of knowledge of the musical score unites people for whom music is an important part of their lives, providing them with the experience of public performance and the sense of belonging to the group of musicians, simultaneously positioning themselves as musicians of lower status compared to those graduated from some musical education institution. The division by the level of professionalism into insiders and outsiders in relation to one or the other group of musicians was especially pronounced in 1950’s-60’s, but this division has still been retained. In any music playing situation the musician has a special place within the available space allocated to him, where this space can be either inside a house (a single room), some shed or place chosen for an open air dance as a relative space. According to the data gathered during the interviews conducted in the field, the musician most frequently is seated in the corner, that corner becoming the place of honour and the centre for the musician. The designation “kaktu muzikants” is not only current in the culture environment of the 20th century countryside, but is still retained. In 1920’s-40’s quite frequently the designation “kaktu balle” (local, less important or inferior quality dance-party) is used to indicate that the event is organised by the local community (dance at some farmstead, open air dance at some grove, etc.) as compared to more official events organised and recognised by the state institutions. With this also the designation “kaktu balles muzikants” enters currency, though this has no relation to the level of professionalism of the particular musician, instead his location – the periphery. The modern designation “kaktu muzikants” is actualised particularly in the memories of the folk musicians and their life stories of the period beginning with the 1950’s. In the vocabulary of the younger generation of musicians (meaning by that the early 21st century) “kaktu muzikants” prevails as a designation of a musician aiming at understanding of the folk music-making tradition and/or the ones who have restored a music-making tradition of some of the aforementioned periods or imitate the particular instrument technique of a single individual musician.

The relevance and problem of formation of articulation skills in students of higher educational institutions is primarily due to the need for their application in subsequent professional activities. Now very often teachers of higher educational institutions face problems of pronunciation at students that, undoubtedly, leads to violation of assimilation of part of the information conveyed verbally. It is verbal information that is the main resource in educational institutions, respectively, diction and articulation attract special attention. The formation of elementary gestures of articulation is influenced by social, general life and musical sensory, kinetic experience, based on a wide range of sound-like representations and associations (experience of movements, feelings, experiences, emotions, etc.). The purpose of our study was to develop a program that promotes the development of articulation and improve diction, as well as to study its application to students. The study obtained that the most efficient type of breathing is the abdominal type, because with such a breath deeper than ventilated lungs, facilitates venous return from the abdomen to the heart, the respiratory cycle consumes the least effort from the point of view of energy consumption. Men are more easily and effectively trained in diaphragmatic breathing, according to the results of the study. A group of subjects with the help of BOS procedures learned to master the rhythm and depth of breathing, which especially affects the diction and articulation of human speech.

There are different classifications of sports and disciplines. The division into individual and collective is considered fundamental. From the aspect of all divisions, they are mainly bipolar (like Men/Women Artistic Gymnastics) instead of the psychological typology of sports activities, where certain individual sports belong to the group of aesthetic-coordination ones. Rhythmic gymnastics (RG) is the most typical representative in this group, where complex movements predominate most acyclic type. Activities in RG occur in several disciplines with different apparatus (rope, hoop, ball, clubs, and ribbon), and only younger age categories have exercises without apparatus. In each domain, many elements are performed, which differ according to their structural groups, although exercises of a dynamic character prevail over static ones. Previously, the structure of sports achievement was determined based on the so-called Equation of success specification, which assessed the contribution of specific segments of the anthropological status of athletes in the prediction of sports results. However, when the result depends on the subjective assessment of the judge, the structure is proposed through the Code of Points (CoP). The decisive factors that prevail in line on the Rules of Assessment, which accurately considers the difficulty of the elements for free routines, musical accompaniment, and the appearance throe the artistic impression of the gymnast. In general, it is a sports activity in which a perfect symbiosis of music and movement is achieved, with a solid aesthetic impression when performing free routines. These characteristics are also present in other sports within this group, with similarities in the methodology of training, the elements of technical difficulties, and the way of assessing the athletes’ achievements. Where looking at specific segments of the anthropological status of rhythmic gymnasts, the determinants of sports achievement are pointed out, viewed, first of all, from the aspect of assessment rules (CoP), which has undergone significant changes in recent years to encourage the rapid development of RG and its inclusion in the Olympic sports family.

BackgroundThe domination of the Contemporary Commercial Music (CCM) industry in music markets has led to a significant increase in the number of CCM performers. Performing in a wide variety of singing styles involves exposing CCM singers to specific risk factors potentially leading to voice problems. This, in turn, necessitates the consideration of this particular group of voice users in the Occupational Health framework. The aim of the present research was threefold. First, it sought to profile the group of Polish CCM singers. Second, it was designed to explore the prevalence of self-reported voice problems and voice quality in this population, in both speech and singing. Third, it aimed to explore the relationships between voice problems and lifetime singing involvement, occupational voice use, smoking, alcohol consumption, vocal training, and microphone use, as potential voice risk factors.Materials and methodsThe study was conducted in Poland from January 2020 to April 2023. An online survey included socio-demographic information, singing involvement characteristics, and singers’ voice self-assessment. The prevalence of voice problems was assessed by the Polish versions of the Vocal Tract Discomfort Scale (VTDS) and the Singing Voice Handicap Index (SVHI). Also, a self-reported dysphonia symptoms protocol was applied. The perceived overall voice quality was assessed by a Visual Analogue Scale (VAS) of 100 mm.Results412 singers, 310 women and 102 men, completed the survey. Nearly half of the studied population declared lifetime singing experience over 10 years with an average daily singing time of 1 or 2 h. 283 participants received vocal training. For 11.4% of respondents, singing was the primary income source, and 42% defined their career goals as voice-related. The median scores of the VTDS were 11.00 (0–44) and 12.00 (0–40) for the Frequency and Severity subscales, respectively. The median SVHI score of 33 (0–139) was significantly higher than the normative values determined in a systematic review and meta-analysis (2018). Strong positive correlations were observed between SVHI and both VTD subscales: Frequency (r = 0.632, p &lt; 0.001) and Severity (r = 0.611, p &lt; 0.001). The relationships between most of the other variables studied were weak or negligible.ConclusionThe examined CCM singers exhibited substantial diversity with regard to musical genre preferences, aspirations pertaining to singing endeavors, career affiliations, and source of income. Singing voice assessment revealed a greater degree of voice problems in the examined cohort than so far reported in the literature, based on the SVH and VTDS.

