Journal articles on the topic 'Music – Tanzania – American influences'
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van der Lee, Pedro. "Latin American influences in Swedish popular music." Popular Music and Society 21, no. 2 (June 1997): 17–45. http://dx.doi.org/10.1080/03007769708591666.
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Narvaez, Peter. "The Influences of Hispanic Music Cultures on African-American Blues Musicians." Black Music Research Journal 22 (2002): 175. http://dx.doi.org/10.2307/1519948.
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Pope, Edgar W. "Imported others: American influences and exoticism in Japanese interwar popular music." Inter-Asia Cultural Studies 13, no. 4 (December 2012): 507–17. http://dx.doi.org/10.1080/14649373.2012.717598.
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Narvaez, Peter. "The Influences of Hispanic Music Cultures on African-American Blues Musicians." Black Music Research Journal 14, no. 2 (1994): 203. http://dx.doi.org/10.2307/779484.
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LeCroy, Hoyt F. "Community-Based Music Education: Influences of Industrial Bands in the American South." Journal of Research in Music Education 46, no. 2 (July 1998): 248–64. http://dx.doi.org/10.2307/3345627.
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From as early as 1855 and extending to the middle of the twentieth century, American industry encouraged the formation of bands and other musical organizations for workers, ostensibly to enhance their welfare. The actual purposes of music in industry, however, were often to prevent formation of unions and maintain social regimes. As industry expanded into the agrarian South, industrial bands augmented the limited town band tradition. Their performances, role-modeling and community-based instruction of young people filled curricular voids and developed favorable cultural environments for the eventual addition of instrumental music to public school curricula. A historical case study of the activities and influences of a significant industrial band in the state of Georgia provides a basis for formulating conclusions regarding influences of industry on music education in the American South.
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Schurk, William L., B. Lee Cooper, and Julie A. Cooper. "Before the Beatles: International Influences on American Popular Recordings, 1940–63." Popular Music and Society 30, no. 2 (May 2007): 227–66. http://dx.doi.org/10.1080/03007760701267755.
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Chong, Angela A. "Elusive Kodály Part I: Searching for Hungarian Influences in US Preschool Music Education." Hungarian Cultural Studies 15 (July 19, 2022): 33–44. http://dx.doi.org/10.5195/ahea.2022.463.
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This paper is the first part of two articles exploring whether and how Hungarian music pedagogues have influenced early childhood music education in the United States. Using less-known publications and archived materials, this study moves beyond the well-documented history of the Hungarian pedagogue, Zoltán Kodály’s influence upon American general music education to focus on Kodály’s early childhood concepts, which form the backbone of the Hungarian philosophy of music education. Through the lives and work of the Hungarian and American music educators, Katinka Dániel, Katalin Forrai, Sister Lorna Zemke and Betsy Moll, I delineate a pedigree of distinguished female Kodály protégés professing a passion for Hungarian early childhood music pedagogy that did not mainstream into US preschools. In words spoken by and about these scholar-educators, my research locates the systemic and cultural factors contributing to the challenge of implementing Hungarian musical ideas in US preschools. To round out a description of the elusive Kodály influence on US early childhood music, this analysis also draws upon my own Los Angeles experience in searching for a quality Kodály education for my young toddlers.
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FRIEDMAN, MONROE. "Commercial Influences in the Lyrics of Popular American Music of the Postwar Era." Journal of Consumer Affairs 20, no. 2 (December 1986): 193–213. http://dx.doi.org/10.1111/j.1745-6606.1986.tb00378.x.
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Palmese, Michael. "THE CURIOUS CASE OF ANTHONY GNAZZO: A LOST AMERICAN EXPERIMENTALIST." Tempo 74, no. 294 (September 1, 2020): 39–47. http://dx.doi.org/10.1017/s0040298220000376.
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ABSTRACTArchival evidence indicates that Anthony Gnazzo was a major figure within the Bay Area avant-garde music scene of the 1960s and 1970s who retired from composition by 1983 and has since been largely forgotten. Historical documents reveal, however, that a study of Gnazzo enables us to better understand the complex network of influences and artists working on experimental music in the Bay Area during the 1960s, 70s, and 80s. This article outlines Gnazzo's career and work, from his earliest academic compositions to his late electronic pieces, and concludes with a consideration of the ethical and moral issues inherent in musicological research on living subjects, particularly in the case of a composer who consciously avoids discussion of his personal aesthetic or compositional output. Should one study music that appears to have been ‘abandoned’ by the artist?
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Kahn, Douglas. "Christian Marclay's Early Years: An Interview." Leonardo Music Journal 13 (December 2003): 17–21. http://dx.doi.org/10.1162/096112104322750737.
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The artist discusses with the author his early career and influences. Marclay explains his upbringing in Switzerland and his lack of familiarity with American mass culture, to which he credits his early experiments in art, music and performance using records. Marclay describes the evolution of his use of records and discusses other influences, such as art school and the New York club scene of the 1970s.
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Collins, John. "The early history of West African highlife music." Popular Music 8, no. 3 (October 1989): 221–30. http://dx.doi.org/10.1017/s0261143000003524.
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Highlife is one of the myriad varieties of acculturated popular dance-music styles that have been emerging from Africa this century and which fuse African with Western (i.e. European and American) and islamic influences. Besides highlife, other examples include kwela, township jive and mbaqanga from South Africa, chimurenga from Zimbabwe, the benga beat from Kenya, taraab music from the East African coast, Congo jazz (soukous) from Central Africa, rai music from North Africa, juju and apala music from western Nigeria, makossa from the Cameroons and mbalax from Senegal.
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Abras Daneri, Araceli. "Julio Cortázar: el jazz y América." Catedral Tomada. Revista de crítica literaria latinoamericana 5, no. 9 (January 5, 2018): 536–50. http://dx.doi.org/10.5195/ct/2017.227.
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The Julio Cortazar`s literary corpus can be explained from the origin of his narrative in a context whose main feature it is the syncretic nature that it is grounded in the different origins and cultural influences that characterize the American cultural product. It is in music and literature where, to Cortazar, the different languages serve as a channel through which these influences of various kinds are transferred. This syncretic character by which others logical traditions are inherited from others, positions the american intellectual in the problem of identity, and in Cortazar case, in the field of commitment.
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Barretta, Paul G. "Tracing the color line in the American music market and its effect on contemporary music marketing." Arts and the Market 7, no. 2 (October 2, 2017): 213–34. http://dx.doi.org/10.1108/aam-08-2016-0016.
