Journal articles on the topic 'Music South America'
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Yoo, Hyesoo, Sangmi Kang, and Victor Fung. "Personality and world music preference of undergraduate non-music majors in South Korea and the United States." Psychology of Music 46, no. 5 (July 14, 2017): 611–25. http://dx.doi.org/10.1177/0305735617716757.
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We investigated contributors of undergraduate nonmusic majors’ preferences for world musics, specifically those from Africa, Asia, and Latin America. Drawing upon the reciprocal feedback model as a theoretical framework, we determined the extent to which predictor variables (familiarity with the music, personality, and music absorption) were related to music preference. Participants were 401 undergraduate nonmusic majors from South Korea ( n = 208) and the USA ( n = 183). Participants took an online survey via Qualtrics that included demographic information, the World Musics Preference Rating Scale, the Big-Five Inventory, and the Absorption in Music Scale. Results indicated that, familiarity, followed by openness to experience, was the strongest predictor of participants’ preferences for world musics. For the U.S. participants, familiarity, followed by openness to experience, was the strongest predictor of participants’ preference for musics from each continent. By contrast, for the South Korean participants, although familiarity was also the strongest predictor for African, Latin American, and Asian musics, openness to experience was not consistently the second strongest contributor. For African music, openness to experience was ranked second; for Latin American and Asian music, agreeableness and music absorption were ranked second, respectively.
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Mellers, Wilfrid, Lisa M. Peppercorn, and Villa-Lobos. "Letters from (South) America." Musical Times 138, no. 1858 (December 1997): 18. http://dx.doi.org/10.2307/1004053.
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Behague, Gerard, Dale A. Olsen, and Daniel E. Sheehy. "South America, Mexico, Central America, and the Caribbean." Latin American Music Review / Revista de Música Latinoamericana 21, no. 1 (2000): 75. http://dx.doi.org/10.2307/780419.
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Breternitz, Christian. "Export von (Militär-)Musikinstrumenten von Berlin nach Zentral- und Südamerika um 1900." Die Musikforschung 74, no. 4 (December 15, 2021): 308–17. http://dx.doi.org/10.52412/mf.2021.h4.3016.
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The article outlines the significance of Prussian military music of the 19th and early 20th centuries in an international context. It focuses on deliveries of musical instruments and sheet music by the Berlin company C. W. Moritz to Central and South America around 1900. The delivery lists of 1897/98 for the Colombian military bands show that they were equipped according to the Prussian model, which goes back to the ideas of Wilhelm Wieprecht. He reformed and standardised the Prussian military music system between the 1830s and 1860s, thus creating the basis for its success. The sheet music enclosed with the musical instruments gives an insight into the popular musical taste of the period around 1900, which was increasingly introduced to Central and South America. Future research will ask what impact such imports of music and musical instruments had on the development of music in Central and South America. (Vorlage)
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Schettini, Cristiana. "South American Tours: Work Relations in the Entertainment Market in South America." International Review of Social History 57, S20 (August 29, 2012): 129–60. http://dx.doi.org/10.1017/s0020859012000454.
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SummaryThis article explores the relationships between young European women who worked in the growing entertainment market in Argentine and Brazilian cities, and the many people who from time to time came under suspicion of exploiting them for prostitution. The international travels of young women with contracts to sing or dance in music halls, theatres, and cabarets provide a unique opportunity to reflect on some of the practices of labour intermediation. Fragments of their experiences were recorded by a number of Brazilian police investigations carried out in order to expel “undesirable” foreigners under the Foreigners Expulsion Act of 1907. Such sources shed light on the work arrangements that made it possible for young women to travel overseas. The article discusses how degrees of autonomy, violence, and exploitation in the artists’ work contracts were negotiated between parties at the time, especially by travelling young women whose social experiences shaped morally ambiguous identities as artists, prostitutes, and hired workers.
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Stepanova, O. "Piano culture of South and Latin America: features of formation and transformation." Culture of Ukraine, no. 74 (December 20, 2021): 66–72. http://dx.doi.org/10.31516/2410-5325.074.11.
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The purpose of the article involves a thorough study of the original sources of the emergence in Latin and South America of such an instrument as the piano. In addition, it is necessary to trace the historical stages of the transformation of the composer’s style — from European classical to a new ideological and artistic musical embodiment of a specific Latin American culture.
The methodology. The main research method in the article is based on next principals: cultural-historical, comparative-typological, structural, analysis and synthesis and ascent from the abstract to the concrete.
The results. The conducted historical and musical analysis revealed the importance of the piano for the formation of the musical culture of South and Latin America. Thanks to touring artists from Europe, the piano gradually gained popularity. Its evolution has gone from European imitation to the formation of its own identity in world music culture. The path of Latin and South American composers to national identity took place through rethinking and interpreting the musical styles of past eras (baroque, classicism, romanticism) and folklore. During the period of experiments, study and introduction of national cultural elements, piano works by composers of Latin and South America had a high level of professionalism and popularity.
The scientific novelty. It is that the work is a comprehensive scientific study, which substantiates a holistic system of evolution and transformation of piano culture in South and Latin America.
The practical significance. The materials of the article can be used in further research on the phenomenon of Latin America piano culture, as well as in classes on the history of piano art and world music history.
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Martin, Denis-Constant, and Gerard H. Behague. "Music and Black Ethnicity, the Caribbean and South America." Latin American Music Review / Revista de Música Latinoamericana 16, no. 2 (1995): 255. http://dx.doi.org/10.2307/780376.
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Bräuninger, Jürgen. "Southern Cones: Music out of Africa and South America." Leonardo Music Journal 10 (December 2000): 71–72. http://dx.doi.org/10.1162/096112100570486.
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Graziano, John. "The Early Life and Career of the "Black Patti": The Odyssey of an African American Singer in the Late Nineteenth Century." Journal of the American Musicological Society 53, no. 3 (2000): 543–96. http://dx.doi.org/10.2307/831938.
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The early career of the African American singer Matilda Sissieretta Jones (1868-1933), known as the "Black Patti," was unique in nineteenth-century America. Reviewers gave high praise to her singing, and she attracted large mixed-race audiences to her concerts across the country. Her fame was such that, during the early 1890s, she appeared as the star of several companies in which she was the only black performer. This article documents her early life in Portsmouth, Virginia, and Providence, Rhode Island; her two tours, in 1888 and 1890, to the Caribbean and South America; and her varied concert appearances in the United States and Europe up to the formation of the Black Patti Troubadours in the fall of 1896.
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Bräuninger, Jürgen. "Introduction: Southern Cones: Music out of Africa and South America." Leonardo Music Journal 10 (December 2000): 70. http://dx.doi.org/10.1162/096112100570477.