The loop is one of the primary means of structuration for electronic music from mainstream to avant-garde styles. Indeed, during forums at the recent 2002 AD Analogue 2 Digital event, organised as part of the Adelaide Fringe Festival, many practitioners of electronic music gathered together and, often, quizzed each other about the loop: why does everybody seem to be using it and just how useful is it? With very few exceptions, the loop was considered to be an important if not essential tool for electronic music, and it is perhaps easy to understand why if one considers the "one-man band" nature of the majority of purely electronic music. Moreover, the loop is a trope common in many forms of contemporary music such as disco, minimalism, funk and hip-hop, all of which, as David Toop writes, "explor[e] entrancing elaborations and variations on repetition" (92). While Western musical forms have, for many centuries, been characterised by recurring elements (pedal notes, refrains, choruses, variations and so on are all musical tropes that rely on the recurrence of repetitive elements), there is perhaps a difference in the kind of repetition that is deployed in many of these musical forms and that deployed in consumer-driven and much avant-garde electronic music. When looping elements return in many pre-electronic (or non-electronic) compositions they present an elaborated form of the original iteration of that element, whereas it can be argued that the break in hip-hop or the loop employed by electronic music forms a stable basis on which other changing, shifting, modulating and developing elements are laid. (It should not of course be surmised from this that all hip-hop uses breaks nor that all electronic music uses loops.) Rather than presenting an active repetitive element creating difference in itself, the kind of looping employed in much electronic music proposes a banal, Platonic form of repetition in which, as Deleuze states, "the model is supposed to enjoy an originary superior identity [...] whereas the copy is judged in terms of a derived internal resemblance" (126-127). In the terms of our discussion, then, the sampled fragment of music or break (the "original" which some take endless pleasure in trying to identify) constitutes an originary identity which is repeated or looped in a form identical to itself to create an absolute internal resemblance across a contiguous whole. This reading of looping in electronic music finds extension in Jean-Charles François's criticism that electronic music produces only trigger timbre. François argues that in electronic music, the "performer is reduced to a triggering device, and does not participate in any real physical production of the sound" as opposed to the dynamic timbre of "traditional" acoustic instruments which can be varied by the performer in an interpretation of a work ("Fixed Timbre" 113). Trigger timbre, then, signals the exact reproduction (or, rather, a copy with internal resemblance, for an exact reproduction is an impossibility for a number of reasons, some philosophical, some temporal, some physical) of a prior moment, an originary identity, a movement analogous to that created by the looped element in electronic music. The problem with this in regards to musical production as artistic creation is that such modes of structuration are, according to François and Deleuze, eminently un-artistic or un-musical. For François, trigger timbre "strikes our ears like a symbol and threatens the essence of pure music" ("Fixed Timbre" 116), whilst for Deleuze a model employing banal repetition such as the repetition of a decorative motif "is not how artists proceed in reality. They do not juxtapose instances of the figure, but rather each time combine an element of one instance with another element of a following instance" (19). It might then be argued that electronic music is doubly prone to a Platonic mode of production removed from artistry, devoid of the desire with which, for Deleuze, all artistic creation is necessarily injected. To do so, however, is to propose a technologically determinist argument which maintains that electronic music is shaped by the very technology available to the artist, and emphasises the role of the engineer over the artist (even when the engineer and the artist are one and the same person, as is often the case in such music). That such a technologically determinist view might be levelled against electronic music is, nonetheless, perhaps not surprising since whilst most composers of any genre using acoustic instruments essentially have a set of instruments to draw on that has been relatively stable for a number of years (how many years will depend on the genre), it might be suggested that many electronic artists remain within the bounds of their tools' immediate and obvious possibilities because they do not have time fully to master them because the technology behind electronic music is still developing at an exponential rate. Whilst this is in many respects a gross overgeneralisation that neglects composers from both acoustic genres such as Luigi Russolo and Harry Partch who invented new instruments to broaden their sonic palette as well as electronic artists such as Kraftwerk or Aphex Twin who built or radically modified / deconstructed their own instruments, I do not think it entirely unfair given the technophile nature of many electronic artists, eager to keep abreast of the latest developments and software or hardware releases, and believe that it goes some way towards explaining the rate at which "movements" arise and disappear in contemporary electronic music. None of this would be of the least concern, of course, if this did not imply that the music made by many electronic artists is created as much by the hands of the engineer (and by engineer I refer not simply to a recording engineer but anyone involved in the development or programming of the hardware or software used for electronic) as in those of the artist. Even for those artists who serve as their own engineer, then, it is sometimes the case that their productions' bounds of possibility are determined not only by the artist's imagination but also by the very hardware and software used. Electronic music can, then, fall prey to technological determinism, can function in a Platonic manner, relying on a priori principles encoded in its tools and deploying banal repetition, and can be negatively critiqued in the terms of François's argument. This does not imply by any means, however, that it must be so. Indeed, in both her workshop and performance at the 2002AD conference, Kaffe Matthews proposed ways in which this quandary might be broached. Matthews takes her samples not from pre-existing recordings or intricately programmed "timbre objects" ("Fixed Timbre" 114), but from the "live" environmental sounds of the venue in which she is playing or the surrounding area. In this way, Matthews does not merely produce an exact repetition of an historical or prior moment (the sentimental potential of recorded media and electronic music which, according to François, explains their seductive power and thus popularity (François 1990, 114)), rather ensuring that every performance will indeed be an interpretation, a live performance which has no originary identity to refer back to or repeat. To build a complete musical text from fragments such as this, Matthews does rely on the loop, but one of the primary means that she uses to create her loops does not rely on the pattern of banal repetition observed above. Rather, Matthews places microphones around the venue in which she is playing and into which, therefore, her work is being amplified, so that the work itself is looped back into itself, each successive iteration of the loop being altered by the shifting acoustics of the environment into which it is emitted. In this manner, the entire venue is used as the "resonant cavity", the "giant membrane", the "environment", the "atmosphere" that render possible a discursive structure and that, for François, are the preserve of true timbre which cannot be produced by electronic technology ("Writing" 16). This is not, of course, the first time that such loops have been used in experimental music: the notion of the loop is very frequent in the work from the 1960s and 1970s of Steve Reich, who lets series of loops fall into and out of phase with each other, Terry Riley and Pauline Oliveros. Perhaps the most significant precursor to Kaffe Matthews's approach, however, is Alvin Lucier's I am Sitting in a Room (1969). For this piece, the performer chooses the room whose musical qualities are to be evoked, then reads a text in that room. The recording is played back through a loudspeaker in the room, the playback itself recorded and amplified again with the original recording, the process being repeated over a number of generations. Lucier's piece and, indeed, all of the pieces employing loops by the aforementioned composers, use analogue tape technology in order to create their loops, however, which is to say that a deliberate manipulation of the hardware that rips it from its normalised and intended use is required for that hardware to create loops. This is not to say that the misuse of technology at one's disposal is particularly revolutionary; indeed, one might claim that it is a very common feature among avant-garde or progressive artists of the past and present in all musical genres using both digital, analogue, electro-acoustic and acoustic instruments — should Oval do that to compact disks? isn't that the wrong direction for a record to spin? did anyone really intend Hendrix to play a guitar like that? did Cage actually know how a piano should be played? does Jim Denley actually know how to play the flute? What this does suggest, however, is that the use of loops in the work of these artists in the 60s and 70s was the result of a willed aesthetic decision and not a mode of construction dictated by the bounds of the immediately possible hardwired into the technology being used. If the loop used as one of the primary means of structuration in electronic music is to escape the technologically determinist arguments seen above, then, its coming into being must similarly be the result of a willed aesthetic decision and not merely a symptom of the technology used to produce it; it must, in other words, be infused with an artistic sensibility. Much electronic music being pumped out of bedrooms and studios at an alarming rate, however, is not infused with this kind of artistic sensibility, a situation which, although I oversimplify once more in saying so, would only appear to be aggravated the closer one moves to the mainstream (hence phenomena such as "the Balearic sound"). By its nature more prone to banal Platonic repetition (because of the primacy of the loop) and the a-dynamism (and, by inference, stultification) of trigger timbre, those sections of the electronic music scene who are content merely to remain within the obvious uses of the music-making technology, whether their démarche is born of a desire to pander to market forces or an inability or unwillingness fully to master the technology offered because of the speed at which it is moving, consequently produce songs which are themselves little more than banal copies of each other. Constructing music around loops within a technological domain that no longer requires hardware manipulation for the creation of loops since the loop is encoded within it, Matthews, however, by integrating into this realm the kind of compositional démarche noted in Lucier, liberates electronic music from these pitfalls. More than this, however, her approach also allows for an improvisational and dynamic aesthetic which is uncommon even in the avant-garde of electronic artists who do extend the possibilities of the technology they use. For the majority of artists who can be included in this group generally rely, when processing samples in real time, on a bank of pre-recorded samples, regardless of how these were created, through the use or misuse of technology. In using the very space in or around where she is performing as a live sample bank and processing those samples in real time as they are looped and transformed by the very setup she has defined, Matthews simultaneously surrenders and reclaims her creation, reinstating an authorial presence into the absence around which Cage's 4'33" is based (his "silent" piece in which the ambient sounds of the audience, venue and surrounding space constitute the only sound matter), seeming, like the performer of 4'33" who merely marks off time in three movements, not to be involved in the physical production of sound that François deems necessary for dynamic musical production ("Fixed Timbre" 113), only to reassert her presence in the text as a physical and dynamic entity. Acknowledgement With thanks to Kaffe Matthews and M/C's reviewers and editors. References Deleuze, Gilles. Difference and Repetition. Trans. Paul Patton. London: The Athlone Press, 1994. François, Jean-Charles. "Fixed Timbre, Dynamic Timbre." Perspectives of New Music 28.2 (1990): 112-118. François, Jean-Charles. "Writing without Representation." Perspectives of New Music 30.1 (1992): 6-20. Toop, David. "HIPHOP: Iron Needles of Death and a Piece of Wax." Modulations: A History of Electronic Music: Throbbing Words on Sound. Ed. Peter Shapiro. New York: Caipirinha Productions, 2000: 89-101. Citation reference for this article MLA Style Hainge, Greg. "Platonic Relations" M/C: A Journal of Media and Culture 5.4 (2002). [your date of access] < http://www.media-culture.org.au/mc/0208/platonic.php>. Chicago Style Hainge, Greg, "Platonic Relations" M/C: A Journal of Media and Culture 5, no. 4 (2002), < http://www.media-culture.org.au/mc/0208/platonic.php> ([your date of access]). APA Style Hainge, Greg. (2002) Platonic Relations. M/C: A Journal of Media and Culture 5(4). < http://www.media-culture.org.au/mc/0208/platonic.php> ([your date of access]).