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Purpose The purpose of this paper is to provide an in-depth consideration of the color line in the US music market, much deeper treatment than that of a superficial social construct. Design/methodology/approach Content analysis was performed using archives from the Performing Arts Division of the New York Public Library. Findings A complex intersection of social and capitalist influences is fueled by culture and economics, filtered through the contributions of artists and media. Six major categories: social, media, artist, culture, industry, and economics contribute to its development and propagation. It continues to affect contemporary music markets. Research limitations/implications Interpretation of archival data is subject to availability of material and subjectivity of the researcher. Steps were taken to minimize bias. The research implies an opportunity for the US music market to celebrate diversity and social justice. Practical implications Focusing on the symbolic use of music, marketers have the opportunity to empower consumers to embrace diversity, reversing the trajectory of the color line. Social implications Embracing cultural heritage and celebrating diversity can promote economic gain without detriment to cultural interests. Originality/value The present research provides a much deeper consideration of the color line in the American Music Market than previous literature does. The consideration includes a combination of forces, from profit focused to cultural.
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Comeau, Gilles, Veronika Huta, and YiFei Liu. "Work ethic, motivation, and parental influences in Chinese and North American children learning to play the piano." International Journal of Music Education 33, no. 2 (February 12, 2014): 181–94. http://dx.doi.org/10.1177/0255761413516062.
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Burke, Patrick. "Tear down the walls: Jefferson Airplane, race, and revolutionary rhetoric in 1960s rock." Popular Music 29, no. 1 (January 2010): 61–79. http://dx.doi.org/10.1017/s0261143009990389.
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AbstractWhile the notion of the ‘rock revolution’ of the 1960s has by now become commonplace, scholars have rarely addressed the racial implications of this purported revolution. This article examines a notorious 1968 blackface performance by Grace Slick, lead singer of Jefferson Airplane, to shed light on a significant tendency in 1960s rock: white musicians casting themselves as political revolutionaries by enacting an idealised vision of African American identity. Rock, a form dominated by white musicians and audiences but pervasively influenced by black music and style, conveyed deeply felt but inconsistent notions of black identity in which African Americans were simultaneously subjected to insensitive stereotypes and upheld as examples of moral authority and revolutionary authenticity. Jefferson Airplane's references to black culture and politics were multifaceted and involved both condescending or naïve radical posturing and sincere respect for African American music. The Airplane appear to have been engaged in a complex if imperfect attempt to create a contemporary musical form that reflected African American influences without asserting dominance over those influences. Their example suggests that closer attention to racial issues allows us to address the revolutionary ambitions of 1960s rock without romanticising or trivialising them.
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ony Mitchell, T. "Paolo Conte: Italian ‘Arthouse Exotic’." Popular Music 26, no. 3 (October 2007): 489–96. http://dx.doi.org/10.1017/s0261143007001390.
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AbstractPaolo Conte is the most internationally successful of the Italian singer-songwriters who emerged in the 1960s and 1970s. He is also among the most idiosyncratic, eclectic and unusual exponents of what Franco Fabbri has defined as the canzone d’autore (author’s song). Nonetheless he remains a rather arcane, cult figure in the Anglophone world – an example of what Simon Frith has called ‘the unpopular popular’. A combination of apparent opposites – the provincial and the cosmopolitan – his music appropriates a global sweep of influences without being definable as ‘world music’. Characteristics of both his rough, untrained singing style and wry, ironic and opaque compositions have strong affinities with US singer-songwriters like Tom Waits and Randy Newman, and he draws heavily on early American jazz influences, although he remains quintessentially Italian. This makes him difficult to categorise in the world music market.
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Carter, Bruce Allen. "“Nothing Better or Worse Than Being Black, Gay, and in the Band”." Journal of Research in Music Education 61, no. 1 (March 5, 2013): 26–43. http://dx.doi.org/10.1177/0022429412474470.
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This collective case study examined the experiences of four African American gay band students attending historically Black colleges or universities (HCBUs) in the southern United States. This study explored influences that shaped the participants’ identities as they negotiated numerous complex sociocultural discourses pervasive and challenging to gay African American band students. Utilizing participative inquiry, participants were asked to read, reflect on, and respond to historical and current research literature concerning the schooling experiences of Black students. Their responses were analyzed within a multifaceted theoretical framework, including poststructual theory, critical race theory, critical theory, and lesbian, gay, bisexual, transgender, queer, or questioning (LGBT2Q) studies. Present throughout the participants’ descriptions was an ever-evolving and renegotiated gay African American identity within the HBCU band setting. Findings indicate that the construction of an African American gay male identity within an HBCU band setting was a source of tremendous consternation concurrent with positive experiences of acceptance and community. Numerous implications for music educators in K–12 settings are provided, including recognizing and stemming bullying and harassment in classroom settings.
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Lewis, George H. "Ghosts, ragged but beautiful: Influences of Mexican music on American country‐western & rock ‘n’ roll." Popular Music and Society 15, no. 4 (December 1991): 85–103. http://dx.doi.org/10.1080/03007769108591458.
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Blume, Gernot. "Blurred affinities: tracing the influence of North Indian classical music in Keith Jarrett's solo piano improvisations." Popular Music 22, no. 2 (May 2003): 117–42. http://dx.doi.org/10.1017/s0261143003003088.
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In the first forty years of his career, American pianist Keith Jarrett has established a reputation in multiple stylistic directions. Jarrett has typically incorporated influences as varied as bebop, country, rock, gospel, minimalism, baroque and classical styles into his often lengthy improvisations. Vital to his musical persona, but less obvious, is the influence North Indian classical music has had in shaping Jarrett's improvisatory strategies. Although he never formally studied Indian music, and although his instrument – the piano – is far removed from the conceptual backdrop of North Indian raga performance, Indian music was a central component in the artistic climate out of which his improvised solo recitals grew.A cultural climate of global influences was the backdrop to the development of Jarrett's solo concerts. Therein, perhaps, lies one key to understanding the spell that this music has cast on large and international audiences. With this format, Jarrett tapped into the ambiance of a particular historic moment, which combined a desire for change with the discovery of spiritual and musical traditions outside the Western world.In this paper I will demonstrate how explicit and implicit references to classical Indian principles of music making helped shape Jarrett's unique free solo concerts.
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HEFFLEY, MIKE. "“O for a Thousand Tongues to Sing”: Anthony Braxton's Speculative Musics." Journal of the Society for American Music 2, no. 2 (May 2008): 203–33. http://dx.doi.org/10.1017/s1752196308080073.
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AbstractAnthony Braxton's opera Trillium R (1991): Shala Fears for the Poor is examined macroscopically, microscopically, and theoretically for its resonances with both spoken and written language. The latter is posited as an ur-technology spawning six more specialized technologies tropes, through which the macroscopic survey unfolds. Braxton's music is conflated with the academic discourse of “speculative musicology” and the genre of “speculative fiction,” the literary arena of most fertile explorations of technological potential. The microscopic study examines the relationship between Braxton's libretto and music in the score, and that between the determinate and indeterminate in both, as the techne (tool) of its effectiveness. Finally, the article explains Braxton's work through its European, African, Asian, and Native American influences.