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Nawrot, Piotr. "Indian Music to Celebrate Christmas in Moxo Jesuit Reductions, Bolivia." Poznańskie Studia Teologiczne, no. 30 (August 24, 2018): 121–40. http://dx.doi.org/10.14746/pst.2016.30.05.
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The subject of Indian music and Indian influence on baroque music from the former Jesuit Reductions in South America needs new studies, and what has been said on this matter up to now by musicologists and ethnomusicologists needs revision. The finding of almost 13,000 pages of baroque music from the Chiquito and Moxo Reductions in Bolivia gives us new opportunity to clarify Native American’s attitude toward music introduced in the missions by the missionaries and to illustrate their influence on music created or written anew in the missions by the missionaries and local musicians. In the context of music for Christmas celebration a serious of arguments are discussed to clarify the presence of “Indian” components in the baroque music from America, as well as coexistence of autochthonous and “new music” in the missions.
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Behague, Gerard. "Bridging South America and the United States in Black Music Research." Black Music Research Journal 22, no. 1 (2002): 1. http://dx.doi.org/10.2307/1519962.
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Banchs, Edward. "Heavy Metal Music in Latin America: Perspectives from the Distorted South, Nelson Varas-Díaz, Daniel Nevárez Araújo and Eliut Rivera-Segarra (2020)." Metal Music Studies 8, no. 3 (September 1, 2022): 429–32. http://dx.doi.org/10.1386/mms_00089_5.
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Review of: Heavy Metal Music in Latin America: Perspectives from the Distorted South, Nelson Varas-Díaz, Daniel Nevárez Araújo and Eliut Rivera-Segarra (2020) Lanham, MD: Lexington Books, 352 pp., ISBN 978-1-79360-751-5, h/bk, $120.00
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Jane L. Florine. "Music in Latin America and the Caribbean: An Encyclopedic History. Volume 1, Performing Beliefs: Indigenous Peoples of South America, Central America, and Mexico (review)." Latin American Music Review 29, no. 1 (2008): 99–104. http://dx.doi.org/10.1353/lat.0.0010.
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Laskai, Anna. "Ernő Dohnányi's Library and Music Collection." Studia Musicologica 59, no. 1-2 (June 2018): 99–208. http://dx.doi.org/10.1556/6.2018.59.1-2.8.
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It is not an easy task to reconstruct the library and music collection of a composer, whose homes – from Hungary through some European cities and South America to the United States – cannot be counted on the fingers of both hands. This paper investigates the story of Ernő Dohnányi's music collection and music library: summarizes the stages of Dohnányi's life, where he stayed for a longer period of time, therefore makes it possible to round up a considerable library and also discusses the lists, which give account of the items of the composer's books and scores. These lists preserved about the content of Dohnányi's previous Hungarian books and music collections of the Széher út villa, the music collection on Városmajor utca (the house of Dohnányi's sister), and about the library and music collection of the Dohnányis' Tallahassee home. The author of this paper could use the items of Dohnányi's books and scores, which the composer possessed in the final decade of his lifetime, too. At present, these documents, Dohnányi's American Estate is in the care of the Archives for 20th–21st Century Hungarian Music of the Institute for Musicology, Research Centre for Humanities of the Hungarian Academy of Sciences, Budapest. Beside the lists, the correspondence between Dohnányi and his sister, Mici, also contains information about the story of Dohnányi's libraries and music collections. This overview follows Dohnányi's collection even during the American years when he wanted to receive volumes of his former library, and understandably wanted to establish as rich a library as he had in his previous homes.
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Hess, Carol A. "Copland in Argentina." Journal of the American Musicological Society 66, no. 1 (2013): 191–250. http://dx.doi.org/10.1525/jams.2013.66.1.191.
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Abstract Perhaps more than any other US composer, Aaron Copland is associated with Pan Americanism, a contradictory and often unbalanced set of practices promoting North-South economic and affective ties since the nineteenth century. Copland visited Latin America on behalf of the US government four times over the course of his career. He also befriended and taught Latin American composers, wrote about Latin American music, and composed several Latin-American—themed works, including the well-known El salón México. Focusing on one such encounter—Copland's three visits to Argentina (1941, 1947, 1963)—this article examines in detail Latin American opinion on Copland's cultural diplomacy, thus challenging the prevalent one-sided and largely US perspective. My analysis of these Spanish-language sources yields new biographical data on Copland while questioning recent assessments of his Latin American experience. I also illuminate the composer's conflicted approach to modernism, intimately connected to his desire to communicate with a broad public and to assert national identity. The crisis of modernism not only played itself out in some surprising ways in Argentina but also informed Copland's profoundly antimodernist vision of Latin American music, one rooted in essentialism and folkloric nationalism and which ultimately prevailed in the United States throughout the late twentieth century.
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Olsen, Dale A., Mickey Hart, Alan Jabbour, and Caryl Ohrbach. "The Spirit Cries: Music from the Rainforests of South America and the Caribbean." Ethnomusicology 39, no. 1 (1995): 165. http://dx.doi.org/10.2307/852218.
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Greeley, Robin Adèle. "The Color of Experience: Postwar Chromatic Abstraction in Venezuela and Brazil." October 152 (May 2015): 53–59. http://dx.doi.org/10.1162/octo_a_00216.
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In the aftermath of World War II, South American artists and critics saw color as a key to liberation from the crisis of the art object and the related crisis of modernity. In so doing, they resisted an entrenched postwar suspicion of color's expressive qualities that elsewhere resulted in color either being repositioned as readymade or purged outright. The essays comprising “Color and Abstraction in Latin America” investigate what was at stake in this resurgence, in 1950s and '60s South American abstraction, of color as a central problem of perceptual experience and subject construction. First, color was conceptualized in relation to material experience, as a corporealization (whether individual or collective) that relocates us as subjects. Second, color became the basis for a complex negotiation that laid claim to chromatic abstraction as a universal project through its localized articulation within the developmentalist contexts of postwar South America. Third, all of these artists and writers contextualized their aesthetic maneuvers in relation to Europe, positioning their work as a resuscitation of the historical avant-garde's utopian aspirations in the wake of the latter's failure in the aftermath of World War II. The essays collected here reassess the role of color in postwar art, to reconsider in light of the varied experiences of developmentalist South American nations what are by now familiar concerns regarding the effects of the commercialization of human imagination and memory, the pervasiveness of culture industry spectacle, and the corrosion of subjectivity imposed by industrial capital.
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Forman, Murray. "‘Represent’: race, space and place in rap music." Popular Music 19, no. 1 (January 2000): 65–90. http://dx.doi.org/10.1017/s0261143000000015.