The research was done to find out the level of the industrialization of the youth and the level of influence the leaders of compliments on the worshipping of the young men of Oikumene Setungkal-Ilir Banyuasin. The research was conducted at the young communion of Oikumene Setungkal-Ilir Banyuasin. Leaders of praise in worship are needed to serve as leaders in the liturgy of the church. The chief of praise is charged with directing a group of people to achieve the same goal. One of the principal roles of a chief of praise is to create a quiet atmosphere in which people can enjoy, praise and worship the Lord together. There are some things that a leader of Christian worship's praise is concerned to increase his role, that is, a man who grows spiritually in the Lord, maintains good relations with the congregation, has musical skills or understanding and prepares through practice and self-improvement. As the hallmark of one's diligence in worship is seen from his presence at every hour of worship, coming on time, and the contributions given in every activity both in temporal, thought and matter. The study is done through a quantitative approach. The research population of Oikumene Setungkal-Ilir Banyuasin, 68 people, and a sample of 35. The r square score found in the study is 0479, so the author has come to the conclusion that the leaders' partial influence on the variable worship craft is moderate. That is, 47.9% of variable variations bound to "worshipfulness" can be explained by free "praise leaders" variable 52.1% can be explained by outside variable factors. Penelitian ini dikerjakan dilakukan untuk mengetahui tingkat kerajinan beribadah pemuda dan tingkat pengaruh pemimpin pujian terhadap kerajinan beribadah pemuda Oikumene Setungkal-Ilir Banyuasin. Penelitian ini dilakukan di persekutuan ibadah pemuda Oikumene Situngkal-Ilir Banyuasin. Pemimpin Pujian dalam ibadah diperlukan guna sebagai pemimpin dalam liturgi gereja. Pemimpin pujian bertugas untuk mengarahkan sekelompok orang guna mencapai tujuan yang sama. Salah satu yang menjadi peranan penting seorang pemimpin pujian adalah untuk menciptakan suasana yang tenang supaya umat dapat menikmati, memuji dan menyembah Tuhan bersama-sama. Ada beberapa hal yang menjadi perhatian penting seorang pemimpin pujian ibadah Kristen untuk meningkatkan peranannya, yaitu seorang yang rohaninya bertumbuh dalam Tuhan, menjaga hubungan yang baik dengan jemaat, memiliki keterampilan atau pemahaman dalam bidang musik dan memiliki persiapan dengan latihan dan mengembangkan diri. Sebagai ciri dari kerajinan seseorang dalam beribadah terlihat dari kehadirannya di setiap jam ibadah, datang tepat waktu, dan kontribusi yang diberikan dalam setiap kegiatan baik dari segi waktu, pikiran maupun materi. Penelitian ini dilakukan melalui pendekatan kuantitatif. Populasi penelitian yaitu pemuda persekutan Oikumene Setungkal-Ilir Banyuasin, sebanyak 68 orang, dan sampel berjumlah 35 orang. Nilai r square yang ditemukan dalam penelitian adalah 0.479, sehingga penulis menarik kesimpulan bahwa pengaruh Pemimpin Pujian secara parsial terhadap variabel Kerajinan Beribadah adalah sedang. Artinya, 47,9% variasi variabel terikat “Keajinan Beribadah” dapat dijelaskan oleh variabel bebas “Pemimpin Pujian” sisanya 52,1% dapat dijelaskan oleh faktor-faktor di luar variabel.