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McAdams, Stephen, Bradley W. Vines, Sandrine Vieillard, Bennett K. Smith, and Roger Reynolds. "Influences of Large-Scale Form on Continuous Ratings in Response to a Contemporary Piece in a Live Concert Setting." Music Perception 22, no. 2 (2004): 297–350. http://dx.doi.org/10.1525/mp.2004.22.2.297.
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Listeners responded continuously at the world and North American premiere concerts of The Angel of Death by Roger Reynolds using one of two rating scales: familiarity or resemblance of musical materials within the piece and emotional force. Two versions of the piece were tested in each concert in different presentation orders. Functional data analysis revealed the influence of large-scale musical form and context on recognition processes and emotional reactions during ongoing listening. The instantaneous resemblance to materials already heard up to that point in the piece demonstrates strong relations to the sectional structure of the music and suggests different memory dynamics for different kinds of musical structures. Emotional force ratings revealed the impact of computer-processed sounds and a diminution in emotional force with repetition of materials. Response profiles and global preferences across the two versions are discussed in terms of the multifaceted temporal shape of musical experience.
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Pope, David A., and James P. Mick. "An Analysis of Ratings and Interrater Reliability at the American String Teachers Association’s National Orchestra Festival." String Research Journal 11, no. 1 (July 2021): 67–82. http://dx.doi.org/10.1177/19484992211021012.
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The purpose of this study was to examine the assigned ratings, interrater reliability, and possible influences of school level and instrumentation on adjudicators’ evaluations of orchestra performances at a national-level adjudicated music festival. Data consisted of the overall ratings assigned to orchestra performances ( N = 55) at the 2017, 2018, and 2019 American String Teachers Association’s National Orchestra Festival (NOF). Analysis revealed that 83.64% of all participating orchestras earned a I/Superior or II/Excellent overall rating. A logistic regression model revealed that both school level and instrumentation were not significant predictors of earning a I/Superior overall rating. Individual members of each three-judge adjudication panel assigned identical ratings to 61.82% of orchestra performances and possessed a mean internal consistency of .90. Orchestra teachers can use the results of this study to weigh the educational benefits of participating in the NOF.
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Waters, Tony, and David Philhour. "Cross-National Attunement to Popular Songs across Time and Place: A Sociology of Popular Music in the United States, Germany, Thailand, and Tanzania." Social Sciences 8, no. 11 (November 5, 2019): 305. http://dx.doi.org/10.3390/socsci8110305.
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This paper explores empirically Edward T. Hall’s assertion about the role of musical elements, including rhythm recognition and what are called “ear worms” in popular culture. To test Hall’s assertion, data were collected from the United States, Germany, Tanzania, and Thailand in 2015–2017 using a 26 brief “song intros.” Data were also collected from exchange students from South Korea and Turkey. Survey responses were analyzed using factor analysis in order to identify patterns of recognition. It was found that there were indeed patterns of recognition apparently reflecting national boundaries for some song recognition, but others crossed boundaries. A separate analysis of patterned recognition comparing American youth under thirty, with elders over 60 indicated that there were also boundaries between age groups. Such experiments in music recognition are an effective methodology for Culture Studies given that musical elements are tied to issues of identity, culture, and even politics. Music recognition can be used to measure elements of such subconscious habitus.
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Albert, Daniel J. "The classroom culture of a middle school music technology class." International Journal of Music Education 38, no. 3 (October 17, 2019): 383–99. http://dx.doi.org/10.1177/0255761419881483.
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The purpose of this study was to examine the culture of an American middle school music technology classroom based in musical composition. Research questions explored students’ perceptions of how they co-create the classroom culture with the teacher and how the classroom culture influences participation in musical composition activities, if at all. Data sources for this ethnographic case study included field notes from multiple class observations, audio- and video-recordings, and semi-structured interviews. Findings determined that teacher and students’ mutual use of constructive feedback in their discourse, the teacher’s role as co-learner, his facilitation of “messiness” as part of the learning process, and his pedagogical style helped to create an affirming classroom culture that motivated students to compose. Implications for teaching practice include critical examination of classroom cultures and thoughtful inclusion of technology in music education courses.
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Cabrera, Daniel Antonio Milan. "PENGARUH MUSIK AMERIKA LATIN TERHADAP INDONESIA." Sorai: Jurnal Pengkajian dan Penciptaan Musik 13, no. 1 (November 20, 2020): 36–50. http://dx.doi.org/10.33153/sorai.v13i1.3093.
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Since the beginning of the last century, Latin American music has been succes in the U.S. music industry because its intrinsic musical characteristics and its involvement within the film industry. Through the U.S. and Europe, it has been influencing popular music around the world; including Indonesia, Malaysia, Singapore, and India, countries that also contributed to the diffusion of Latin styles in Indonesia. The corpus of original works of Indonesian-Latin music is quite huge and has great quality; particularly audio recordings done in the 1950s and 1960s that mixed Latin, Western, and regional musical elements to create new musical forms know as lagu daerah (regional songs) and pop daerah (regional pop). This article aims to provide some understandings of this complex diffusion process utilising mainly a bibliographical research method (books, journals, digital news, etc.), interviews, and listening-based information from old audio recordings. My hipothesis is that Latin American music has been well accepted in Indonesia, espetially in Java and Sumatra, due to historical crossroads that spread musical and cultural similarities in both regions. In order of its importance in Indonesian-Latin music, these are: the conection of Asia and America during the Spanish, Portugal, and Holand colonial era; the Islamic influence in Indonesia, India, Malaysia, and the Iberic peninsula; the influence of Dutch music in Indonesia and German music in Latin America; the role of African music in Latin America and the probable two side influences between Africa and Indonesia; and the inmigration to Amerika from Nusantara-Oceania sailors in prehistoric times.
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Pasler, Jann. "Revisiting Debussy’s Relationships with Otherness: Difference, Vibrations, and the Occult." Music and Letters 101, no. 2 (January 20, 2020): 321–42. http://dx.doi.org/10.1093/ml/gcz079.
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Abstract To commemorate the centenary of Debussy’s death, this article proposes a new perspective on the composer’s relationship to Otherness. While many have argued for the influence of japonisme and Javanese music on his oeuvre, here I look at experiences, influences, and ideas that shaped these and similar encounters, together with their implications. I argue that symbolism was not alone in motivating Debussy’s resistance to overt mimesis and ambivalence about assimilation; Japan’s evolving political identity between 1868 and 1904 may also have played a role. I examine what Debussy may have learned from, or at least shared with, Edmond Bailly, Robert Godet, Victor Segalen, and Louis Laloy. These connections draw particular attention to contemporary conceptions of sound, as promoted in esoteric philosophy, and especially nature’s relationship to the arts through ‘vibrations’—ideas later implicit in Vladimir Jankélévitch’s philosophical approach, here re-evaluated after the 2012 colloquy in the Journal of the American Musicological Society. They offer intriguing historical foundations for today’s ‘sound studies’ research.
