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1
Handayani, Diah. "Political Identity, Popular Culture, and Ideological Coercion: The Discourses of Feminist Movement in the Report of Ummi Magazine." Jurnal Pemberdayaan Masyarakat: Media Pemikiran dan Dakwah Pembangunan 5, no. 1 (June 18, 2021): 185–210. http://dx.doi.org/10.14421/jpm.2021.051-08.
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This research examines the rise of Islamic populism in Indonesia and understands it as an instrument to clear a new pathway for populism movement into popular culture. Ummi magazine is one of the religious media used to be political vehicles of stablishing constituencies, especially for the Tarbiyah movement in the Soeharto era to the current tendency to popularize the Tarbiyah identity as a new lifestyle. Historically, The Tarbiyah movement in Indonesia is a social and political movement among Indonesian Muslimah students, especially activists in the Suharto period. Muslim middle class entrepreneurs launched a campaign of ‘economic jihad. This research uses a qualitative approach by interpreting and studying the data contained in Ummi Magazine. Media studies were carried out in the January 2017 to 2018 editions. The data obtained were described and associated with the magazine's transformation as an ideological medium and Muslim women's lifestyle today. The result shows that the magazine's transformation from ideology magazine to lifestyle magazine can influence readers because there are more new readers. Whether Ummi as a media for da'wah and a women's magazine, it is still perceived by the readers to apply ideological coercion or simply provide an alternative lifestyle or consumption where religious independence is the main characteristic of the magazine. We argue that Islamic populism is mainly a medium for coercion ideology to gain tracks to power, while the poor remain as ‘floating mass’, and entrapped in many so-called 'empowerment' projects. Populism can be interpreted as a communication style in which a group of politicians considers themselves to represent the people’s interests contrasted with elite interests. Nevertheless, the populism approach is gaining momentum. Abdullah, I. (1996). Tubuh, Kesehatan, dan Struktur yang Melemahkan Wanita. Kumpulan Makalah Seminar Bulanan. Pusat Penelitian Kependudukan UGM.Al-Abani, S. M. N. (1999). Jilbab Wanita Muslimah. Pustaka At-Tibyan.Ahmed, L. (1992). Women and Gender in Islam: Historical Roots of Modern Debate. Yale University Press.Al-Ghifari, A. (2005). Kerudung Gaul, Berjilbab Tapi Telanjang. Mujahid Press.Armbrust, W. (2000). ‘Introduction’, Mass Mediation: New Approaches to Popular Culture In The Middle East and Beyond. University California Press.Askew, K. (2002). ‘Introduction’, The Anthropology of Media: A Reader.Blackwell.Astuti, S. N. A. . (2005). Membaca Kelompok Berjilbab Sebagai Komunitas Sub Kultur. Universitas Gadjah Mada.BPS. (2017). Statistika Pendapatan. BPS Publication. Banet-Weiser, S. (2006). “I just want to be me again!”: Beauty pageants, reality television and post-feminism. Feminist Theory, 7(2), 255–272. https://doi.org/10.1177/1464700106064423Banna, H. (2011). Majmu’ah Rasail Al Iman As Syahid (Risalah Pergerakan Ikhawanul Muslimin. Era Intermedia. Barthel, D. (1976) . The Impact of Colonialism on Women’s Status in Senegal.Ph.D Dissertation, Harvard University.Barthes, R. (1977). Image, Music, Text. Fortana Press.Bertrand, I., & Hughes, P. (2005). Media Research Methods: Audiences, Institutions, Texts. Palgrave Mecmillan.Bordo, S. (1995). Unbearable Weight : Feminism, Western Culture, and The Body. University of California Press.Branner, S. (1995). Why Women Rule the Roost: Rethiking Javanese Ideologies of Gender and Self-Control. In Bewitching Women, Pioner Men. University of California Press.______. (1996). ‘Reconstructing Self and Society, Javannese Muslim Women and The Veil’. American Ethnologist.Bruneinessen, M. v. (2002). ‘Genealogies of Islamic Radicalism in Post-Suharto Indonesia’. South East Asian Research. Champagne, J. (2004). Jilbab Gaul. Bali. Latitudes, 46, 114-123.Damanik, A. S. (2000). Fenomena Partai Keadilan: Transformasi 20 Tahun Gerakan Tarbiyah di Indonesia. Mizan.Durkin, K. (1985). Television and Sex Role Acquisition I: Content’. British Journal of Social Psycology, 24, 102-113.Effendi, B. (2003). ‘Islam Politik Pasca Suharto’. Refleksi, 5(2).El-Guindi, F. (1991). Veil, Modesty, Privacy, and Resistance. Berg.Frederick, W. H. (1982). Rhoma Irama and The Dangdut Style: Aspects of Contemporary Indonesian Popular Culture. Indonesia, 34, 103-130.Featherstone, M. (2001). The Body in Consumer Culture. In The Body: Social Process and Cultural Theory. SAGE Publication.Foucault, M. (1981). The Order of Discourse. Routledge and Keagon Paul.Fukuyama, F. (2018). Against Identity Politics. Foreign Affairs, Sptember/October, 1-25.Gough, Y. A. (2003). Understanding Women Magazine. Routledge.Gautlett, D. (2002). Media, Gender, and Identity: An Introduction. Routledge.Geetzt, C. (1973). The Interpretation of Culture. Verso.Gill, R. (2009). Mediated Intimacy and Post Feminism: a Discourse Analytic Examination of Sex and Relationship advice in Woman’s Magazine. Discourse and Communication Journal, 3(4), 345-369. https://doi.org/10.1177/1750481309343870Gramsci, A. (1992). Selection from The Prison on Notebooks. International Publisher.Gorham, B. W. (2004). The Social Psychology of Stereotypes: Implications for Media Audiences. In Race/Gender/Media: Considering Diversity Across Audiences, Content, and Producers. Pearson.Hall, S. (1997). The Work Of Representation. In Representation: Cultural Representations and Signifying Practices. SAGE Publication.Handayani, D. (2014). Performatifitas Muslimah dalam Majalah Ummi. At-Tabsyir. Jurnal Komunikasi Penyiaran Islam, 2(1), 73-98. http://doi.org/10.21043/at-tabsyir.v2i1.461.Hanifah, U. (2011). Konstruksi Ideologi Gender pada Majalah Wanita (Analisis Wacana Kritis Majalah Ummi). KOMUNIKA: Jurnal Dakwah dan Komunkasi, 5(2), 199-220. https://doi.org/10.24090/komunika.v5i2.170Imdadun, R. (2005). Arus Baru Iislam Radikal: Transmisi, Revivalisme Islam Timur Tengah ke Indonesiaan. Erlangga.Itzin, C.