Abstract: Hearing loss due to noise (Noise Induced Hearing Loss - NIHL) is hearing impairment, either part or all, loss, irreversible, occur in one or both ears, can be mild, moderate or severe, occurs because of exposure to the constant noise from the environment. The musician is one of the communities that are susceptible to noise induced hearing loss. Musicians had considerable exposure to noise. Most musicians have a hearing loss in varying degrees. The research objective is to determine the profile of hearing loss in the musicians in Manado, researching threshold musical sound that can cause hearing loss, and looking for a relationship with duration of music exposure to hearing loss. Research is explanatory research, analytical research methods and cross-sectional approach. Research conducted on hearing music group in the City of Manado. The study involved 30 people with the details of 15 respondents guitar players and 15 drummers. The result is: The degree of noise in the gym most of the 110-130 dB, experienced by 46.7% of respondents, mostly studied band of men which is about 90%. Hearing loss is the most followed by drummer and then gitarist, 46.7% and 36.6%, respectively; based upon long exposure to music,> 5 years 46.6%, based on length of exercise per day, more in the 3-4 hours it is 40%. Based on the result of the study, there is a relationship between noise exposure and hearing loss in musicians in the city of Manado. The noise level, exposure time per day, duration of exposure and vulnerability of respondents, closely related to hearing loss disorder the musicians in this study. Keywords: Hearing loss, the noise level, duration of exposure, musicians.Abstrak: Noise induce hearing loss (NIHL) atau gangguan pendengaran akibat kebisingan adalah gangguan pendengaran baik sebagian atau seluruh pendengaran, bersifat menetap, terjadi pada satu atau dua telinga, dapat bersifat ringan, sedang atau berat, terjadi karena paparan bising yang terus-menerus dari lingkungan. Pemusik adalah salah satu komunitas yang rentan terhadap gangguan pendengaran akibat bising. Pemusik mengalami paparan suara yang begitu besar. Kebanyakan pemusik mengalami gangguan pendengaran dalam berbagai derajat. Tujuan penelitian adalah untuk mengetahui profil gangguan pendengaran pemusik di kota manado, meneliti ambang batas suara musik yang dapat menyebabkan gangguan pendengaran serta mencari hubungan lama paparan musik dengan gangguan pendengaran. Penelitian bersifat Explanatory Research, dengan metode penelitian analitik dan pendekatan cross sectional. Penelitian gangguan pendengaran dilakukan pada kelompok musik di Kota Manado. Penelitian ini melibatkan 30 orang responden dengan rincian 15 pemain gitar dan 15 pemain drum. Hasil yang diperoleh adalah: Derajat kebisingan pada tempat latihan paling banyak antara 110-130 dB, dialami oleh 46,7 % responden, personil band yang diteliti kebanyakan laki-laki yaitu sekitar 90 %. Gangguan pendengaran terbanyak adalah pemain drum diikuti oleh gitaris 46,7 % and 36,6 %. Berdasarkan lama paparan musik, > 5 tahun 46,6 %; berdasarkan lama latihan per hari, lebih banyak pada 3-4 jam yaitu 40 %. Berdasarkan hasil penelitian kesimpulannya, terdapat hubungan antara paparan kebisingan dan gangguan pendengaran pada pemusik di Kota Manado. Tingkat kebisingan, waktu paparan perhari, lama terpapar serta kerentanan responden, berhubungan erat dengan pendengaran pada pemusik pada penelitian ini. Kata kunci: Gangguan pendengaran, tingkat kebisingan, lama paparan, pemusik.

One of the greatest joys in watching Foxtel is to see all the crazy people who run talk shows. Judgement, ridicule and generalisations slip from their tongues like overcooked lamb off a bone. From Oprah to Rikki, from Jerry to Mother Love, the posterior of pop culture claims a world-wide audience. Recently, a new talk diva was added to the pay television stable. Dr Laura Schlessinger, the Mother of Morals, prowls the soundstage. attacking 'selfish acts' such as divorce, de facto relationships and voting Democrat. On April 11, 2001, a show aired in Australia that added a new demon to the decadence of the age. Dr Laura had been told that a disgusting video clip, called 'Rock DJ', had been televised at 2:30pm on MTV. Children could have been watching. The footage that so troubled our doyenne of daytime featured the British performer Robbie Williams not only stripping in front of disinterested women, but then removing skin, muscle and tissue in a desperate attempt to claim their gaze. This was too much for Dr Laura. She was horrified: her strident tone became piercing. She screeched, "this is si-ee-ck." . My paper is drawn to this sick masculinity, not to judge - but to laugh and theorise. Robbie Williams, the deity of levity, holds a pivotal role in theorising the contemporary 'crisis' of manhood. To paraphrase Austin Powers, Williams returned the ger to singer. But Williams also triumphed in a captivatingly original way. He is one of the few members of a boy band who created a successful solo career without regurgitating the middle of the road mantras of boys, girls, love, loss and whining about it. Williams' journey through post-war popular music, encompassing influences from both Sinatra and Sonique, forms a functional collage, rather than patchwork, of masculinity. He has been prepared to not only age in public, but to discuss the crevices and cracks in the facade. He strips, smokes, plays football, wears interesting underwear and drinks too much. My short paper trails behind this combustible masculinity, focussing on his sorties with both masculine modalities and the rock discourse. My words attack the gap between text and readership, beat and ear, music and men. The aim is to reveal how this 'sick masculinity' problematises the conservative rendering of men's crisis. Come follow me I'm an honorary Sean Connery, born '74 There's only one of me … Press be asking do I care for sodomy I don't know, yeah, probably I've been looking for serial monogamy Not some bird that looks like Billy Connolly But for now I'm down for ornithology Grab your binoculars, come follow me. 