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Love, Rachel E. "Talking Italian blues: Roberto Leydi, Giovanna Marini and American Influence in the Italian folk revival, 1954–66." Popular Music 38, no. 2 (May 2019): 317–34. http://dx.doi.org/10.1017/s0261143019000114.
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AbstractThis article examines how Roberto Leydi and Giovanna Marini, two important figures of the Italian ‘folk revival’, negotiated diverse American cultural influences and adapted them to the political context of Italy in the 1950s and 1960s. I argue that American musical traditions offered them valuable models even as many Italian intellectuals and artists grew more critical of US society and foreign policy. To explore this phenomenon in greater depth, I take as examples two particular moments of exchange. I first discuss American folklorist Alan Lomax's research in Italy and its impact on Leydi's career. I then examine how Marini employed American talking blues in order to reject US society in her first ballad, Vi parlo dell'America (I Speak to You of America) (1966). These two cases provide specific examples of how American influence worked in postwar Italy and the role of folk music in this process.
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Kubrin, Charis E. "“I See Death around the Corner”: Nihilism in Rap Music." Sociological Perspectives 48, no. 4 (December 2005): 433–59. http://dx.doi.org/10.1525/sop.2005.48.4.433.
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Rap is one of the most salient music genres of the late twentieth and early twenty-first centuries. Gangsta rap, in particular, with its focus on urban street life, has become a dominant means of expression within contemporary African American adolescent culture. As such, it speaks directly to issues of identity, culture, violence, and nihilism—themes that permeate recent research on inner-city black communities. Mostly ethnographic in nature, this work describes how structural disadvantage, social isolation, and despair create a black youth culture, or street code, that influences adolescent behavior. The current work builds on the community literature by exploring how the street code is present not only on “the street” but also in rap music. It addresses two important questions: (1) To what extent does rap music contain elements of the street code—and particularly nihilism—identified by Anderson (1999) and others? (2) How do rappers experience and interpret their lives, and how do they respond to conditions in their communities? These questions are explored in a content analysis of over four hundred songs on rap albums from 1992 to 2000.
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Hudson, Andrew Sinclair. "Pentecostal History, Imagination, and Listening between the Lines." PNEUMA 36, no. 1 (2014): 25–44. http://dx.doi.org/10.1163/15700747-03601003.
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As Pentecostals have historically lived, ministered, and led from the margins, their histories often challenge the historian. Reading the religious and social histories contemporaneous to the beginnings of many pentecostal churches and movements is often not enough to discover the complex tapestry of pentecostal voices. Not only oral but also, and particularly, aural historical elements play a key role in the recovery of the “unheard” protagonists in pentecostal histories. The example of Richard Green Spurling and the Church of God (Cleveland, TN) provides an opportunity to imaginatively reconstruct the influences of African Americans on a white Appalachian Baptist-turned-pentecostal preacher. Investigating sung moments of African American prisoners working on a local railroad could shape the religious pedigree of this classical North American pentecostal denomination. This article will explore pentecostal historiography by investigating Spurling and the sung music of African American prisoners as a case study of imaginatively rereading pentecostal histories.
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Shemet, L. "Genre and style priorities of accordion performance in traditional common culture of USA." Culture of Ukraine, no. 72 (June 23, 2021): 150–55. http://dx.doi.org/10.31516/2410-5325.072.21.
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The relevance of the study is determined by the wide popularity of accordion in various genres and styles of American folk music, significant achievements of American accordionists in preserving and developing performing traditions in accordance with the ethnocultural specifics of a particular region of the country and presentation of creative achievements of famous American folk groups in the world music space, as well as by lack of the studies on this issue in the field of musicology in Ukraine.
The aim of the study is to define the genre and style priorities of accordion performance in the traditional common culture of Americans, highlight the regional specifics of styles and genres of American folk music, in the reproduction of which the accordion is directly involved, as well as describe textural, articulatory and picking, metric and rhythmic features of playing the instrument.
The methodology. The methodological basis of the study is the interaction of scientific approaches, among which an important place is occupied by historical, cultural, systemic, structural and functional, musicological methods.
The results. In the traditional common culture of Americans, the performance on the accordion is presented quite diversely in terms of the instruments, distribution areas, genre, and style palette of music performed. Historical, sociocultural and geopolitical factors, ethnocultural influences, multicultural tendencies determined the regional specificity of the instruments. The Cajun accordion, the diatonic button accordion, and the chromatic piano accordion have gained considerable popularity in the traditional common culture of various regions of the United States. Each of them took leading positions in the reproduction of a certain musical style: Cajun accordion — Cajun and Zydeco, diatonic button accordion — Cojunto, chromatic piano accordion — Zydeco. The button (diatonic or chromatic) and piano accordions were mainly used in the instrumental composition of dance music groups, in particular in the genre of polka, depending on the region with the corresponding ethnic specificity. The accordion performance vividly embodies the genre and style features of American folk music in the context of its historical dynamics and capability of artistic expression, including intonation expressiveness and characteristic techniques of playing, inherent in a certain design model of the instrument.
The topicality of the study is to reproduce the genre and style specifics of accordion performance in the traditional common culture of Americans.
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Böhme, Claudia. "Enjoying sameness and difference – competition and convergence of Latin American telenovelas and Swahili video films in Tanzania." Journal of African Cultural Studies 31, no. 2 (December 7, 2018): 226–41. http://dx.doi.org/10.1080/13696815.2018.1552126.
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Frohburg, Jan. "Ellington under Glass." BAc Boletín Académico. Revista de investigación y arquitectura contemporánea 9 (November 4, 2019): 45–68. http://dx.doi.org/10.17979/bac.2019.9.0.4582.
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In November 1957 Mies van der Rohe’s Crown Hall at IIT broke with convention when it became the venue for a jazz concert by Duke Ellington and his orchestra. This extraordinary event is reconstructed based on personal recollections, campus newspapers and other archival material. In the context of architectural pedagogy Crown Hall is appreciated as a supreme expression of Mies’s architectural philosophy, both for its spatial openness and its spiritual character. Here, influences from Mies’s own evolution as an architect intersected with developments in modern music and performance art it inspired. Parallels are uncovered between Ellington’s jazz and Mies’s steel and glass architecture, both distinctly American idioms that characterise post-war modernity. The Ellington concert at Crown Hall presented the perfect synthesis of people, space, light, music and nature. At the same time it attested to the disruptive potential that exists in jazz and modern architecture alike.