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Say somethin' positive, well positive ain't where I liveI live around the corner from West HellTwo blocks from South Shit and once in a jail cellThe sun never shined on my side of the street, see?(Naughty By Nature, ‘Ghetto Bastard (Everything's Gonna Be Alright)’, 1991, Isba/Tommy Boy Records)If you're from Compton you know it's the 'hood where it's good(Compton's Most Wanted, ‘Raised in Compton’, 1991, Epic/Sony)IntroductionHip hop's capacity to circumvent the constraints and limiting social conditions of young Afro-American and Latino youths has been examined and celebrated by cultural critics and scholars in various contexts since its inception in the mid-1970s. For instance, the 8 February 1999 issue of US magazine Time featured a cover photo of ex-Fugees and five-time Grammy award winner Lauryn Hill with the accompanying headline ‘Hip-Hop Nation: After 20 Years – how it's changed America’. Over the years, however, there has been little attention granted to the implications of hip hop's spatial logics. Time's coverage is relatively standard in perceiving the hip hop nation as a historical construct rather than a geo-cultural amalgamation of personages and practices that are spatially dispersed.
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Hidayat, Muslim, Jihan Nurrizki Ahmadiyati, Ratna Sulistiyani, Lukluk Chaeratunnisya Vebryana, Yumna Azzahra, Nursyahdina Al-Rahmah Bobihu, and Luluk Maknuna. "KEBERAGAMAN PADA KELOMPOK PENGGEMAR K-POP DI INDONESIA." Abrahamic Religions: Jurnal Studi Agama-Agama 2, no. 2 (September 20, 2022): 106. http://dx.doi.org/10.22373/arj.v2i2.12194.
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Hallyu or Korean cultural wave has become a cultural force in Asia and began to export its cultural products widely to the Middle East, Europe, South America, Africa and North America. Korean pop music or better known as K-pop has now succeeded in placing it self in the global market and producing a new musical sensation. K-pop has the characteristics of music that can provide its own pleasure for the audience, so that this type of music is increasingly favored and consumed by many people regardless of gender or age range. Individuals in early adulthood tend to have a strong attraction to celebrities in their lives, such as pop idols, movie stars, and the like. This will eventually give rise to fan groups who are the most visible part of the audience of cultural texts and practices dominated by people in early adulthood. Fan groups that appear in K-pop culture are called K-popers (K-pop Lovers) or the K-pop community who hunts for all information about their favorite K-pop idols such as groups of singers and Korean music groups commonly referred to as Boy Bands and Girlbands. This study aims to determine the process of forming social groups and how the phenomenon of K-pop fan groups in the process of group formation is viewed from the point of view of social psychology. The method used in this research is to use a literacy study method or commonly referred to as a literature study, where the data obtained are sourced from recording and processing the research data obtained.Abstrak Hallyu atau gelombang budaya korea telah menjadi kekuatan budaya di Asia dan mulai mengekspor produk budayanya secara luas hingga ke Timur Tengah, Eropa, Amerika Selatan, Afrika dan Amerika Utara. Musik pop Korea atau lebih dikenal sebagai K-pop kini berhasil menempatkan diri di pasar global dan menghasilkan sensasi musik yang baru. K-pop memiliki ciri khas musik yang dapat memberikan kesenangan tersendiri bagi para penikmatnya, sehingga jenis musik tersebut semakin digemari dan dikonsumsi oleh banyak orang tanpa membedakan jenis kelamin maupun rentang usia. Individu pada masa dewasa awal cenderung memiliki ketertarikan yang kuat terhadap selebritas dalam kehidupannya, seperti idola pop, bintang film, dan semacamnya. Hal ini pada akhirnya akan memunculkan kelompok penggemar yang merupakan bagian paling tampak dari khalayak teks dan praktik budaya yang didominasi oleh orang-orang pada tahap dewasa awal. Kelompok penggemar yang muncul dalam budaya K-pop disebut dengan K-popers (K-pop Lovers) atau komunitas K-pop yang berburu segala informasi tentang idola K-pop yang disukainya seperti kelompok penyanyi dan grup musik Korea yang biasa disebut dengan Boy Band dan Girl Band. Penelitian ini bertujuan untuk mengetahui proses pembentukan kelompok sosial dan bagaimana fenomena kelompok penggemar K-pop dalam proses pembentukan kelompok yang dirtinjau dari sudut pandang ilmu psikologi sosial. Metode yang digunakan dalam penelitian ini yaitu menggunakan metode studi literasi atau biasa disebut juga sebagai studi kepustakaan, dimana data yang diperoleh bersumber dari mencatat dan mengolah data penelitian yang didapatkan.
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Fernández, Adán Alejándro. "Liberationist Perspectives on the Misa Criolla by Ariél Ramírez." Religions 13, no. 3 (February 22, 2022): 189. http://dx.doi.org/10.3390/rel13030189.
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The Misa Criolla by Ariel Ramirez is a symbol of liberation theology in South America. Written between 1963–1964, this musical work is the result of the decisions made on the sacred liturgy at Vatican II and the Indigenous Movements of the 1960s and 1970s. It became popular around the world and helped bring attention to the indigenous poor of South America through its indigenization of the Roman Catholic Mass text and music directly after the Second Vatican Council. The Misa Criolla, however, can only be fully appreciated by understanding its process of localization, from its historical context, theological underpinnings to its musical attributes. From a liberationist perspective, it represents the compromise of the openness, liturgically and theologically, of Vatican II and more conservative movements afterwards through the localization of the Catholic Mass liturgy.
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Ferris, William. "Southern Literature: A Blending of Oral, Visual & Musical Voices." Daedalus 141, no. 1 (January 2012): 139–53. http://dx.doi.org/10.1162/daed_a_00136.
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The blending of oral traditions, visual arts, and music has influenced how Southern writers shape their region's narrative voice. In the South, writing and storytelling intersect. Mark Twain introduced readers to these storytellers in “Adventures of Huckleberry Finn.” Twain blends both black and white voices within Huck's consciousness and awareness – in Huck's speech and thoughts – and in his dialogues with Jim. A narrative link exists between the South's visual artists and writers; Southern writers, after all, live in the most closely seen region in America. The spiritual, gospel, and rock and roll are musical genres that Southern writers love – although jazz, blues, and ballads might have the most influence on their work. Southern poets and scholars have produced anthologies, textbooks, and literary journals that focus on the region's narrative voice and its black and white literary traditions. Southern writers have created stories that touch the heart and populate American literature with voices of the American South. Future Southern writers will continue to embrace the region as a place where oral, visual, and musical traditions are interwoven with literature.
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Pittau Sevilla, Zulma M. "Music as an experience integral to the ethnicity of the Mbyá-Guarani of South America." Music Education Research 18, no. 4 (October 2016): 340–50. http://dx.doi.org/10.1080/14613808.2016.1242562.