(1986). Media Images of Women: The Social Construction of Ageism and Sexism. In Feminist Social Psycology: Developing Theory and Practice. Milton Keynes. Open University Press.Kailani, N. (2008). Budaya Populer Islam di Indonesia: Jaringan Dakwah Foru Lingkar Pena. Jurnal Sosiologi Reflektif, 2(3). Kellner, D. (1995). Cultural Studies, Identities and Politics Between The Modern and Postmodern. Routledge.Machmudi, Y. (2006). Islamizing Indonesia: The Rise of Jamaah Tarbiyah and The Presperous Justice Party (PKS). PhD Dissertation, Australia National University.Maulidiyah, L. (2014). Wacana Relasi Gender Suami Istri dalam Keluarga Muslim di Majalah Wanita Muslim Indonesia. Universitas Airlangga.Parihatin, A. (2004). Ideologi Revivalisme Islam dalam Majalah Perempuan Islam (Analisis Wacana pada Majalah Ummi). Universitas Indonesia. Qadarawi, Y. (2004). Al Islamu wal Fannu. Islam Bicara Seni. Era Intermedia. Qutb, S. (1980). Ma’alim fi Al Tariq (Petunjuk Jalan-Milestone). Media Dakwah.Rozak, A. (2008). Citra Perempuan dalam Majalah Wanita Islam UMMI. Jurnal Penelitian Agama. VXII(2), 332-354.Storey, J. (2010). Culture and Power in Cultural Studies: The Politics of Signification. Edinburg University Press.Ulfa, N. M. (2016). Dakwah Melalui Media Cetak (Analisis Isi Rubrik Mutiara Islam Majalah Ummi). Islamic Communication Journal, 1(1), 73-89.
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Junko, Kitagawa. "Some aspects of Japanese popular music." Popular Music 10, no. 3 (October 1991): 305–15. http://dx.doi.org/10.1017/s0261143000004669.
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In 1959, the Conlon report, a presentation of United States government policies in relation to Asian cultures, stated the following about Japanese culture (in a section titled ‘Social change’):Developments within and among the various Japanese social classes suggest the dynamic, changing quality of modern Japan … No area of Japan, moreover, is beyond the range of the national publications, radio, and even TV. New ideas can be quickly and thoroughly disseminated; it is in this sense that Japanese culture can become more standardised even as it is changing. Many of the changes look in the direction of the United States; in such diverse fields as gadgets, popular music, and fashions. American influence is widespread. And this is but one evidence of the general desire to move away from the spartan, austere past toward a more comfortable, convenient future.
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Yasiuk, Tamara. "Ritualism in Ethnic and Popular Culture: Social and Historical Aspects." Folk art and ethnology, no. 4 (December 30, 2022): 89–94. http://dx.doi.org/10.15407/nte2022.04.089.
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The symbiosis of popular and ethnic culture from the point of view of ritualism is considered in the article. The regularities of spread of various influences of ritualism on modern Ukrainian popular culture are pointed out. The system-functional method is used in the work to analyze the balance of ritualism in modern popular music. The peculiarities of its implementation are followed. The purpose of the article is to consider the symbiosis of popular and ethnic culture from the point of view of ritualism, to analyze the stylization of musical archaism in modern variety art, which is the origin of new forms and their integration in the modern art system. The regularities of spread of various influences of ritualism on modern Ukrainian popular culture are studied. Song samples and creative projects of popular culture are systematized according to folk ritualism. The main trends in the use of the ritualistic factor in modern variety music are described.
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FAIRCHILD, CHARLES. "The medium and materials of popular music: ‘Hound Dog’, turntablism and muzak as situated musical practices." Popular Music 27, no. 1 (December 13, 2007): 99–116. http://dx.doi.org/10.1017/s0261143008001499.
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AbstractPopular music studies has rarely exhibited the kinds of disciplinary coherence found in closely related disciplines mostly due to the field’s adoption and adaptation of methodological and theoretical innovations from a variety of disciplines, notably sociology, cultural studies, anthropology, media studies and musicology. However, many commentators continue to seek disciplinary coherence without making any critical aesthetic distinctions between the medium and materials of popular music. Distinctions and interrelationships between the literal or material aspects of popular music and the social or cultural processes of making meaning from popular music are central to the definition of a particular but not exclusive field of analysis. Through such distinctions, the very category ‘popular music’ can be understood as a more flexible and supple distinction based on an understanding of methods of construction, production and mediation in specific relation to the technical, contextual and sociological aspects of music. I use different performances of ‘Hound Dog’, the practices of ‘turntablism’, and the exigencies of Muzak as examples for analysis offering ways in which the aesthetic, material and contextual aspects of popular music can be understood in order to incorporate the actual sound of music into the analysis of its social, cultural and musical construction.
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Powell, Bryan. "Community music interventions, popular music education and eudaimonia." International Journal of Community Music 00, no. 00 (February 24, 2021): 1–23. http://dx.doi.org/10.1386/ijcm_00031_1.