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Rubel, Jeffrey. "Colour and light: Colour theory and mechanization in Sunday in the Park with George’s Chromolume." Studies in Musical Theatre 15, no. 2 (July 1, 2021): 101–18. http://dx.doi.org/10.1386/smt_00062_1.
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This article explores how Stephen Sondheim and James Lapine’s Sunday in the Park with George conveys Seurat’s scientific influences, how the show’s Chromolume engages with Seurat and his modernist legacy, and how the 1984 and 2017 Chromolume designs reflect Seurat’s work and legacy. Using original oral history interviews, this article compares the 1984 and 2017 Broadway Chromolume designs to explore how production decisions inform the show’s engagement with pointillism, Seurat and colour theory. By analysing Sunday, this article sets out to provide a case study highlighting how science and technology inform and influence the book, music and theatrical design of a major American musical.
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WARNES, ANDREW. "Black, white and blue: the racial antagonism of The Smiths’ record sleeves." Popular Music 27, no. 1 (December 13, 2007): 135–49. http://dx.doi.org/10.1017/s0261143008001463.
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AbstractAs Matthew Bannister has recently suggested in these pages (see Popular Music, 25/1), The Smiths stand at the head of a 1980s Indie canon based on its rejection of a commodification associated with contemporary black US musics. This article argues that this racial understanding has also bled into the band’s critical reception, encouraging many to assume that Morrissey and Marr drew on exclusively white influences. Specifically, I argue that the white camp icons from the 1950s and 1960s who famously adorn the band’s record sleeves together form a kind of smokescreen, or ‘beard’, which stokes interest in Morrissey’s sexual predilections and orients it away from his and Marr’s Black Atlantic sources. The pre-immigrant Britain summoned up by these icons, I argue, helps prevent fans and critics alike from grasping that Morrissey’s lyrical attempts to find humour and succour by remembering pain is profoundly inspired by the African-American form of the Blues.
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Moore, James Ross. "The Gershwins in Britain." New Theatre Quarterly 10, no. 37 (February 1994): 33–48. http://dx.doi.org/10.1017/s0266464x00000075.
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Overwhelmingly, the British reputation of George Gershwin is as a ‘serious’ composer: but this is liable to obscure not only the contributions he and his brother Ira made to the popular music theatre in Britain, but also, conversely, the British influences upon this seemingly all-American pair. George was profoundly influenced by that pre-eminent American Anglophile of his time, Jerome Kern, while British influences upon the semi-scholarly Ira extended far beyond W. S. Gilbert and P. G. Wodehouse. After ‘Swanee’ swept Britain in 1920, and George had honed his art and craft by writing the score for the West End revue, The Rainbow (1923), came the musical comedy, Primrose (1924) – its score his first to be published, and including some of his earliest orchestrations. A prototype of the frivolous comedies of the era, Primrose marked the first time the brothers were billed together as the Gershwins, since Ira had earlier written as ‘Arthur Francis’: it was also the immediate precursor of their first great Broadway hit, Lady, Be Good! Finally, in 1928, Ira collaborated, without George, on the London show That's a Good Girl – though Damsel in Distress, the brothers' last film musical, was a valedictory to the British-American musical comedy of the era. James Moore's earlier transatlantic study, of Cole Porter in Britain, appeared in NTQ30 (1992), and his Radio Two programme on the revue producer André Charlot was broadcast in October 1993.
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Helmiawan, Martinus. "Bossa Nova: the reinvention and reinvigoration of samba in the 1950s." Paradigma, Jurnal Kajian Budaya 3, no. 2 (February 16, 2016): 169. http://dx.doi.org/10.17510/paradigma.v3i2.42.
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<p>In a society where music becomes the core of its people’s life, many discourses emerge and root in music. In Brazil, for instance, samba as the national music represents the chronicle of the Brazilians, which starts from the slavery in eighteenth century. However, at the start of the era of Brazil’s modernism in 1950s, samba was deemed stagnant. It was unable to cope with the fast developments of Brazil’s politics, societies, and cultures. This essay observes the history of samba, investigates the reasons why samba becomes stagnant and reviews the efforts made to revitalize it through the invention of Bossa Nova. In the process of redefining samba, American jazz plays an important role as the agent which brings modernity and revolution to the original samba. The ideology of the Brazilian urban middle class is also important, as well as Brazilian 1950s musicians’ efforts such as Antonio Carlos Jobim, Joao Gilberto, or Vinicius de Moraes. This paper aims to analyze Bossa Nova’s contributions in revitalizing and redefining samba, with its jazz influence which could be traced from the ideology of the Brazilian urban middle class. The paper also highlights the contradiction between foreign influences and traditional heritages in the music.</p>
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Friedman, Monroe. "Commercial Influences in Popular Literature: An Empirical Study of Brand Name Usage in American and British Hit Plays in the Postwar Era." Empirical Studies of the Arts 4, no. 1 (January 1986): 63–77. http://dx.doi.org/10.2190/x7qy-ekka-2v29-qga3.
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This article examines the impact of commercial practices on popular American and British literature by analyzing the usage made since World War II of brand names and generic names in the scripts of a selected set of hit plays performed on the New York stage and the London stage. Taken together with the results of an earlier study on popular American novels, the findings lend support to the charges of increasing commercial influence in the popular literature of the postwar era. The findings also underscore the significance of earlier conceptualizations such as “word-of-author advertising” as well as commercial and non-commercial forms of materialism.
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Miller, Brian A. "Leonard Meyer’s Theory of Musical Style, from Pragmatism to Information Theory." Resonance 2, no. 4 (2021): 475–502. http://dx.doi.org/10.1525/res.2021.2.4.475.
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Despite its ubiquity in both academic and popular discourses on music, the concept of musical style last received in-depth scholarly treatment three decades ago, in music theorist Leonard Meyer’s final book, Style and Music of 1989. Meyer’s text remains widely cited today, but its date obscures the even earlier origins of its central concerns in Meyer’s work of the 1950s and ’60s. Indeed, Meyer developed his most enduring ideas amidst an array of momentous intellectual changes, not least of which were the rise (and fall) of information theory and cybernetics, and the transition from behaviorist to cognitive psychology, both of which impacted his work and legacy in lasting ways. While Meyer’s general understanding of musical style remained largely consistent across his career, this essay examines a series of subtle shifts in the details of his conception as his intellectual focus shifted from pragmatist philosophy to a wholesale engagement with information theory to, eventually, cognitive psychology. Meyer’s most important early influences were American pragmatists like John Dewey and Morris R. Cohen, but already by 1957 he argued for a continuity between the mathematical structure of Markov chains and the pragmatist theories of meaning and emotional response on which his famous Emotion and Meaning in Music (1956) was based. While explicit mention of information theory soon dropped out of his writings, I show how information and computation continue to resonate throughout his later works and, thus, how they live on in current music-theoretical notions of style.