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Veblen, Kari K., Nathan B. Kruse, Stephen J. Messenger, and Meredith Letain. "Children’s clapping games on the virtual playground." International Journal of Music Education 36, no. 4 (May 14, 2018): 547–59. http://dx.doi.org/10.1177/0255761418772865.
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This study considers children’s informal musicking and online music teaching, learning, playing, and invention through an analysis of children’s clapping games on YouTube. We examined a body of 184 games from 103 separate YouTube postings drawn from North America, Central and South America, Europe, Africa, Asia, Australia, and New Zealand. Selected videos were analyzed according to video characteristics, participant attributes, purpose, and teaching and learning aspects. The results of this investigation indicated that pairs of little girls aged 3 to 12 constituted a majority of the participants in these videos, with other participant subcategories including mixed gender, teen, adult, and intergenerational examples. Seventy-one percent of the videos depicted playing episodes, and 40% were intended for pedagogical purposes; however, several categories overlapped. As of June 1, 2016, nearly 50 million individuals had viewed these YouTube postings.
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Perry, Mark E. "Music in Latin America and the Caribbean: An Encyclopedic History: Volume 1: Performing Beliefs: Indigenous Cultures of South America, Central America, and Mexico (review)." Notes 63, no. 4 (2007): 872–74. http://dx.doi.org/10.1353/not.2007.0091.
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MENDELSSOHN, EDMUND. "Ontological Appropriation: Boulez and Artaud." Twentieth-Century Music 18, no. 2 (April 30, 2021): 281–310. http://dx.doi.org/10.1017/s1478572221000049.
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AbstractThis article examines the lessons that Pierre Boulez learned about sound from Antonin Artaud, suggesting that Boulez's ideas about musical writing (écriture) took shape as the composer imagined and appropriated forms of non-European expression. Boulez sometimes acknowledged the influence of ‘extra-European’ sounds in his music, but also insisted that music should not be a ‘simple ethnographic reconstruction’. Artaud, who explicitly ‘reconstructed’ the ethnographic other in a 1947 radio broadcast, will become my foil to show how Boulez's philosophy of writing hinged on an East–West dualism. I follow Boulez to South America with the Compagnie Renaud-Barrault to suggest that he took cues from Afro-Bahian Candomblé when he wrote Le Marteau sans maître. The conclusion reflects on the lessons that Boulez and Artaud might teach us about sound; namely, that recent musicological claims on behalf of the ontology of sound have modernist origins.
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Chang, Yoo-Mi. "Christian Communities and Music in South America : Domenico Zipoli and the Jesuit Missions of the Chiquitos." Theology and Praxis 82 (November 25, 2022): 769–89. http://dx.doi.org/10.14387/jkspth.2022.82.769.
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Dickerman, Leah. "Aaron Douglas and Aspects of Negro Life." October 174 (December 2020): 126–62. http://dx.doi.org/10.1162/octo_a_00411.
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In 1934, Aaron Douglas created an epic four-panel mural series, Aspects of Negro Life (1934), for the branch library on 135th Street in Manhattan, now the Schomburg Center for Research in Black Culture. The panels answered a call, issued by the first major program for federal support of the arts in the United States, to represent “an American scene.” In them, Douglas traced the trajectory of African American history in four stages and across two mass migrations: from Africa into enslavement in America; through Emancipation and Reconstruction; into the modern Jim Crow South; and then northward with the Great Migration to Harlem itself. The narrative Douglas constructed was remarkable in both its historical sweep and as a story of America seen through Black eyes. This essay explores how Douglas's approach to the trenchant and understudied Aspects of Negro Life panels was shaped by rich conversations across a decade-about what it meant to be Black in America, how the “African” in “African-American” was to be understood, and what a distinctly African-American modernism might be-with an interdisciplinary nexus of thinkers, activists, and artists that included W. E. B. Du Bois; a co-founder of the NAACP and co-editor of the Crisis, sociologist Charles S. Johnson; poet-activist James Weldon Johnson; bibliophile Arturo Schomburg; and philosopher-critic Alain Locke. Looking at Douglas's visual narrative in this context offers insight into how parallel practices of archive-building, art making, history writing, and criticism came together not only to shape a vision of America but also to champion a model of Black modernism framed through diaspora.
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VERMAZEN, BRUCE. "“Those Entertaining Frisco Boys”: Hedges Brothers and Jacobson." Journal of the Society for American Music 7, no. 1 (February 2013): 29–63. http://dx.doi.org/10.1017/s1752196312000478.
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AbstractCharles Frederick (Freddie) Hedges (1886–1920), his brother Elven Everett Hedges (1889–1931), and Jesse Jacobson (1882–1959) converged as Hedges Brothers and Jacobson in 1910 in San Francisco. Elven played piano, saxophone, and guitar, and all three sang and danced. In 1910–11, critics in San Francisco, Chicago, New York, and smaller cities greeted the act as something new and exceptionally good. Instead of pursuing more general fame in North America, the trio accepted a music-hall contract in England, where they became leaders in creating a craze for American ragtime singing, a craze that prepared the English public for the momentous arrival of jazz after the First World War. The trio recorded eight released songs for Columbia in 1912–13. In 1913, they also performed in Paris and South Africa. In 1914, after eight months back in the United States, they returned to English success but soon dissolved the act and performed separately until 1919, when they reunited to accept an unprecedented contract (£30,000 for six years). Early in 1920, Freddie killed himself. Forest Tell (b. 1888) replaced him in the trio, and the new group recorded six released songs for Zonophone in 1920. The trio disbanded at the end of the contract. Elven retired shortly afterward, but Jesse stayed in show business at least through World War II.
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FAIRCLOUGH, PAULINE. "The Russian Revolution and Music." Twentieth-Century Music 16, no. 1 (February 2019): 157–64. http://dx.doi.org/10.1017/s1478572219000148.
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Nearly thirty years since the collapse of the Soviet Union, we have got used to seeing the Bolshevik Revolution as the prelude to a failed political experiment, albeit one that lasted a remarkably long time. But why do we see it as a failure? After all, the Soviet Union was a vast empire regarded as the military equal of the United States, feared and hated by successive US presidents, whose influence extended far beyond Soviet borders to include regimes in Africa, South East Asia, Central and South America. Had Mikhail Gorbachev not been removed in 1991, and had the Soviet system been able to reform itself into something like the form of communism we see today in China, no one would regard those seventy-plus years of Soviet power as a failure at all. What is meant by failure, in truth, is not really military or economic failure so much as a failure to sustain and uphold the ideals of equality and social justice that originally drew so many to the communist cause. The haemorrhaging of members from the Communist Party of Great Britain (CPGB) in 1956, for instance, was a result of widespread feelings of shock and disgust after Nikita Khrushchev's revelations at the Twenty-First Party Conference that year, at which he delivered his so-called ‘secret speech’ condemning Stalin's regime. For those who left the CPGB, and other communist parties across Western Europe, it was painful to realize that what they had for decades dismissed as ‘anti-Soviet propaganda’ had in fact been accurate reportage. Most shocking of all was learning that the mass arrests and disappearances of the 1930s, and even the show trials of prominent Politburo and party members, were not proportionate, if regrettable, responses to plots to murder Stalin and overthrow Soviet power at all, but rather Stalinist crimes of epic and tragic proportions. Right up to the end of the Communist regime in Russia, reports of political and religious repression, the continued use of the Gulag system, confinement and forced treatment of dissidents in mental hospitals, literary and other cultural censorship continued to filter through the Iron Curtain.