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The fields of community music and popular music education have expanded rapidly over the past few decades. While there are many similarities between these two fields, there are aspects that set these two areas of practice apart. This article seeks to explore the intersections of community music interventions and popular music education to explain how they are similar and in which ways they are unique. This discussion centres on examinations of facilitation, ownership of music, training and certification, inclusivity, life-long music making, amateur engagement, informal learning and non-formal education, and social concerns. The Greek philosophy of eudaimonism, understood as ‘human flourishing’ is then used to explore the opportunities for human fulfilment through popular music education and community music approaches.
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Junior, Jeder. "Música popular massiva e gêneros musicais: produção e consumo da canção na mídia." Comunicação Mídia e Consumo 3, no. 7 (September 23, 2008): 31–47. http://dx.doi.org/10.18568/cmc.v3i7.69.
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Este artigo parte do pressuposto de que a análise midiática da música popular massiva é uma contribuição importante para a compreensão do papel que as canções ocupam na cultura e comunicação contemporâneas. Nesse sentido, acredita-se que as dimensões plásticas e materiais da música massiva, como a performance, a voz, o corpo e o ritmo, estão diretamente ligadas às definições de canção popular massiva e gêneros musicais, bem como às estratégias de produção de sentido desses formatos. Desse modo, a canção é considerada ponto de partida para a abordagem dos aspectos sociais e culturais inscritos nas condições de consumo da música popular massiva como fenômeno comunicacional.
Palavras-chave: Música popular massiva; gêneros musicais; canção popular massiva.
ABSTRACT
This article presents the idea that analytical methods developed within the notion of popular music within mass culture are an important contribution for the comprehension of the role that popular music pays in our dayly lives. The proposed methodology seeks to valorize plastic aspects of popular music, as well its media aspects. Our work will draw upon notions of performance, voice, body and rhythm and their links with the notions of popular music and musical genres. Then, popular music is a starting point for the comprehension of social and cultural aspects present in the realms of production and consumption of popular music.
Keywords: Popular music within mass culture; musical genres; popular song within mass culture.
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Zmudzińska, Kamila, and Roman Matykowski. "Spatial and social aspects of the impact of Pol’and’Rock Festival and Jarocin Festival in Poland." Journal of Geography, Politics and Society 13, no. 2 (September 29, 2023): 46–66. http://dx.doi.org/10.26881/jpgs.2023.2.05.
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Among the popular music festivals operating in Poland in the last forty years, two of them played a special role, especially for their young recipients of amplified music. The first of them was the Rock Festival in Jarocin (it had different names) functioning in the years 1980–1994, so still in the period of communist authorities. Reactivated in 2005, it recently operates under the name Jarocin Festival and uses the legend of the event from the 1980s. In the new socio-political conditions, the second important event, the Pol’and’Rock Festival (called Woodstock Station in 1995–2017), began to function in 1995, which in the late 1990s exceeded 100,000 participants and became the largest popular music event in Poland. The aim of the study is to characterise the impact of these two important popular music festivals in Poland at the turn of the second and third decade of the 21st century in the spatial and socio-cultural dimensions on the community of its participants. Referring to the traditional chorological paradigm of human geography, an analysis of the differentiation of the territorial impact of festivals was made, and using patterns immersed in social geography-oriented music research, factors motivating to participate in festivals were determined.
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Alvarenga, Claudia Helena Azevedo, and Tarso Bonilha Mazzotti. "Samba as Representation of Brazilianness in the Popular Songs Rhetoric." Per Musi, no. 39 (September 12, 2019): 1–12. http://dx.doi.org/10.35699/2317-6377.2019.15152.
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This article aims to examine the hegemonic representations of what is said “to be Brazilian”. It proposes the rhetorical analysis of the lyrics of a couple of Brazilian popular songs in order to present the psychosocial aspects that bring to light the representations of social identity. The statement of identity and symbolic bonds through musicality exposes the desirable of the groups who share their value. The construct of social identity linked to nationality is a belief reinforced by social practices which relies on the metaphor that defines Music as the “people’s soul”.
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Temperley, David. "Syncopation in rock: a perceptual perspective." Popular Music 18, no. 1 (January 1999): 19–40. http://dx.doi.org/10.1017/s0261143000008710.
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While study of the social and cultural aspects of popular music has been flourishing for some time, it is only in the last few years that serious efforts have been made to analyse the music itself: what Allan Moore has called ‘the primary text’ (1993, p. 1). These efforts include general studies of styles and genres (Moore, 1993; Bowman, 1995); studies of specific aspects of popular styles such as harmony and improvisation (Winkler 1978; Moore 1992, 1995; Walser 1992), as well as more intensive analyses of individual songs (Tagg 1982; Hawkins 1992). In this paper I will investigate syncopation, a phenomenon of great importance in many genres of popular music and particularly in rock.
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Anantia, Alviana Aslama, Yolanda Masnita, and Kurniawati Kurniawati. "Effectiveness of Digital Music Platforms’ Social Media Interaction on Advertising Trust Using Cognitive Aspects." Manajemen dan Bisnis 22, no. 1 (March 20, 2023): 1. http://dx.doi.org/10.24123/jmb.v22i1.624.
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The COVID-19 pandemic-related economic crisis made many firms to switch their advertising strategy to digital media, with social media being one of the most popular choices due to its lower cost. As a business with rapid growth and being the most popular form of entertainment among internet users, digital music platforms is no exception. Regarding the current phenomenon, it is unknown at this time whether social media marketing is one of the numerous crucial variables causing this service's expansion. Therefore, this research seek to reveal the impact of social media interaction towards advertising trust of digital music platform through knowledge and affection as the cognitive aspects used. This research conducted on a quantitative method with data collection using questionnaires (Google Form), collected from 190 respondents in Jabodetabek whose having subscriptions for at least on one of digital music platform available in Indonesia. The data is analyzed using Partial Least Squares (PLS). The result shows that social media interaction has a significant impact towards advertising trust, both directly and indirectly through knowledge and affection. Among variables tested, the perception of affection is the lowest. It is desired that digital music platform services companies will look into this matter more.