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Grimaud, Michel. "Reference and Preference in Narrative: Sherwood Anderson's Winesburg, Ohio." Empirical Studies of the Arts 7, no. 1 (January 1989): 33–43. http://dx.doi.org/10.2190/6p86-wve2-3y3v-p06l.
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In story and discourse proper names may be seen as one of five basic choices confronting the text producer: proper name (given name, surname); specific description (the tall one); classifier (the woman); pronoun (they); and zero anaphora. In Grimaud [1, 2], I studied cross-cultural (Hungarian and American) strategies in the use of those categories; in the present article, I look at some of the psychological implications of the various possible category choices by having twenty-five students comment on their preferences for one of the three versions of Sherwood Anderson's short story “The Strength of God” (in Winesburg, Ohio, 1919); a proper name only, a description only, and the mixed original version. Two influences dominated: a “friendliness” factor of proper names or descriptions (depending upon subject) and expectations concerning text coherence. Seven narrative maxims are postulated to account for the socio-cultural influences on preference for names in narrative.
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Takeshi, Kensho. "American Educational Influences on Japanese Music Education from the End of World War II (1945) to the First Tentative Course of Study (1947)." Bulletin of Historical Research in Music Education 19, no. 2 (January 1998): 115–37. http://dx.doi.org/10.1177/153660069801900203.
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Filatova, Tetiana. "Academic Performing Traditions of Chilean Guitar Art." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 131 (June 30, 2021): 26–37. http://dx.doi.org/10.31318/2522-4190.2021.131.243205.
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The relevance of the article lies in the systematization of the phenomena of the Chilean academic guitar art, the study of the national origins of the performing school, its principles, achievements, transcultural processes and their mutual influences, which led to the popularization of the instrument on the Latin American continent. The purpose of the article is to create an overview panorama of the development of the academic traditions of Chilean guitar performance, to identify trends in the formation and genealogy of successive ties between generations of soloists. The methodology includes methods of historical, systemic, as well as comparative analysis (for contextual consideration of the creative activities of famous performers, the formation of a national guitar school, the detection of successive ties between different generations of musicians, the study of the influence of the Spanish academic tradition, Latin American everyday practice of playing and the specifics of playing music on ancient guitar-like instruments of the Baroque era). Results and conclusions. The cultural and historical panorama of the formation and development of the Chilean academic guitar school of the 20th— early 21st centuries is investigated. The principles and main vectors of the pedagogical activity of its key representatives — Liliana Perez Corey, Luis Lopez, Oscar Ohlsen are characterized. A “genealogical tree” of creative contacts and successive ties between guitarists of different generations has been built. It is concluded that the academic traditions of the Chilean guitar music of the 20th century were formed in the general direction of the development of transcultural phenomena. The performing discourse developed in a complementary way: under the influence of the most famous Spanish classical guitar school that dominates the world (F. Tarrega, A. Segovia, E. Pujol); in the conditions of indirect interaction with the Latin American everyday practice of playing (Argentinean, Uruguayan, Chilean) and the experience of playing music on ancient authentic European instruments (lute, vihuela, baroque guitar). It is noted that as a result of the intensification of creative exchange in the institutional, concert, and festival spheres, at the end of the twentieth century, a representative generation of virtuosos and teachers of classical guitar arose in Chilean culture. Chilean guitarists, no matter in which of the spheres their personal interests were fixed — European old, classical-romantic, modern music or Latin American popular, folklore tradition — put forward the creativity of their compatriots and contemporaries to the leading positions. The appearance of a large number of albums of Chilean guitar music performed by J. A. Escobar, J. Contreras, M. Valdebenito, J. A. Sanchez, L. Orlandini, E. Espinoza, E. Salazar, D. Castro is evidence of close and effective cooperation between virtuosos and domestic composers.
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Avery, Tamlyn. "“Split by the Moonlight”: Beethoven and the Racial Sublime in African American Literature." American Literature 92, no. 4 (October 6, 2020): 623–52. http://dx.doi.org/10.1215/00029831-8780863.
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Abstract As Nathan Waddell has recently argued of the literary modernists whose aesthetic incorporation of the Beethovenian legend complicates the dominant view of modernism as an antitraditionalist enterprise, Ludwig van Beethoven’s music has in fact left a more significant and complicated mark on African American literature relating to the sublime properties of his musical aesthetic than has previously been recognized. As a point of departure, I apply Michael J. Shapiro’s definition of the racial sublime as a confrontation with the “still vast oppressive structure that imperils black lives” to the setting of twentieth-century African American literature, where Beethoven’s Romantic sublime often stands in for the racial sublime. This transference, I argue, is not an expression of the artist’s repressed instinctual conflict, the mere sublimation of their devotion to “white” culture and the cult of genius, as Amiri Baraka once suggested. Rather, Beethoven’s music formed a persistent and powerful political allegory of the racial sublime for many prominent twentieth-century authors in their literary works, where the sublime constitutes a sublimation of direct forms of power into a range of aesthetic experiences. This can be observed in the Beethovenian ekphrasis featured in prose works by James Weldon Johnson, Langston Hughes, James Baldwin, and Ralph Ellison—four writers whose works have also been considered indebted to blues and jazz musical influences and who approach the racial sublime not through language but by appealing to music’s nonsignifying suggestiveness, in order to capture the intensities that radiate out of these encounters. As this article reveals, their allegorical uses for Beethoven are not unitary. The forcefield of the racial sublime is registered allegorically through the performative sublime of Sonata “Pathétique” in Johnson’s The Autobiography of an Ex-Colored Man (1912); the sublime melancholy of the “Moonlight” Sonata in Hughes’s tragic short story “Home” (1934); the spiritual sublime of Beethoven’s piano concerti and the Ninth Symphony in Baldwin’s short story “Previous Condition” (1948); and the heroic sublime of the Fifth Symphony in Ellison’s bildungsroman Invisible Man (1952).
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McKay, Jim, and Toby Miller. "From Old Boys to Men and Women of the Corporation: The Americanization and Commodification of Australian Sport." Sociology of Sport Journal 8, no. 1 (March 1991): 86–94. http://dx.doi.org/10.1123/ssj.8.1.86.