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PASDZIERNY, MATTHIAS. "Transatlantic Techno Myths: The 1994 Arica Eclipse Rave as an Example of the History and Historiography of Electronic Dance Music between Chile and Germany." Twentieth-Century Music 17, no. 3 (October 2020): 419–33. http://dx.doi.org/10.1017/s1478572220000201.
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AbstractThis article focuses on one of the earliest truly international Electronic Dance Music (EDM) festivals: the Eclipse Rave in Arica, in the Chilean Atacama Desert in November 1994. As a collaboration of mainly German and Chilean individuals, the event was confronted with a multitude of organizational obstacles and problems of intercultural understanding. Nevertheless, the event has now achieved a kind of cult status and is mythologized as the breakthrough moment of EDM culture in South America. Drawing on German and Chilean sources, the article sheds light on the background and impact of the festival and discusses the important role of Chilean-German exiles as interpreters and cultural mediators within EDM scenes. This contribution questions the types of sources that festivals and similar events generate, and consequently asks how an international history of the event-based and present- and history-obsessed EDM culture could be written at all.
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Andia, Alfredo. "Internet Studios: Teaching Architectural Design On-Line between the United States and Latin America." Leonardo 35, no. 3 (June 2002): 297–302. http://dx.doi.org/10.1162/002409402760105316.
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This article analyzes the pedagogical use of high-end computer graphics and low-and high-bandwidth Internet technology for international architectural education among numerous universities in the Americas. The findings can be applied to any discipline that involves a large number of participants within a design setting. The experiments have allowed design studios from seven schools of architecture in the U.S. and South America to work concurrently in a semesterlong design studio. Most of the collaboration was accomplished by using low-bandwidth Internet communication such as web publishing, chat, computerassisted design software and other technologies such as ISDN broadcasting. The author anticipates future experimentation with high-bandwidth technologies on the Internet2 Abilene Network.
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Kloosterman, Robert C., and Chris Quispel. "Not just the same old show on my radio: An analysis of the role of radio in the diffusion of black music among whites in the south of the United States of America, 1920 to 1960." Popular Music 9, no. 2 (May 1990): 151–64. http://dx.doi.org/10.1017/s0261143000003871.
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In the autumn of 1954, the triumphal tour of a young white singer started in the south of the United States. Although many objected to his music and his way of performing, the rise of this artist – by the name of Elvis Presley – in states like Texas, Arkansas and Louisiana was not to be stopped (Goldman 1981, p. 124; Gillett 1970, p. 21).
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Cazzamatta, Regina. "The significance of cultural aspects in Latin America’s media image: the representation of the continent in the German press." Journal of Latin American Communication Research 8, no. 1-2 (July 13, 2021): 130–55. http://dx.doi.org/10.55738/journal.v8i1-2p.130-155.
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This paper focuses on Latin America’s cultural coverage produced by the German press – Süddeutsche Zeitung, Frankfurter Allgemeine Zeitung, Der Spiegel and tageszeitung – from January 2000 to December 2014. At first, one analysed the main subjects areas of coverage amidst 3.831 articles and identified a surprisingly 17% amount of cultural reports (662 news items). While empirical results on foreign reports worldwide point to a weak representation of cultural themes and an intense concentration on politics, this does not apply fully in the case of Latin America. Brazil, Argentina, Mexico (with an intense power status and economic proximity) and Cuba (still a myth in the German perception) show a high amount of cultural coverage with a broader spectrum of themes, from music and literature to art, architecture and exhibitions. On the contrary, the cultural coverage of small Central American nations concentrates on travel & tourism, an indicator of exoticism. South American states also have a good share of cultural reporting due to the presence of German cultural organisations such as the Goethe Institute. Eight qualitative interviews with German correspondents provide a more profound interpretation and contextualisation of these findings. Keywords: Latin America’s foreign reporting, cultural coverage, international communication, Latin American image, news factors.
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Suetin, I. N. "Development of the Russian Music and Educational School in Countries North and South America after the Revolution of 1917." Bulletin of Irkutsk State University. Series History 30 (2019): 71–77. http://dx.doi.org/10.26516/2222-9124.2019.30.71.
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O'Hagan, Peter. "PIERRE BOULEZ AND THE PROJECT OF ‘L'ORESTIE’." Tempo 61, no. 241 (July 2007): 34–52. http://dx.doi.org/10.1017/s0040298207000198.
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Among the passengers on the ocean liner Provence, as it disembarked from the Argentine capital Buenos Aires on 30 July 1954 at the outset of its 18-day voyage to Marseilles, were members of the theatre company Renaud-Barrault, returning home after a lengthy tour during the course of which it had performed in Brazil, Argentina, Chile, and Uruguay. If there was general fatigue at the end of such a gruelling schedule, during which the Company had given over 80 performances, there must have been an accompanying sense of exhilaration, and for perhaps the first time since leaving France on 24 April, an opportunity to relax. (Even the outward journey on Bretagne, the sister ship of Provence, had been taken up with a full schedule of rehearsals for the coming tour.) The joint directors, Jean-Louis Barrault and his wife Madeleine Renaud, as well as the young musical director, Pierre Boulez, joined their colleagues on board Provence a few days later at the Brazilian port of Salvador de Bahia, having opted to return to Brazil for a few days, during which there was an opportunity to witness a candomblé ceremony. For Jean-Louis Barrault, it was evidently a joyous return to the country which was the scene of the Company's first and perhaps greatest triumphs on a tour which had been as successful in every respect as the Company's first visit to South America in 1950.
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Shiovitz, Brynn. "Queue the Music: Cohan's Yellowface Substitution in Little Johnny Jones." Theatre Survey 59, no. 2 (April 25, 2018): 190–220. http://dx.doi.org/10.1017/s0040557418000066.