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Park, Sun-Min. "A Study on the Aspects of Accepting Popular Music in Regard to Social Media." JOURNAL OF GLOBAL CULTURAL CONTENTS 36 (October 31, 2018): 69–83. http://dx.doi.org/10.32611/jgcc.2018.10.36.69.
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Spanu, Michael. "Sacred Languages of Pop: Rooted Practices in Globalized and Digital French Popular Music." Open Cultural Studies 3, no. 1 (February 1, 2019): 195–206. http://dx.doi.org/10.1515/culture-2019-0018.
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Abstract Nowadays, popular music artists from a wide range of cultures perform in English alongside other local languages. This phenomenon questions the coexistence of different languages within local music practices. In this article, I argue that we cannot fully understand this issue without addressing the sacred dimension of language in popular music, which entails two aspects: 1) the transitory experience of an ideal that challenges intelligibility, and 2) the entanglement with social norms and institutions. Further to which, I compare Latin hegemony during the Middle Ages and the contemporary French popular music, where English and French coexist in a context marked by globalisation and ubiquitous digital technologies. The case of the Middle Ages shows that religious control over Latin led to a massive unintelligible experience of ritual singing, which reflected a strong class divide and created a demand for music rituals in vernacular languages. In the case of contemporary French popular music, asemantical practices of language are employed by artists in order to explore alternative, sacred dimensions of language that challenge nationhood.
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Thomson, Raymond A. "Dance bands and dance halls in Greenock, 1945–55." Popular Music 8, no. 2 (May 1989): 143–55. http://dx.doi.org/10.1017/s0261143000003330.
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The Americanisation of British popular culture has been the subject of intensive study and debate. Most of this, however, has had a national focus. It is the purpose of this article to examine aspects of a popular culture at a local level in order to discover the extent to which people were, or felt themselves to be, dominated by America. The history of popular culture is the history of the little people, how they passed their time and recreated themselves. Discoveries made here should cast illumination on the more global claims made by social historians.
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Kostiuk, Ekaterina B. "Musical culture of the post-industrial society: on the problem of analyzing basic definitions." Vestnik of Saint Petersburg State University of Culture, no. 2 (47) (2021): 45–50. http://dx.doi.org/10.30725/2619-0303-2021-2-45-50.
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The article deals with the problem of definitions and boundaries of concepts widely used in modern postindustrial culture, scientific and public discourse: «mass», «popular», «academic», «classical», «elite» music. Mass music has several features that are largely determined by the specifics of the socio-cultural and technical development of society in the post-industrial era. However, the loosely applied term «popular» in relation to this direction of music is inaccurate, since not only the works of mass music become well-known, but also classical, academic. In the conditions of post-industrial culture, works of not only mass, but also academic, elite music are used as entertainment, and as a commodity of «organized consumer culture», receiving, among other things, the status of «popular», which is not identical in essence to the concept of «pop music», which is one of the directions of mass music as a cultural phenomenon of the XX century. The consideration of the essential aspects of the musical directions of mass and elite music leads to the conclusion about the social conditionality of the vector of development and their demand in the conditions of modern culture.
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Born, Georgina. "For a Relational Musicology: Music and Interdisciplinarity, Beyond the Practice Turn." Journal of the Royal Musical Association 135, no. 2 (2010): 205–43. http://dx.doi.org/10.1080/02690403.2010.506265.
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What would contemporary music scholarship look like if it was no longer imprinted with the disciplinary assumptions, boundaries and divisions inherited from the last century? This article proposes that a generative model for future music studies would take the form of a relational musicology. The model is drawn from the author's work; but signs of an incipient relational musicology are found scattered across recent research in musicology, ethnomusicology, and jazz and popular music studies. In support of such a development, the article calls for a reconfiguration of the boundaries between the subdisciplines of music study – notably musicology, ethnomusicology, music sociology and popular music studies – so as to render problematic the music/social opposition and achieve a new interdisciplinary settlement, one that launches the study of music onto new epistemological and ontological terrain. In proposing this direction, the article points to the limits of the vision of interdisciplinarity in music research that is more often articulated, one that – in the guise of a turn to practice or performance – sutures together the historically inclined, humanities model of musicology with the micro-social, musicologically inclined aspects of ethnomusicology. The article suggests, moreover, that this vision obscures other sources of renewal in music scholarship: those deriving from anthropology, social theory and history, and how they infuse the recent work gathered under the rubric of a relational musicology. As an alternative to the practice turn, a future direction is proposed that entails an expanded analytics of the social, cultural, material and temporal in music. The last part of the article takes the comparativist dimension of a relational musicology to four topics: questions of the social, technology, temporality and ontology.
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Bechtold, Toni A., Lorenz Kilchenmann, Ben Curry, and Maria A. G. Witek. "Understanding the Relationship Between Catchiness and Groove." Music Perception: An Interdisciplinary Journal 40, no. 5 (June 1, 2023): 353–72. http://dx.doi.org/10.1525/mp.2023.40.5.353.
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Groove and catchiness are central properties of popular music that frequently appear together. Yet, a possible relationship has neither been postulated nor examined. In music psychology, groove is commonly understood as a pleasurable urge to move. Catchiness is often tied to the memorability of music, but it is less researched, and definitions are elusive. In this study, we conducted stimuli-guided expert interviews with popular music creators to unveil their understandings of groove and catchiness based on their experiential, practical, and artistic knowledge. These insights allowed us to expand the ontologies of groove and catchiness. We found that groove consists of a bodily experience and positive affect, with participation, immersion and social aspects playing a part as well. We propose catchiness as a multi-dimensional quality that depends on the listener’s perception and experience of music, in which memorization and positive affect are central, and engagement, immediacy, and clarity are other aspects. We found considerable overlap in groove- and catchiness-promoting structures, and hypothesize that they positively interact and support each other, with some exceptions. The perspective of music creators, our detailed discussion of the ontologies, and the hypothesized relationship can broaden the psychological concepts, help with the explanation of previous, and inspire future research.