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Although there are obvious American influences on Australian popular culture, the term “Americanization” is of limited help in explaining the elaborate form and content of Australian sport. The recent transformation from amateur to corporate sport in Australia has been determined by a complex array of internal and international social forces, including Australia’s polyethnic population, its semiperipheral status in the capitalist world system, its federal polity, and its membership in the Commonwealth of Nations. Americanization is only one manifestation of the integration of amateur and professional sport into the media industries, advertising agencies, and multinational corporations of the world market. Investment in sport by American, British, New Zealand, Japanese, and Australian multinational companies is part of their strategy of promoting “good corporate citizenship,” which also is evident in art, cinema, dance, music, education, and the recent bicentennial festivities. It is suggested that the political economy of Australian sport can best be analyzed by concepts such as “post-Fordism,” the globalization of consumerism, and the cultural logic of late capitalism, all of which transcend the confines of the United States.
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Bergee, Martin J., and Melvin C. Platt. "Influence of Selected Variables on Solo and Small-Ensemble Festival Ratings." Journal of Research in Music Education 51, no. 4 (December 2003): 342–53. http://dx.doi.org/10.2307/3345660.
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With this study, we examined four potential influences on American high school solo and. small-ensemble festival adjudicator ratings—time of day, performing medium (vocal or instrumental), type of event (solo or ensemble), and school size. A total of 7,355 instrumental and vocal events from two consecutive midwestern state solo and ensemble festivals were analyzed. The two festivals, held in 2001 and 2002, employed 75 adjudicators (33 vocal and 42 instrumental). Statistically significant differences were found in the main effects of time of day, type of event, and school size. The averages rating for all events moved toward “Superior” (“I”) as the day progressed. This tendency, found in all size classifications except the largest, was most prevalent among events from mid-size schools. Large-school events received higher average ratings than did small-school events. Although preliminary analyses showed that small-school events were disproportionately held during morning hours, the interaction between time of day and school size was not significant. Significant time-of-day by performing-medium (vocal/instrumental) and type-of-event (solo/ensemble) by performing-medium interactions were found. The two performing media seemed to mirror each others rating patterns. Vocal ensemble events were more likely to receive a superior rating than were vocal solo events, whereas the opposite was true for instrumental events. Similar time-of-day tendencies were found in both festivals, despite almost entirely different adjudicators. Representing a more even mix of public school and college teachers and selected based on different criteria, the 2002 adjudicators awarded significantly more Superior ratings.
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Loktіonova-Oitsius, Oleksandra. "POPULAR MUSICAL TELEVISION PROJECTS OF THE LATE XX – EARLY XXI CENTURIES." EUREKA: Social and Humanities, no. 5 (September 30, 2020): 3–8. http://dx.doi.org/10.21303/2504-5571.2020.001425.
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The article is devoted to the study of the general state of television in the field of music performance. The most popular musical television programs and vocal shows are considered. The purpose of the work is to identify the features of music TV projects, comparing with world models and highlighting the typical features of the musical television space. The research methodology consists in applying the general principles of scientific knowledge that correspond to modern cultural discourse. The formation of musical and television projects in the context of changes in the social mentality of the consumer of mass culture is considered. Television is interpreted as a means of approaching the global process closer to a person, that is, a consumer communicates with world-wide examples of popular art, music television projects, vocal show projects and etc. It creates the preconditions for imitation of the best world models of music TV projects in Ukraine. The article first analyzes the interconnection of Ukrainian music television projects as analogues to such worldwide shows as "The Voice", "The X factor", "American Idol". Vocal talent shows are considered as combining the elements of a “game show” and a “perfection / transformation show”, promoting the development of the educational component, namely, the formation of educational activity through comments and advice of judges, classes with participants between performances, determination of the most successful performances, concert practice and etc. It was determined, that the vocal repertoire consists of the most popular world and national hits, which reflects the demand of the audience. It was noted, that the viewer influences the selection of participants in a music television project and functions as an additional judge. So, the article focuses on the structure and content of musical television projects, defines the values of such projects as the communication space of culture between the audience, the artistic and performing component, and the national and world music culture as a whole. Music television projects are part of the general educational context for the development of media art and have a scientific, artistic and educational potential for study.
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WALDEN, JOSHUA S. "“The Hora Staccato in Swing!”: Jascha Heifetz's Musical Eclecticism and the Adaptation of Violin Miniatures." Journal of the Society for American Music 6, no. 4 (November 2012): 405–31. http://dx.doi.org/10.1017/s175219631200034x.
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AbstractJascha Heifetz (1901–87) promoted a modern brand of musical eclecticism, recording, performing, and editing adaptations of folk and popular songs while remaining dedicated to the standard violin repertoire and the compositions of his contemporaries. This essay examines the complex influences of his displacement from Eastern Europe and assimilation to the culture of the United States on both the hybridity of his repertoire and the critical reception he received in his new home. It takes as its case study Heifetz's composition of the virtuosic showpiece “Hora Staccato,” based on a Romany violin performance he heard in Bucharest, and his later adaptation of the music into an American swing hit he titled “Hora Swing-cato.” Finally, the essay turns to the field of popular song to consider how two of the works Heifetz performed most frequently were adapted for New York Yiddish radio as Tin Pan Alley–style songs whose lyrics narrate the early twentieth-century immigrant experience. The performance and arrangement history of many of Heifetz's miniatures reveals the multivalent ways in which works in his repertoire, and for some listeners Heifetz himself, were reinterpreted, adapted, and assimilated into American culture.
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Herbst, Jan-Peter. "The formation of the West German power metal scene and the question of a ‘Teutonic’ sound." Metal Music Studies 5, no. 2 (June 1, 2019): 201–23. http://dx.doi.org/10.1386/mms.5.2.201_1.
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Despite being one of the oldest and largest metal nations, little research on metal music from Germany exists. This article focuses on the formation of the West German power metal scene. This subgenre was one of the first to be played in Germany, and bands such as Helloween, Running Wild, Gamma Ray and Blind Guardian produced a characteristic German sound that was to become famous worldwide. Based on interviews with music producers, musicians, journalists and academics, this study analyses stylistic musical features of (German) power metal, the artists’ influences and their different aspirations for international success. The findings suggest that a characteristic German power metal sound emerged in the 1980s and 1990s that might be called ‘Teutonic’. Germany was amongst the first countries to burst out countless successful power metal bands before the genre spread to other parts of the world. No standards existed in those days, and production resources were limited and individual. This restricted infrastructure – the unique characteristics of a few recording studios along with the small circle of professional musicians, engineers and producers – has shaped the classic German power metal sound. With standardization of production resources, new techniques and consequences of globalization such as internationally operating record labels, American culture in public media and increased English language skills, these national characteristics gradually diminished.
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Antonova, Olena. "Violin concerto by Gian Carlo Menotti: at the intersection of opera and instrumental genres." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 135 (December 26, 2022): 81–95. http://dx.doi.org/10.31318/2522-4190.2022.135.271007.