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It is 7 November 1904, 7:55 p.m. New York City theatregoers anxiously await the opening of George M. Cohan's newest production, Little Johnny Jones. The house is just about filled, but the well-dressed ushers hustle a few stragglers to their seats. Some of the theatre's usual patrons have been held up late at work, while others are too consumed by Clifford Berryman's political cartoons in the Washington Star to attend the performance. This particular Monday evening marks an important moment for America: polls for the thirtieth presidential election will be opening in fewer than twelve hours. Theodore Roosevelt represents the Republican Party, and Alton B. Parker heads the Democratic ticket. Although results will not be known for sure until the close of the 8 November election, Roosevelt's recent success in office upon the assassination of William McKinley gives him a political boost. New York City's predominantly Republican values leave little doubt about which name a majority of tonight's audience will be checking off on the ballot come morning; Roosevelt has carried every region but the South in his campaigning efforts thus far. Nonetheless, Broadway occasionally attracts a few guests from the slightly less liberal states of Maryland and Pennsylvania, and this evening's house is no different; the Liberty Theatre is filled with men of opposing political views. A nervous excitement fills the room; a combination of political gossip, predictions about how Cohan's first Broadway musical will compare to his earlier comedic works and vaudeville skits, and occasional gasps and awestruck sighs from spectators who are seeing the inside of the Liberty Theatre for the first time since its very recent grand opening at 234 West 42nd Street. The twenty-thousand-square-foot theatre, with its dramatic stage, extensive balconies, and striking cathedrallike ceilings is the perfect home for the unfolding of Broadway, a theatrical form and style that America will come to call its own. As the house lights dim and the violins hum a piercing A note, other members of the orchestra slowly begin tuning their individual instruments. As the oboists finish adjusting their pitch, the conductor taps his music stand: musicians tilt their gaze to the front of the pit, audience members sink into the velvet of their plush seats and begin to quiet their chatter. Blackout.
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Vélez, Daniel Villegas. "Apparatus of Capture: Music and the Mimetic Construction of Social Reality in the Early Modern/Colonial Period." CounterText 8, no. 1 (April 2022): 123–48. http://dx.doi.org/10.3366/count.2022.0260.
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This paper supplements Gebauer and Wulf’s analyses of mimesis as a mechanism for the construction of social reality. After situating archaic musical mimesis in the context of Homeric performance and its critique in Plato, I demonstrate how musical mimesis functions as an assemblage of inscription of social mores and values through two case studies. The first examines how this mimetic mechanism is actualised in the 1589 Medici intermedi as an allegorical apparatus of capture that enables the sovereign to control the space and time of the performance. The second examines how this apparatus is redeployed by seventeenth-century Jesuit missionaries in South America to coerce nomadic Indigenous peoples into settlements known as ‘reducciones’. The paper advances an account of the darker role of musical mimesis in the dissymmetrical construction of social reality during the baroque: as a world-making tool of sovereign power and a world-destroying mechanism of epistemic genocide in colonised territories.
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Cantres, James G. "Articulations of displacement and dissonance from Compton: Kendrick Lamar in the twenty-first century." Global Hip Hop Studies 2, no. 1 (June 1, 2021): 93–114. http://dx.doi.org/10.1386/ghhs_00035_1.
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Kendrick Lamar’s lyrics and subject matter often require repeated listens that reveal perspectives ranging from his upbringing in Compton, his parents’ migration from Chicago to California and broader questions of identity, place, displacement, belonging and home. A self-described Southern California ‘80s baby’, Lamar’s music nevertheless imagines Black self-identification in a broader and global sense. His work reflects rootlessness among continental and diasporic Africans across time and space. Utilizing approaches of British Cultural Studies and African diaspora studies, this article analyses Lamar’s critically acclaimed album To Pimp a Butterfly (2015). The pursuit of home as a response to the unbound nature of diasporic existence – connected to histories of transatlantic slavery, the Middle Passage and the plantation enterprise in the United States, the Caribbean and South America – reverberates for Lamar as an African American millennial yet also situate him within a continuum of Afro-Atlantic artistic innovators. In places as varied as Chicago, Compton, Jamaica, South Africa and London, Black people reckon with the meanings of home and Lamar offers his unique Afro-diasporic perspective. Lamar’s ruminations on intra-national migrations within the United States allow for a theorization of various iterations of home that include specific communities, families, cities, nations, gangs and the comforts of a bottle of vodka. Lamar’s lyrical confessions embrace identification as process, a brilliant and probing strategy that references histories of movement in the United States as well as ethnic tensions in South Africa, post-independence political economic realities in Jamaica and the history of migration from the Caribbean to metropolitan Britain. I suggest that Lamar introduces a particularized twenty-first-century Black racialized humanism where his own position vacillates between predator and victim. Who Lamar is and who he is said or seen to be recurs and reflects the specific conditions he and contemporary diasporans negotiate across the globe.
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Hadžajlić, Hanan. "Heavy Metal and Globalization." AM Journal of Art and Media Studies, no. 17 (October 16, 2018): 129. http://dx.doi.org/10.25038/am.v0i17.276.
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Heavy Metal is a specific, alternative music genre that exists on the fringe of popular music, where it is classified by its own culture: musical style, fashion, philosophy, symbolic language and political activism. For over five decades of the existence of heavy metal, its fans have developed various communication systems through different types of transnational networks, which significantly influenced the development of all aspects of metal culture, which relates both to divisions within the genre itself and to various philosophical and political aspects of heavy metal activism – of a global heavy metal society. Going through the processes of globalization, and so glocalization, heavy metal is today a significant part of popular culture in North and South America, Europe, Asia, Australia; while in some societies it represents the cultural practice of a long tradition with elements of cultural tourism, in some countries where conservative, religious policies are dominant, it represents subversive practices and encounters extreme criticism as well as penalties. Globalization in the context of the musical material itself is based on the movement from idiomatic, cultural and intercultural music patterns to transcultural – where heavy metal confronts the notion of one's own genre. Post-metal, the definition of a genre that goes beyond the aesthetic concepts of heavy metal, contains the potential of overcoming the genre itself. Article received: March 30, 2018; Article accepted: May 10, 2018; Published online: October 15, 2018; Preliminary report – Short CommunicationsHow to cite this article: Hadžajlič, Hanan. "Heavy Metal and Globalization." AM Journal of Art and Media Studies 17 (2018): 129−137. doi: 10.25038/am.v0i17.276
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Rockell, Kim. "MUSIC(S) OF THE WORLD AS AN ONLINE EFL RESOURCE: A Japanese EFL classroom experience." Englisia: Journal of language, education, and humanities 7, no. 2 (July 2, 2020): 102. http://dx.doi.org/10.22373/ej.v7i2.6325.