'Kids,' Robbie Williams Robbie Williams is a man for our age. Between dating supermodels and Geri 'Lost Spice' Halliwell [1], he has time to "love … his mum and a pint," (Ansen 85) but also subvert the Oasis cock(rock)tail by frocking up for a television appearance. Williams is important to theories of masculine representation. As a masculinity to think with, he creates popular culture with a history. In an era where Madonna practices yoga and wears cowboy boots, it is no surprise that by June 2000, Robbie Williams was voted the world's sexist man [2]. A few months later, in the October edition of Vogue, he posed in a British flag bikini. It is reassuring in an era where a 12 year old boy states that "You aren't a man until you shoot at something," (Issac in Mendel 19) that positive male role models exist who are prepared to both wear a frock and strip on national television. Reading Robbie Williams is like dipping into the most convincing but draining of intellectual texts. He is masculinity in motion, conveying foreignness, transgression and corruption, bartering in the polymorphous economies of sex, colonialism, race, gender and nation. His career has spanned the boy bands, try-hard rock, video star and hybrid pop performer. There are obvious resonances between the changes to Williams and alterations in masculinity. In 1988, Suzanne Moore described (the artist still known as) Prince as "the pimp of postmodernism." (165-166) Over a decade later, the simulacra has a new tour guide. Williams revels in the potency of representation. He rarely sings about love or romance, as was his sonic fodder in Take That. Instead, his performance is fixated on becoming a better man, glancing an analytical eye over other modes of masculinity. Notions of masculine crisis and sickness have punctuated this era. Men's studies is a boom area of cultural studies, dislodging the assumed structures of popular culture [3]. William Pollack's Real Boys has created a culture of changing expectations for men. The greater question arising from his concerns is why these problems, traumas and difficulties are emerging in our present. Pollack's argument is that boys and young men invest energy and time "disguising their deepest and most vulnerable feelings." (15) This masking is difficult to discern within dance and popular music. Through lyrics and dancing, videos and choreography, masculinity is revealed as convoluted, complex and fragmented. While rock music is legitimised by dominant ideologies, marginalised groups frequently use disempowered genres - like country, dance and rap genres - to present oppositional messages. These competing representations expose seamless interpretations of competent masculinity. Particular skills are necessary to rip the metaphoric pacifier out of the masculine mouth of popular culture. Patriarchal pop revels in the paradoxes of everyday life. Frequently these are nostalgic visions, which Kimmel described as a "retreat to a bygone era." (87) It is the recognition of a shared, simpler past that provides reinforcement to heteronormativity. Williams, as a gaffer tape masculinity, pulls apart the gaps and crevices in representation. Theorists must open the interpretative space encircling popular culture, disrupting normalising criteria. Multiple nodes of assessment allow a ranking of competent masculinity. From sport to business, drinking to sex, masculinity is transformed into a wired site of ranking, judgement and determination. Popular music swims in the spectacle of maleness. From David Lee Roth's skied splits to Eminem's beanie, young men are interpellated as subjects in patriarchy. Robbie Williams is a history lesson in post war masculinity. This nostalgia is conservative in nature. The ironic pastiche within his music videos features motor racing, heavy metal and Bond films. 'Rock DJ', the 'sick text' that vexed Doctor Laura, is Williams' most elaborate video. Set in a rollerdrome with female skaters encircling a central podium, the object of fascination and fetish is a male stripper. This strip is different though, as it disrupts the power held by men in phallocentralism. After being confronted by Williams' naked body, the observing women are both bored and disappointed at the lack-lustre deployment of masculine genitalia. After this display, Williams appears embarrassed, confused and humiliated. As Buchbinder realised, "No actual penis could every really measure up to the imagined sexual potency and social or magical power of the phallus." (49) To render this banal experience of male nudity ridiculous, Williams then proceeds to remove skin and muscle. He finally becomes an object of attraction for the female DJ only in skeletal form. By 'going all the way,' the strip confirms the predictability of masculinity and the ordinariness of the male body. For literate listeners though, a higher level of connotation is revealed. The song itself is based on Barry White's melody for 'It's ecstasy (when you lay down next to me).' Such intertextuality accesses the meta-racist excesses of a licentious black male sexuality. A white boy dancer must deliver an impotent, but ironic, rendering of White's (love unlimited) orchestration of potent sexuality. Williams' iconography and soundtrack is refreshing, emerging from an era of "men who cling … tightly to their illusions." (Faludi 14) When the ideological drapery is cut away, the male body is a major disappointment. Masculinity is an anxious performance. Fascinatingly, this deconstructive video has been demeaned through its labelling as pornography [4]. Oddly, a man who is prepared to - literally - shave the skin of masculinity is rendered offensive. Men's studies, like feminism, has been defrocking masculinity for some time. Robinson for example, expressed little sympathy for "whiny men jumping on the victimisation bandwagon or playing cowboys and Indians at warrior weekends and beating drums in sweat lodges." (6) By grating men's identity back to the body, the link between surface and depth - or identity and self - is forged. 'Rock DJ' attacks the new subjectivities of the male body by not only generating self-surveillance, but humour through the removal of clothes, skin and muscle. He continues this play with the symbols of masculine performance throughout the album Sing when you're winning. Featuring soccer photographs of players, coaches and fans, closer inspection of the images reveal that Robbie Williams is actually every character, in every role. His live show also enfolds diverse performances. Singing a version of 'My Way,' with cigarette in tow, he remixes Frank Sinatra into a replaying and recutting of masculine fabric. He follows one dominating masculinity with another: the Bond-inspired 'Millennium.' Some say that we are players Some say that we are pawns But we've been making money Since the day we were born Robbie Williams is comfortably located in a long history of post-Sinatra popular music. He mocks the rock ethos by combining guitars and drums with a gleaming brass section, hailing the lounge act of Dean Martin, while also using rap and dance samples. Although carrying fifty year's of crooner baggage, the spicy scent of homosexuality has also danced around Robbie Williams' career. Much of this ideology can be traced back to the Take That years. As Gary Barlow and Jason Orange commented at the time, Jason: So the rumour is we're all gay now are we? Gary: Am I gay? I am? Why? Oh good. Just as long as we know. Howard: Does anyone think I'm gay? Jason: No, you're the only one people think is straight. Howard: Why aren't I gay? What's wrong with me? Jason: It's because you're such a fine figure of macho manhood.