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Baďurová, Barbora. "Philosophical Poetry in Metal Music (with Focus on Bands From Central Slovakia)." Studia Polensia 10, no. 1 (January 19, 2022): 23–42. http://dx.doi.org/10.32728/studpol/2021.10.01.02.
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Metal music is a quite popular subculture in Slovakia. Although heavy metal music simply noise for some, it is not so shallow and there are deeper meanings. There have been many metal bands that have addressed social concerns, as well as ethical and philosophical questions. Metal music uses various metaphors and other tropes to express philosophical ideas; not only in lyrics, but also in its use of melody. The focus here will be on several influential contemporary metal bands from Central Slovakia, and the philosophical and ethical aspects of their metal poetry.
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Baďurová, Barbora. "Philosophical Poetry in Metal Music (with Focus on Bands From Central Slovakia)." Studia Polensia 10, no. 1 (January 19, 2022): 23–42. http://dx.doi.org/10.32728/studpol/2021.10.01.02.
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Metal music is a quite popular subculture in Slovakia. Although heavy metal music simply noise for some, it is not so shallow and there are deeper meanings. There have been many metal bands that have addressed social concerns, as well as ethical and philosophical questions. Metal music uses various metaphors and other tropes to express philosophical ideas; not only in lyrics, but also in its use of melody. The focus here will be on several influential contemporary metal bands from Central Slovakia, and the philosophical and ethical aspects of their metal poetry.
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Tiantini, Wendy Belinda, Johny Alfian Khusyairi, Nadya Afdholy, and Yulia Mega Puspita. "Jamet Stereotyping in Jedag-Jedug Music: An Analysis of Jedag-Jedug Music Stereotype." Jurnal Seni Musik 12, no. 2 (December 31, 2023): 198–209. http://dx.doi.org/10.15294/jsm.v12i2.75278.
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Several music genres have stereotypes from the society, especially music that comes from low culture. One of the types of music that is stereotyped is jedag-jedug music, a music that is identical with fast beats and specific video editing. This type of music is widely known due to the influence of the TikTok application, which is a social media platform that offers audio-visual content. Jedag-Jedug music is often stereotyped as jamet music and also considered as tacky or alay. This research aims to find out how jamet stereotypes in Jedag-Jedug music can change and become a popular trend on social media. The approach used in this research is a qualitative approach using in-depth interviews with participants. The criteria for participants were participants aged 18 years and over and who had listened to jedag-jedug music with various economic and educational backgrounds. Primary data in this research are interview transcripts and secondary data used are journal articles, books and other supporting sources. To analyze the data, researchers used Dual-Process by Shelly Chaiken. There are three aspects that form a stereotype which are cognitive, affective, and behavioral aspects that will be used to see how stereotypes are changed in the jedag-jedug music. The result found in this study was that participants experienced a change in their views towards the stereotypes that exist in jedag-jedug music. The shifting of the stereotypes occurred because of the popularization of jedag-jedug music in social media which influence the participants’ cognitive, affective, and behavior.
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Kocaj, Agata, and Izabela Krasińska. "Musical education from the perspective "Musical news" (1925-1926)." Edukacja Muzyczna 15 (2020): 363–77. http://dx.doi.org/10.16926/em.2020.15.20.
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In Poland, over a hundred music magazines appeared in the interwar period. They were divided into several categories: subject and methodological, social and cultural music press, music and li- turgical magazines, regional music periodicals, as well as musicological and popular science mag- azines. The final group includes the subject of this article, “Wiadomości Muzyczne” (1925–1926), edited by the music collector and journalist Edward Wrocki. The article is the first attempt at a monograph elaboration of this periodical, both in terms of the formal and publishing aspects and its content. However, it focuses mainly on educational content, training and professional develop- ment of musicians and music and singing teachers in various types of schools (conservatories and music academies, primary and secondary schools, courses).
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Ho, Wai-chung. "The political meaning of Hong Kong popular music: a review of sociopolitical relations between Hong Kong and the People's Republic of China since the 1980s." Popular Music 19, no. 3 (October 2000): 341–53. http://dx.doi.org/10.1017/s0261143000000209.
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IntroductionThe aim of this paper is to analyse shifting themes in the meanings of Hong Kong popular songs relating to ideological and political changes in Hong Kong since the 1989 Tiananmen Square incident (TSI). In particular, the paper examines the relationship between Hong Kong and the People's Republic of China (PRC) concerning the transmission of Hong Kong popular music, and argues that Chinese, Hong Kong and Taiwanese popular musics articulate fluctuating political meanings. Attention will be focused predominantly on the lyrics, but some aspects of the music are also invoked. After highlighting the political and cultural relations between Hong Kong and the PRC, I discuss the social transformations and the struggles for democracy delineated in Chinese popular music during the 1989 TSI. This is followed by an examination of the intensification of the conflict between the PRC and Hong Kong over the dissemination of popular songs carrying democratic messages in Hong Kong. Finally, the paper considers the rise of patriotism and/or nationalism through lyrics rooted in the notion of educating Hong Kong Chinese people into accepting the cultural and political identity of mainland China, and the promotion of popular songs in the official language of the PRC, Putonghua, since the late transitional period.
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Rasolofondraosolo, Zafimahaleo, and Ulrike H. Meinhof. "Popular Malagasy music and the construction of cultural identities." AILA Review 16 (July 8, 2003): 127–48. http://dx.doi.org/10.1075/aila.16.12ras.