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This research considers how the study of musical performances from around the world can be drawn upon as a useful resource for language instruction, particularly in EFL Japanese university classrooms. This study shares the insights gained from literature reviews combined with the researcher’s teaching experiences on the advanced English elective course of Computer Assisted Ethnomusicology. This work was carried out over a five-year period between 2013–2018 at a university in the Tohoku region of Japan, based on a course that focused on the music and culture found in Oceania, South East Asia, East Asia, Africa and North America. This study identifies the language resources present within the ethnomusicological content, and identifies the ways it can help awaken learners to the rich variation that exists among the cultures of the world, and highlighting the way local and global features combine in the ‘glocal.’ In addition to digital applications, approaches introduced in the study also include the combination of high and low contact activities based on ethnomusicological resources. This helps to emphasize how Massive Open Online Courses (MOOCs), and open source multimedia make it possible to approach musical song texts and discourses that surround musical practice and performance and apply these to EFL teaching.
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Hyunjoon, Shin, and Ho Tung‐hung. "Translation of ‘America’ during the early Cold War period: a comparative study on the history of popular music in South Korea and Taiwan." Inter-Asia Cultural Studies 10, no. 1 (March 2009): 83–102. http://dx.doi.org/10.1080/14649370802605274.
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Carpentier, Alejo, and Charlotte Rogers. "Notes on the Trip to the Great Savannah." PMLA/Publications of the Modern Language Association of America 134, no. 5 (October 2019): 1104–8. http://dx.doi.org/10.1632/pmla.2019.134.5.1104.
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In July 1947, the Cuban Author Alejo Carpentier traveled from his home in caracas to the sparsely inhabited interior of venezuela, visiting the country's tropical forests and its great plains. At the time, Carpentier was known principally as a music critic and newspaper columnist for El Nacional in Venezuela and Carteles in Cuba; he had yet to publish El reino de este mundo (The Kingdom of This World; 1949), which would launch his career as a novelist and earn him international renown. Carpentier later wrote a novel about a trip much like the one he took in 1947. In the now-canonical Los pasos perdidos (The Lost Steps; 1953), a failed composer finds inspiration by traveling from a cosmopolitan city to the tropical forests of South America. Carpentier's creativity was similarly sparked by his trip to the Venezuelan wilderness, as his travel diary Notas del viaje a la Gran Sabana (Notes on the Trip to the Great Savannah) makes clear. Notas is the only contemporary account of the journey written by Carpentier, who later made contradictory statements about the details and even the number of trips he took. Beyond its documentary value, the travel diary reveals that Carpentier's experience was deeply enmeshed with his readings, a characteristic that also marks the narrator-protagonist of Los pasos perdidos. Moreover, Notas is of broad ecocritical and historical significance because it makes clear the extent to which the forests and plains of South America were changing during Venezuela's boom in oil drilling and gold mining in the 1940s. Inspired by what he witnessed in Venezuela, Carpentier created the central drama of Los pasos perdidos out of his protagonist's desire to inhabit what the author called the “mundo del Genesis” (“world of Genesis”) at a time when extractive industries were rapidly transforming the economies, ecologies, and societies of the region (“La Gran Sabana” 32).
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Pierno, Franco. "À la lisière de l’ « autre monde » Le Pérou dans la Relatione breve de Diego de Torres Bollo (1603)." Renaissance and Reformation 34, no. 1-2 (March 13, 2012): 61–96. http://dx.doi.org/10.33137/rr.v34i1-2.16168.
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In 1603, Diego de Torres Bollo (1550–1638), Jesuit procurator of the province of Peru, published in Rome his Relatione Breve, one of the first printed accounts of early Jesuit missionary activities in South America. The work was an instant success: in 1604 a second Italian edition was published in Venice, as well as translations into Latin (Antwerp) and French (Paris). The Relatione was typical of many Jesuit accounts of the period, that is, it consisted of a skillfully arranged montage of letters from the missions, written for the express purpose of attracting new vocations to missionary work in South America. To the detriment of this editorial success, with the exception of the major bibliographical repertories, de Torres Bollo’s text is rarely used and seldom cited by historians, and is even paradoxically absent in historical undertaking such as Rubén Vargas Ugarte’s Historia de la Compañía de Jesús en el Perú; furthermore, there is no modern edition, not even a diplomatic transcription, in the important Monumenta Peruana. With this contribution, I intend not only to inform those who read a little-known work, but also to demonstrate how it constitutes a decisive moment in the genesis of the “relation” genre in the first decades of written Jesuit communication.
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Dillah, Sarah, Muhammad Thalal, and Muhammad Yunus Ahmad. "THE INFLUENCE OF THE KOREAN WAVE ON BEHAVIOR AMONG UIN AR-RANIRY BANDA ACEH STUDENTS." Indonesian Journal of Islamic History and Culture 3, no. 1 (May 31, 2022): 29–42. http://dx.doi.org/10.22373/ijihc.v3i1.1601.
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The Korean Wave refers to South Korean popular culture (pop culture), which has expanded throughout Asia, Europe, and America. This Korean Wave is being propagated through the entertainment sector, including music, movies, dramas, cosmetic goods, food, and so on, and is also being aided by the increasing flow of globalization. The goal of this study is to discover what variables impact the behavior of certain UIN Ar-Raniry students who like the Korean Wave and how the conduct of some UIN Ar-Raniry students who are influenced by the Korean Wave is affected. This study employed a qualitative method, with data collected through observation, interviews, and documentation. The acquired data was then examined using data analysis software. Data reduction, data presentation, conclusion drawing, and verification were used to examine the obtained data. The findings revealed that the effect of friends, families, and South Korean dramas presented on Indonesian private television channels influenced certain UIN Ar-Raniry students' liking of the Korean Wave. Some UIN Ar-Raniry students who were impacted by the Korean Wave may be noticed in their open conduct, use of language, style of dress, make-up and skin care, eating and food etiquette, and usage of social media. Their restricted conduct, methods of thinking and envisioning, growing knowledge or understanding, and developing self-confidence all have a shape.
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Celis, Andrés. "Nelson Varas-Díaz, Daniel Nevárez Araújo y Eliut Rivera-Segarra eds. 2021. Heavy Metal Music in Latin America: Perspectives from the Distorted South. Lanham, Maryland: Lexiton Books, 361pp." Contrapulso - Revista latinoamericana de estudios en música popular 4, no. 1 (January 26, 2022): 118–22. http://dx.doi.org/10.53689/cp.v4i1.155.
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La literatura musical que aborda temas relacionados con este meta-género conocido como metal o metal music desde los estudios del norte global, ha generado en América Latina cerca de un centenar de libros con distintos tipos de enfoques: historias de bandas fundantes para cada país como, el dedicado a Masacre en Chile de Maximiliano Sánchez (2016); historias que abordan la formación de escenas específicas, como el que aborda la conformación de la escena metalera peruana, de José Ignacio López y Giuseppe Rísica (2018); o libros que contextualizan las relaciones de los movimientos del metal con los referentes propios de cada ciudad o país, como en el dedicado al metal y al rap en Cuenca, Ecuador, de Angelita Sánchez (2020).