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The relevance of the study is to study the instrumental works by G. С. Menotti, known worldwide primarily as an opera composer. His four concerts, unfortunately, did not receive such recognition as his operas, unfairly remaining in the shadow of the latter. The Violin Concerto, which was recorded only twice in the first 44 years after its premiere in 1952, is no exception. Performing interest in this work intensified in the late twentieth century, but scientific research is still isolated, and they do not cover the question: whether the interpretation of a purely instrumental genre influenced the opera aspirations and skills of the composer and if so, how?
The main objective of the study is to trace the interaction of opera and instrumental principles in Menotti's Violin Concerto and to identify the peculiarities of the interpretation of the chosen genre due to such interaction.
The methodology includes historical (to consider circumstances of the creation and the performance of the concerto), comparative (to identify common features in the theme and compositional organization of the concert and the opera "Amal and Night Guests"), as well as structuralfunctional, genre-style and intonational-dramatic methods (for a comprehensive analysis of the work).
Results and conclusions. Menotti's Violin Concerto is considered in the aspect of opera influences due to the author's many years of experience in the field of theatrical music. The lack of dissemination of the work in the world of violin was stated, the names of its performers were given — from the premiere to the present. The structure and figurative content of the concert are characterized, the ratio of typical and atypical genre features is indicated, the presence of elements of end-to-end tonal and thematic development within the cycle is emphasized. The properties of music themes, which reflect the typical for Menotti operas mixed type of vocal intonation with a combination of cantilena and declamatory phrases, are analyzed. The figurative-thematic connection between the concert and opera works of the composer is traced, in particular, by comparing certain episodes of the Violin Concerto and the opera «Amal and Night Guests». Theatrical influences at the compositional and dramaturgical level, such as «cadre» fragmentation of sections and frequency of their changes in the opening and closing movements of the concert, proximity to the end-to-end opera stage in the middle part, are revealed. An analogy between the ratio of solo and orchestral parts in concert and in Menotti's operas is made. Emphasis is placed on the leading role of the violin solo in the concert, which is determined by the exposure of most music themes in its part, virtuosity of presentation, the presence of a large number of purely solo episodes, including two cadences. At the same time, it is noted that the originality of Menotti's concert is not only due to opera influences, but also to the dedicate the work for a specific performer — the American violinist Efrem Zimbalist. The close cooperation of the two musicians affected the character of the solo part in the concert and, indirectly, its music content.
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Jovanovic, Jelena. "Folklore motives in the early compositions of Nikola Borota - Radovan." Muzikologija, no. 16 (2014): 173–92. http://dx.doi.org/10.2298/muz1416173j.
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The creative work of Nikola Borota - Radovan (musician, composer, lyricist, arranger and record producer, based in New Zealand - formerly from Yugoslavia) held a specific place in development of world music (poly)genre in his native homeland in the early 1970s. This study focuses on his creative principles, applied to works published between the years 1970 and 1975 (while the role of these works in social, cultural and political context of the time and place will be elaborated in another study, see Jovanovic 2014). The platform established to present this unique musical approach authenticaly was called kamen na kamen (a studio and stage outfit that has included number of collaborations over many years). Based on the musical models and aethetics of the folk revival and created under influence of The Beatles?, in adition to many other popular music production directions of the era, Borota?s works reveal significant musical, performance and production qualities, innovative expression and musical solutions, that need to be percieved from the contemporary (ethno)musicological point of view. Despite the fact that many prominent creative Yugoslav musicians of the time also worked within a similar framework I would argue that Mr. Borota?s creative outcome was signifficantly different from other Yugoslav popular music creative efforts. This is particularly noticeable in the author?s unique treatment of South-European and other folklore motives, which is the main topic of this study. Folk (ethnic) idioms exploited by Mr. Borota in his compositions originate from the rural traditions of western Dinaric regions. This is especially true for the rhythmic formations of deaf or silent dance; for the semi-urban and urban tradition of the Balkans and the Mediterranean; Middle European traditions; traditions from non-European peoples; elements of Italian Renaissance; and international (mostly Anglo-American) musical models. Compositions are analysed partly in accordance with the principles presented by Philip Tagg (1982), and following the principles of the ?Finnish method? in ethnomusicology. According to my best knowledge, there was no previous comparable (ethno) musicological ellaboration of folk revival, Beatlesque influences and early forrays into world music within Yugoslav popular music culture. I therefore consider this study to be the first contribution to the research in this subject.
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Milanina, Aliona. "ЕErnest Chausson: periodization of artistic path in the context of the style formation." Aspects of Historical Musicology 27, no. 27 (December 27, 2022): 112–28. http://dx.doi.org/10.34064/khnum2-27.07.
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Statement of the problem. In the history of French music the work of Ernest Chausson (1855–1899) played a connecting role between the late romanticism of S. Franck and the early impressionism of C. Debussy. The personality and work of the French composer are sufficiently deeply studied in European and American musicology; it is natural for Ukrainian researchers to join the process of this study. Despite the outstanding importance of the composer’s work in both French and world music, there are no problematic studies devoted to the study of his legacy in domestic science. The music of the French master, in particular, vocal music, remains little-known in Ukraine. One of the debatable issues of studying the work of E. Chausson is the periodization of his legacy, since the discrepancies existing in the works of researchers hinder the understanding of his creative evolution. After all, the chronological distribution of the artist’s work takes into account complex historical, socio-psychological and artistic processes, as well as the specificity of his creative method and related stylistic changes. The purpose of the article is to summarize the known periodizations of E. Chausson’s work and to develop synthesized one in order to remove existing disagreements. Solving this innovative task required the study of a number of works of foreign scientists using historical, historiographical, comparative approaches, as well as genre and style analysis when referring to the creative work of E. Chausson.Information on the periodization of E. Chausson’s creative heritage is provided both by encyclopedic publications (Warszawski, 2005; Latham, 2009, etc.), and by some scholars who refer to the music of E. Chausson (Chiang, 2006; Moroncini, [2022]; Hanon, 2022). At the same time, certain chronological differences can be traced in the information provided by scientists. Results and conclusions. The application of the basic position of domestic musicology regarding the change of the “intonational image of the world” as a criterion for distinguishing historical periods (Chekan, 1997) and the experience of foreign scientists made it possible, as a result, to prove the feasibility of dividing E. Chausson’s work into three periods: early (1877–1886), where tangible lateromantic influences of J. Massenet, S. Frank and R. Wagner, middle, mixed, (1886–1889), marked by the interaction of late-romantic and impressionistic traits, and the final (1889–1899) stage of formation of the composer’s individual style. Such a periodization, without excluding existing ones, will contribute to a clearer understanding of E. Chausson’s creative evolution, which should facilitate the work of a musician-performer.