(Kadis 17) For those not literate in the Take That discourse, it should come as no surprise that Howard was the TT equivalent of The Beatle's Ringo Starr or Duran Duran's Andy Taylor. Every boy band requires the ugly, shy member to make the others appear taller and more attractive. The inference of this dialogue is that the other members of the group are simply too handsome to be heterosexual. This ambiguous sexuality has followed Williams into his solo career, becoming fodder for those lads too unappealing to be homosexual: Oasis. Born to be mild I seem to spend my life Just waiting for the chorus 'Cause the verse is never nearly Good enough Robbie Williams "Singing for the lonely." Robbie Williams accesses a bigger, brighter and bolder future than Britpop. While the Gallagher brothers emulate and worship the icons of 1960s British music - from the Beatles' haircuts to the Stones' psychedelia - Williams' songs, videos and persona are chattering in a broader cultural field. From Noel Cowardesque allusions to the ordinariness of pub culture, Williams is much more than a pretty-boy singer. He has become an icon of English masculinity, enclosing all the complexity that these two terms convey. Williams' solo success from 1999-2001 occurred at the time of much parochial concern that British acts were not performing well in the American charts. It is bemusing to read Billboard over this period. The obvious quality of Britney Spears is seen to dwarf the mediocrity of British performers. The calibre of Fatboy Slim, carrying a smiley backpack stuffed with reflexive dance culture, is neither admitted nor discussed. It is becoming increasing strange to monitor the excessive fame of Williams in Britain, Europe, Asia and the Pacific when compared to his patchy career in the United States. Even some American magazines are trying to grasp the disparity. The swaggering king of Britpop sold a relatively measly 600,000 copies of his U.S. debut album, The ego has landed … Maybe Americans didn't appreciate his songs about being famous. (Ask Dr. Hip 72) In the first few years of the 2000s, it has been difficult to discuss a unified Anglo-American musical formation. Divergent discursive frameworks have emerged through this British evasion. There is no longer an agreed centre to the musical model. Throughout 1990s Britain, blackness jutted out of dance floor mixes, from reggae to dub, jazz and jungle. Plied with the coldness of techno was an almost too hot hip hop. Yet both were alternate trajectories to Cool Britannia. London once more became swinging, or as Vanity Fair declared, "the nerve centre of pop's most cohesive scene since the Pacific Northwest grunge explosion of 1991." (Kamp 102) Through Britpop, the clock turned back to the 1960s, a simpler time before race became 'a problem' for the nation. An affiliation was made between a New Labour, formed by the 1997 British election, and the rebirth of a Swinging London [5]. This style-driven empire supposedly - again - made London the centre of the world. Britpop was itself a misnaming. It was a strong sense of Englishness that permeated the lyrics, iconography and accent. Englishness requires a Britishness to invoke a sense of bigness and greatness. The contradictions and excesses of Blur, Oasis and Pulp resonate in the gap between centre and periphery, imperial core and colonised other. Slicing through the arrogance and anger of the Gallaghers is a yearning for colonial simplicity, when the pink portions of the map were the stable subjects of geography lessons, rather than the volatile embodiment of postcolonial theory. Simon Gikandi argues that "the central moments of English cultural identity were driven by doubts and disputes about the perimeters of the values that defined Englishness." (x) The reason that Britpop could not 'make it big' in the United States is because it was recycling an exhausted colonial dreaming. Two old Englands were duelling for ascendancy: the Oasis-inflected Manchester working class fought Blur-inspired London art school chic. This insular understanding of difference had serious social and cultural consequences. The only possible representation of white, British youth was a tabloidisation of Oasis's behaviour through swearing, drug excess and violence. Simon Reynolds realised that by returning to the three minute pop tune that the milkman can whistle, reinvoking parochial England with no black people, Britpop has turned its back defiantly on the future. (members.aol.com/blissout/Britpop.html) Fortunately, another future had already happened. The beats per minute were pulsating with an urgent affirmation of change, hybridity and difference. Hip hop and techno mapped a careful cartography of race. While rock was colonialisation by other means, hip hop enacted a decolonial imperative. Electronic dance music provided a unique rendering of identity throughout the 1990s. It was a mode of musical communication that moved across national and linguistic boundaries, far beyond Britpop or Stateside rock music. While the Anglo American military alliance was matched and shadowed by postwar popular culture, Brit-pop signalled the end of this hegemonic formation. From this point, English pop and American rock would not sail as smoothly over the Atlantic. While 1995 was the year of Wonderwall, by 1996 the Britpop bubble corroded the faces of the Gallagher brothers. Oasis was unable to complete the American tour. Yet other cultural forces were already active. 1996 was also the year of Trainspotting, with "Born Slippy" being the soundtrack for a blissful journey under the radar. This was a cultural force that no longer required America as a reference point [6]. Robbie Williams was able to integrate the histories of Britpop and dance culture, instigating a complex dialogue between the two. Still, concern peppered music and entertainment journals that British performers were not accessing 'America.' As Sharon Swart stated Britpop acts, on the other hand, are finding it less easy to crack the U.S. market. The Spice Girls may have made some early headway, but fellow purveyors of pop, such as Robbie Williams, can't seem to get satisfaction from American fans. (35 British performers had numerous cultural forces working against them. Flat global sales, the strength of the sterling and the slow response to the new technological opportunities of DVD, all caused problems. While Britpop "cleaned house," (Boehm 89) it was uncertain which cultural formation would replace this colonising force. Because of the complex dialogues between the rock discourse and dance culture, time and space were unable to align into a unified market. American critics simply could not grasp Robbie Williams' history, motives or iconography. It's Robbie's world, we just buy tickets