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Schulze, Emilie. "Copland and Communism: Mystery and Mayhem." Musical Offerings 13, no. 1 (2022): 23–57. http://dx.doi.org/10.15385/jmo.2022.13.1.3.
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In the midst of the second Red Scare, Aaron Copland, an American composer, came under fire for his communist tendencies. Between the 1930s and 1950s, he joined the left-leaning populist Popular Front, composed a protest song, wrote Lincoln Portrait and Fanfare for the Common Man, traveled to South America, spoke at the Cultural and Scientific Conference for World Peace, and donated to communist leaning organizations such as the American-Soviet Musical Society. Due to Copland’s personal communist leanings, Eisenhower’s Inaugural Concert Committee censored a performance of Copland’s Lincoln Portrait in 1953. HUAC (The House Committee on Un-American Activities) brought Copland to the committee and questioned him on his communist connections. Copland clearly denied any and all communist activities or affiliations. This raised the questions: what impact did the contemporary political climate have on Copland’s music? What actual ties did he have to communism? Does it matter? To answer these questions, I examined the primary sources in the Copland Collection at the Library of Congress, during the fall of 2019. In addition to selected secondary sources, I focused on the relevant letters, hearing records, and other materials contained in Box 427: the box on HUAC. In addition to the Performing Arts Reading Room Aaron Copland Collection, I utilized the Folklife Collection and their resources on Aaron Copland. I will conclude there is significant external evidence Copland associated with communists, but since Copland himself continuously denied the identity, it is difficult to conclude whether Copland was or was not in fact a communist. It is much easier to conclude that Copland was, at the very least, politically left-leaning, although his political beliefs held a secondary role to the musical style in his compositions.
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Borsay, Peter. "Sounding the town." Urban History 29, no. 1 (May 2002): 92–102. http://dx.doi.org/10.1017/s0963926802001098.
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Interdisciplinarity has proved to be one of the enduring tenets of British urban history. As Fiona Kisby points out in her contribution to this special issue of Urban History, its centrality is enunciated in the agenda set by Jim Dyos in the 1960s, as the subject emerged as a self-conscious subdiscipline of British history, and in the editorials that launched this publication as a Yearbook and subsequently as a journal. The appeal of an interdisciplinary approach is that it allows those involved to transcend the straitjacket of traditional research and explore a given issue or subject from a multiplicity of angles. However, prioritizing such a methodology, though it might allow the intellectual high ground to be occupied temporarily, provides a real hostage to fortune, raising expectations that it often proves impossible to fulfil. Interdisciplinarity simply cuts against the dominant grain of academe. Where British urban historians have crossed the disciplinary barricades, they have tended to head in the direction of the social sciences (such as sociology, economics, geography and anthropology). A rapprochement with the arts (painting, film, literature, architecture, music, and the like) is less easy to discern. Yet with the growing interest in the last decade or so in cultural history the time is ripe to redress the balance. This music issue of Urban History, like that of August 1995 on ‘Art and the City’, can be seen as an attempt to do this. Its appearance coincides with the publication of a pioneering volume of essays, edited by Fiona Kisby, on Music and Musicians in Renaissance Cities and Towns, whose avowed aim is to ‘bring musicology within the sphere of urban history’. Though that collection is predominantly focused on western Europe (with six of the essays on the British Isles, six on the Continent, and one on South America) and on the years 1400 to 1650, it provides a model for how the agendas of musicologists and urban historians might be productively merged.
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Bauer, Erin E. "The Absence of Texas-Mexican Musics at the South by Southwest Festival." Journal of Popular Music Studies 34, no. 3 (September 1, 2022): 30–58. http://dx.doi.org/10.1525/jpms.2022.34.3.30.
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Following the conclusion of the Mexican-American War and continuing through the first half of the twentieth century, the ethnically Mexican population in Texas suffered discrimination and ethno-racial segregation from the dominant, Anglo-Texan community. This systemic structure induced the Texas-Mexican community to create separate, Spanish-speaking social spaces. Tejano and conjunto music were influenced by these inequitable policies. Separate performance outlets, with distinct priorities and procedures, maintained a musical community outside of mainstream recording practices. This Texas-Mexican musical community—separate and distinctive from the hegemonic industry—has been maintained in contemporary practices, as demonstrated by the absence of Texas-Mexican artists at the annual South by Southwest Festival (SXSW) in Austin, Texas. From its beginnings in 1987, SXSW has drawn a diverse assortment of record labels, booking agents, promoters, managers, artists, and audiences. Although the festival started with a regional focus, billed as a means to bring together Texas music and the rest of the world, Tejanx participation is sparse, indicating a continuing separation between these two communities. Yet, SXSW has strategically attracted international artists and historically Black American genres. This paper uses statistical and ethnographic evidence to examine this selective absence of Tejano musics at SXSW.
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Peñuelas Calvo, I., J. Sevilla Llewellyn-Jones, A. Sareen, C. Cervesi, and A. González Moreno. "Newer substances and their effects: A case report." European Psychiatry 33, S1 (March 2016): S402. http://dx.doi.org/10.1016/j.eurpsy.2016.01.1450.
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IntroductionDue to constant flow of people in and out of Europe several drugs are now days appearing in European markets that were previously unknown. There is a need to gain awareness and knowledge about these new substances and to recognize their use and learn about their effects and management.Aims/objectivesAyahuascais commonly called yagé is a traditional spiritual medicine in ceremonies among the Indigenous peoples of Amazonian Peru. It is undetected in urine or blood and therefore it is important to understand and ask about its usage during clinical assessment.Methods/resultsThirty-six years old woman immigrant from South America came to us with auditory hallucinations. About three years ago she was introduced who introduced her to a community of Euto poeple that performed daily rituals of spiritual awareness involving the use of Ayahuasca. She became a part of it and started consuming Ayahuasca daily. She started becoming socially isolated accompanied by delusional and mystical religious ideations. She later began having persecutory delusions and auditory hallucinations that Archangels speak to her about how to create music. Patient was involuntary admitted in a mental health unit and started on risperidone. Gradually her condition improved and she stopped having auditory hallucinations. After being discharged from the hospital, patient was followed on an outpatient basis with injectable risperidone.ConclusionsDue to the blend of different cultures in Europe, it is necessary to have a better understanding about the cultures, rituals and the substances that are relatively new and are currently been used.Disclosure of interestThe authors have not supplied their declaration of competing interest.