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This paper explores the construction of cultural identities through contemporary music from Madagascar, in particular the songs by Dama — singer-song-writer of the eponymous group of musicians- the Mahaleo. Specific focus is on the role that the discourses of and about popular Malagasy music play for the identity constructions of Malagasy people in Madagascar and abroad. Discussions about contemporary African music on the media and in the cultural studies literature, and the record industry’s own appropriation and commercialization of such music as generic ‘world music — tend to neglect the lyrics — and thus the often radical social critique — contained in these songs. Since much of African music is sung in languages not normally known to ‘Western’ audiences, their appreciation hinges on the vibrancy of rhythm and sound, to the exclusion of content. Yet to ‘home’ and ‘diapsoric’ audiences, the texts are of huge significance. Our paper discusses the significance of language choice for popular music in Madagascar in the political movement of 1972 and its aftermath. We will also analyse in detail the lyrics of some typical songs from Mahaleo’s repertoire written by Dama. These will exemplify some of the ways in which the group attempts to encapsulate aspects of Malagasy every-day life, thus providing a cohesive link not only between several generations of Malagasies in Madagascar itself, but even more pronouncedly for those Malagasies who have left Madagascar and settled overseas. Finally, we will show the ways in which audiences create and perform ‘being Malagasy’ through the medium of their popular music, demonstrating the extent to which the project of ‘Mahaleo’ is being reflexively and consciously understood and taken up by their listeners.
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Bennett, Andy, and Catherine Strong. "Popular Music Heritage, Grass-Roots Activism and Web 2.0: The Case of the ‘Save the Palace’ Campaign." Cultural Sociology 12, no. 3 (July 12, 2018): 368–83. http://dx.doi.org/10.1177/1749975518762569.
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Although the study of popular music heritage is rapidly becoming an established aspect of academic research, little attention has been focused on attempts made by groups of music fans to preserve aspects of their local popular music heritage when these are seen to come under threat. This article examines the ‘Save the Palace’ campaign in Melbourne, Australia, and argues that it provides an important illustration of the tenacity of local music fans when faced with the closure of an important venue, and their capacity to organise themselves into a cohesive campaign through social media technology. Through its examination of the online interactions that characterised the Save the Palace campaign, the article also facilitates an extension of the concept of the virtual scene beyond its more conventionally understood definition as a platform for fan discussion dedicated to a specific artist, genre or place. In the case of Save the Palace, a different manifestation of a scene is observed whereby fans of a broad range of artists and genres temporarily join forces online to protest against the threat to a specific aspect of their shared local music heritage. In this sense, Save the Palace also sheds significant light on how social media assist in giving a voice to competing discourses of cultural value. Thus, even as the Palace and countless other local music landmarks like it across the world are demolished to make way for new developments, their significance as important markers of local generational identity and belonging, and of emotionally inscribed urban identity, remains. Through their online sharing of personalised memories of the Palace as an iconic music venue, supporters of the Save the Palace campaign serve as a further example of how the internet has worked to broaden our understanding of the definition, nature and function of popular music heritage.
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GRASSE, JONATHON. "Conflation and conflict in Brazilian popular music: forty years between ‘filming’ bossa nova in Orfeu Negro and rap in Orfeu." Popular Music 23, no. 3 (October 2004): 291–310. http://dx.doi.org/10.1017/s0261143004000182.
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Popular music plays important roles in two related films portraying Brazilian slum life. Based on a 1953 play by Vinícius de Morais, Marcel Camus's 1959 film Orfeu Negro, and a 1999 feature by Brazilian director Carlos Diegues titled Orfeu, augment traditional samba styles with bossa nova and rap, respectively. Interpreting musical style as allegorical texts within fictive landscapes, this paper examines conflation and conflict among musical meanings, Brazilian social histories, and discursive identities marking the twentieth century. Broad aspects of Brazilian political and socio-cultural development are implicated, such as authoritarianism, the politics and sociology of race, technological advances, mass media, and modes of modernisation. Here, bossa nova and rap engage society through reflexive and generative interpretations within a narrative designed to illustrate connections between processes of innovative, trans-national cultural production, myths of national identity, social change, and the powerful role of popular music in film.
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Pruitt, Cenate. "“Boys ‘Round Here”: Masculine Life-Course Narratives in Contemporary Country Music." Social Sciences 8, no. 6 (June 7, 2019): 176. http://dx.doi.org/10.3390/socsci8060176.
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Country music remains one of the most popular genres in U.S. American society but is historically under-researched compared to rock, rap and other styles. This article extends the social science literature on the genre by examining themes of masculine identity in popular country hits of the current century. A content analysis of 35 top country hits from the last 15 years of the Billboard charts reveals three key masculine archetypes: the lover, the family man and particularly the country boy, which is the dominant masculine image within the last few years of the genre. Together, the three create a life-course narrative where the rambunctious country boy will eventually settle into monogamous heterosexual romance, with marriage and fatherhood presented as the ultimate achievement of successful manhood. A fourth, lesser, archetype, the roughneck, presents an “arrested development” version of the country boy, fully-grown but rejecting the social and familial responsibilities of the other archetypes. These narratives simultaneously challenge some aspects of hegemonic masculinity (urbanity, white-collar labor) while reinforcing others (whiteness, heterosexuality).
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Neuenfeldt, Karl, and Steve Mullins. "‘The Saving Grace of Social Culture’: Early Popular Music and Performance Culture on Thursday Island, Torres Strait, Queensland." Queensland Review 8, no. 2 (November 2001): 1–20. http://dx.doi.org/10.1017/s1321816600006796.
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This article explores the dissemination of globalised popular culture forms into the “white culture” of colonial Thursday Island (henceforth TI), the administrative centre of Torres Strait in northern Queensland. The analysis draws on a variety of media sources from approximately 1881 to 1906. It is grounded in an historical understanding of Torres Strait as a place of cultural convergence and also a society affected profoundly by the transnational flows and connections of popular culture forms, such as music, used in part to popularise British Imperialism (MacKenzie, 1992). Both “high” and “low” culture are examined to illustrate how British and North American cultural values and institutions helped create hybrid forms which contained aspects of the two main lineages of Australian popular culture, as explored by Whiteoak (2001; 1999; 1993), Waterhouse (1995), Johnson (1987), and Bisset (1979). Our goal in this article, and other on-going research, is to appreciate TI as the hub of this process for Torres Strait.