for it. Unless, of course you're American and you don't know jack about soccer. That's the first mistake Williams makes - if indeed one of his goals is to break big in the U.S. (and I can't believe someone so ambitious would settle for less.) … Americans, it seems, are most fascinated by British pop when it presents a mirror image of American pop. (Woods 98 There is little sense that an entirely different musical economy now circulates, where making it big in the United States is not the singular marker of credibility. Williams' demonstrates commitment to the international market, focussing on MTV Asia, MTV online, New Zealand and Australian audiences [7]. The Gallagher brothers spent much of the 1990s trying to be John Lennon. While Noel, at times, knocked at the door of rock legends through "Wonderwall," he snubbed Williams' penchant for pop glory, describing him as a "fat dancer." (Gallagher in Orecklin 101) Dancing should not be decried so summarily. It conveys subtle nodes of bodily knowledge about men, women, sex and desire. While men are validated for bodily movement through sport, women's dancing remains a performance of voyeuristic attention. Such a divide is highly repressive of men who dance, with gayness infiltrating the metaphoric masculine dancefloor [8]. Too often the binary of male and female is enmeshed into the divide of rock and dance. Actually, these categories slide elegantly over each other. The male pop singers are located in a significant semiotic space. Robbie Williams carries these contradictions and controversy. NO! Robbie didn't go on NME's cover in a 'desperate' attempt to seduce nine-year old knickerwetters … YES! He used to be teenybopper fodder. SO WHAT?! So did the Beatles the Stones, the Who, the Kinks, etc blah blah pseudohistoricalrockbollocks. NO! Making music that gurlz like is NOT a crime! (Wells 62) There remains an uncertainty in his performance of masculinity and at times, a deliberate ambivalence. He grafts subversiveness into a specific lineage of English pop music. The aim for critics of popular music is to find a way to create a rhythm of resistance, rather than melody of credible meanings. In summoning an archaeology of the archive, we begin to write a popular music history. Suzanne Moore asked why men should "be interested in a sexual politics based on the frightfully old-fashioned ideas of truth, identity and history?" (175) The reason is now obvious. Femininity is no longer alone on the simulacra. It is impossible to separate real men from the representations of masculinity that dress the corporeal form. Popular music is pivotal, not for collapsing the representation into the real, but for making the space between these states livable, and pleasurable. Like all semiotic sicknesses, the damaged, beaten and bandaged masculinity of contemporary music swaddles a healing pedagogic formation. Robbie Williams enables the writing of a critical history of post Anglo-American music [9]. Popular music captures such stories of place and identity. Significantly though, it also opens out spaces of knowing. There is an investment in rhythm that transgresses national histories of music. While Williams has produced albums, singles, video and endless newspaper copy, his most important revelations are volatile and ephemeral in their impact. He increases the popular cultural vocabulary of masculinity. [1] The fame of both Williams and Halliwell was at such a level that it was reported in the generally conservative, pages of Marketing. The piece was titled "Will Geri's fling lose its fizz?" Marketing, August 2000: 17. [2] For poll results, please refer to "Winners and Losers," Time International, Vol. 155, Issue 23, June 12, 2000, 9 [3] For a discussion of this growth in academic discourse on masculinity, please refer to Paul Smith's "Introduction," in P. Smith (ed.), Boys: Masculinity in contemporary culture. Colorado: Westview Press, 1996. [4] Steve Futterman described Rock DJ as the "least alluring porn video on MTV," in "The best and worst: honour roll," Entertainment Weekly 574-575 (December 22-December 29 2000): 146. [5] Michael Bracewell stated that "pop provides an unofficial cartography of its host culture, charting the national mood, marking the crossroads between the major social trends and the tunnels of the zeitgeist," in "Britpop's coming home, it's coming home." New Statesman .(February 21 1997): 36. [6] It is important to make my point clear. The 'America' that I am summoning here is a popular cultural formation, which possesses little connection with the territory, institution or defence initiatives of the United States. Simon Frith made this distinction clear, when he stated that "the question becomes whether 'America' can continue to be the mythical locale of popular culture as it has been through most of this century. As I've suggested, there are reasons now to suppose that 'America' itself, as a pop cultural myth, no longer bears much resemblance to the USA as a real place even in the myth." This statement was made in "Anglo-America and its discontents," Cultural Studies 5 1991: 268. [7] To observe the scale of attention paid to the Asian and Pacific markets, please refer to http://robbiewilliams.com/july13scroll.html, http://robbiewilliams.com/july19scroll.html and http://robbiewilliams.com/july24scroll.html, accessed on March 3, 2001 [8] At its most naïve, J. Michael Bailey and Michael Oberschneider asked, "Why are gay men so motivated to dance? One hypothesis is that gay men dance in order to be feminine. In other words, gay men dance because women do. An alternative hypothesis is that gay men and women share a common factor in their emotional make-up that makes dancing especially enjoyable," from "Sexual orientation in professional dance," Archives of Sexual Behaviour. 26.4 (August 1997). Such an interpretation is particularly ludicrous when considering the pre-rock and roll masculine dancing rituals in the jive, Charleston and jitterbug. Once more, the history of rock music is obscuring the history of dance both before the mid 1950s and after acid house. [9] Women, gay men and black communities through much of the twentieth century have used these popular spaces. For example, Lynne Segal, in Slow Motion. London: Virago, 1990, stated that "through dancing, athletic and erotic performance, but most powerfully through music, Black men could express something about the body and its physicality, about emotions and their cosmic reach, rarely found in white culture - least of all in white male culture,": 191 References Ansen, D., Giles, J., Kroll, J., Gates, D. and Schoemer, K. "What's a handsome lad to do?" Newsweek 133.19 (May 10, 1999): 85. "Ask Dr. Hip." U.S. News and World Report 129.16 (October 23, 2000): 72. Bailey, J. Michael., and Oberschneider, Michael. 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