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Malm, Tobias. "The ambivalence of becoming a small business: Learning processes within an aspiring rock band." Popular Music 39, no. 3-4 (December 2020): 585–99. http://dx.doi.org/10.1017/s0261143020000471.
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The process of becoming a rock musician strongly relates to the organisational form of the band (Bennett 1980; Green 2002; Behr 2010). At all levels of ambition and success, membership of a band provides the musician with a natural entry point for performing to an audience and forging a potential career (Smith 2013a). The ‘micro-organisational’ (Bennett 2001) development of a band, therefore, is an important career prerequisite for rock musicians (Behr 2015). However, the social and practical challenges of musicianship seem to be continuously underemphasised within the field of popular music studies (Cohen 1993; Kirschner 1998; Lashua 2017; Weston 2017; Kielich 2018). Therefore, in this article I will focus on an aspiring rock band's informal learning processes in becoming a small business together. The study provides insights into the educational and organisational aspects of band practices and contributes to the fields of popular music, education and organisation studies – fields that are converging in the emerging interdisciplinary research area of ‘organising music-making’ (Beech and Gilmore 2015).
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Ben Mna, Ilias. "Between the Bogside and boy bands: Pop music and place-based identities in Derry Girls." Journal of European Popular Culture 14, no. 2 (October 1, 2023): 109–24. http://dx.doi.org/10.1386/jepc_00058_1.
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The British teen sitcom Derry Girls has been noted for its unique spatial and historical setting: the Northern Irish city of Derry in the 1990s. These coordinates furnish a number of intersecting transition narratives in which place-based identities are negotiated against the backdrop of the ‘Troubles’ in Northern Ireland as well as neo-liberal globalization and European integration. The role of pop music is of vital importance in narrating and structuring the teenaged protagonists’ identity formation processes. Through a recognizable mix of commercially successful pop, Eurodance and hip hop songs, the show inscribes the main characters’ experiences into a wider social fabric – one marked by post-ideological, post-nationalist and consumerist undertones. This social fabric is shown to be delineated by middle-class Whiteness, thereby reflecting the role of, in particular, Europop as the soundtrack of a (perceived) 1990s post-cold war liberal hegemony. The inclusionary and exclusionary aspects of western popular music are also shown to work in tandem with pre-Brexit nostalgia and the renegotiation of gendered power structures vis-à-vis local traditionalism. Overall, Derry Girls employs popular music in ways which foster accessibility for universalized adolescent transition narratives built around White cosmopolitanism.
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Lavengood, Megan. "What Makes It Sound ’80s?" Journal of Popular Music Studies 31, no. 3 (September 2019): 73–94. http://dx.doi.org/10.1525/jpms.2019.313009.
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Popular music of the 1980s is remembered today as having a “sound” that is somehow unified and generalizable. The ’80s sound is tied to the electric piano preset of the Yamaha DX7 synthesizer. Not only was this preset (E. PIANO 1) astonishingly prevalent—heard in up to 61% of #1 hits on the pop, country, and R&B Billboard charts in 1986—but the timbre of E. PIANO 1 also encapsulates two crucial aspects of a distinctly ’80s sound in microcosm: one, technological associations with digital FM synthesis and the Yamaha DX7 as a groundbreaking ’80s synthesizer; and two, cultural positioning in a greater lineage of popular music history. This article analyzes the timbre of E. PIANO 1 by combining ethnographic study of musician language with visual analysis of spectrograms, a novel combination of techniques that links acoustic specificity with social context. The web of connections created by the use and re-use of DX7 presets like E. PIANO 1, among hundreds or maybe thousands of different tracks and across genres, is something that allows modern listeners to abstract a unified notion of the “’80s sound” from a diverse and eclectic repertoire of songs produced in the 1980s.
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Holt, Fabian. "Rock Clubs and Gentrification in New York City: The Case of the Bowery Presents." IASPM Journal 4, no. 1 (March 11, 2013): 21–41. http://dx.doi.org/10.5429/584.
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This article offers a new analytical perspective on the relation between rock clubs and gentrification to illuminate broader changes in urbanism and cultural production in New York City. Although gentrification is central to understanding how the urban condition has changed since the 1960s, the long-term implications for popular music and its evolution within new urban populations and cultural industries have received relatively little scholarly attention. Gentrification has often been dismissed as an outside threat to music scenes. This article, in contrast, argues that gentrification needs to be understood as a broader social, economic, and cultural process in which popular music cultures have changed. The argument is developed through a case study of the Bowery Presents, a now dominant concert promoter and venue operator with offices on the Lower East Side. Based on fieldwork conducted over a three-year period and on urban sociological macro-level analysis, this article develops an analytical narrative to account for the evolution of the contemporary concert culture in the mid-size venues of the Bowery Presents on the Lower East Side and Williamsburg, Brooklyn, as a particular instance of more general dynamics of culture and commerce in contemporary cities. The narrative opens up new perspectives for theorizing live music and popular culture within processes of urban social change. The article begins by reviewing conventional approaches to rock music clubs in popular music studies and urban sociology. These approaches are further clarified through the mapping of a deep structure in how music scenes have framed the relationship between clubs and gentrification discursively. The article then examines the evolution of the Bowery Presents within the expansive process of gentrification. The focus is placed here on the cultural profile of the now dominant mid-size venue culture and on three stages in the development of the company and its field-structuring impact on rock clubs on the Lower East Side in particular. The conclusion sums up the key points and suggests that gentrification might involve changing conditions of artistic creativity and performance, with implications for fundamental aspects of urban life; a point illustrated by the trajectory of Occupy Wall Street.
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Parham, John. "Stranded Out of Place: Environmental Alienation in Australian Punk." Swamphen: a Journal of Cultural Ecology (ASLEC-ANZ) 1 (October 24, 2011): 9–17. http://dx.doi.org/10.60162/swamphen.1.10584.
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Working within ‘environmental justice ecocriticism’, this paper explores and compares British and Australian punk and new wave arguing that the environment comprises one way in which a socially disadvantaged urban poor register an experience of injustice and alienation. The paper connects cultural studies of place/environment in popular music with ecocritical arguments that stress the centrality of place to identity and the importance of sound, oral cultures and music towards conveying that sense of place. Engaging with debates about ‘authenticity’, a concept being substantially re-appraised in popular music studies, the paper will explore recurring motifs of the city, street, pollution, and the body questioning the idea of punk as a ‘spectacular subculture’ representative of ‘the death of an aesthetics based on […] the "authentic"’ (Iain Chambers)—through Allan Moore’s argument that ‘social alienation’ is ‘the ideological root of […] striving for the authentic’ in popular music. Suggesting (cf. Jude Davies) that British punk, after 1978, became increasingly sophisticated (musically speaking), articulate and politicised, the textual analysis comprising the body of this paper, will compare an example of secondary, British ‘new wave’—e.g. The Jam—with one of the environmentally-specific Brisbane punk bands (e.g. The Saints). I examine, in particular, three aspects of punk/new wave’s recurrent registering of its environment: sound, or sonic effect, looking at the lack of conventional harmony and structure, and various alienating devices; lyrics; and vocal delivery (looking at regionalised or working-class accents, and aggressiveness / alienation of tone).
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Broess, Erik. "“A Much More Valuable Signature”: Gender, Factory Labor, and the Mythology of Builder-Signed Amplifiers from Fender's “Tweed” Era, 1948–60." Journal of the Society for American Music 17, no. 4 (November 2023): 315–36. http://dx.doi.org/10.1017/s1752196323000299.
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AbstractAmplifiers from Fender's so-called Tweed era (1948–60) are among the most valuable instruments in all popular music. Inside most Fender Tweed amplifiers is a piece of masking tape bearing the signature of the worker who hand-wired the amplifier's circuit. Today, collectors have elevated several of Fender's previously unknown Latina employees into legendary figures with near cultlike followings. In the absence of biographical information about these women, however, the contemporary discourse about them is often highly romanticized. In this article, I present novel historical information about Fender's Tweed-era employees to counter the misinformation surrounding them and Fender's mid-century Fullerton, California factory system more broadly. Analyzing contemporary discourses surrounding Fender's earliest employees, I also critique the persistence of gendered and racialized stereotypes about Fender's female employees being naturally equipped for labor-intensive assembly work due to their supposedly “nimble fingers.” This article also details the social processes through which Fender's Tweed amplifiers have been made “vintage,” and the company's mid-century mass-production techniques have since been attributed the same artisanal values associated with vintage string instrument making. Ultimately, I show how the builder-signatures contained within Fender's Tweed-era amplifiers have been central to the discursive production of value among collectors.
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Zhuk, Sergei I. "Popular Culture, Identity, and Soviet Youth in Dniepropetrovsk, 1959–84." Carl Beck Papers in Russian and East European Studies, no. 1906 (January 1, 2008): 72. http://dx.doi.org/10.5195/cbp.2008.143.
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This paper explores the connections between cultural consumption, ideology, and identity formation in one particular city of the Soviet Ukraine during the Brezhnev era before perestroika. This industrial city, Dniepropetrovsk, was closed to foreigner visits by the KGB in 1959 because it became the location for one of the biggest missile factories in the Soviet Union. Given its closed, sheltered existence, Dniepropetrovsk became a unique Soviet social and cultural laboratory in which various patterns of late socialism collided with the new Western cultural infl uences. Using archival documents, periodicals, personal diaries and interviews as historical sources, this paper focuses on how various aspects of cultural consumption (reading books, listening and dancing to Western music) among the youth of the Soviet “closed city” contributed to various forms of cultural identifi cation, which eventually became elements of post-Soviet Ukrainian national identity.
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Drozda, Jacek. "Grime jako muzyka i etnografia kryzysu." Kultura Popularna 3, no. 53 (February 26, 2018): 31–40. http://dx.doi.org/10.5604/01.3001.0010.8264.
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This article provides the reader with an overview of selected aspects of cultural significance of grime music and related phenomena. This musical genre creates an explicit background of contemporary social relations existing in multicultural, popular neighbourhoods of British cities. Grime’s relations with the media and the political surrounding partly resemble some features of the 1990’s “cultural boom”. However, grime and its network of relations live in the times of crisis. The overview of grime’s attributes presented hereinafter is an introduction to a wider study, currently in the process of development.
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Mochocka, Aleksandra. "The Resurrectionist duetu Pet Shop Boys: transgresje i queerowe spojrzenie w przeszłość." Przegląd Kulturoznawczy, no. 3 (57) (October 2023): 336–55. http://dx.doi.org/10.4467/20843860pk.23.024.18582.
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The article is concerned with the transgressive dimension of the Pet Shop Boys’ works. As follows, the artists are situated in the cultural context that helps to understand their approach to popular music, with a focus on potentially transgressive aspects such as hybridisation, authenticity, maturity/adulthood, irony, androgyny, masculinity, and gayness. The case study to be presented here is The Resurrectionist, a song inspired by historical facts. Two possible readings of the song are suggested here; both tackle upon existing social norms, revealing their true nature and provoking the audience to question their validity.
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Junior, Valdemar Valente. "O popular e o erudito: a música nos contos de Machado de Assis." Scriptorium 4, no. 2 (January 25, 2019): 174. http://dx.doi.org/10.15448/2526-8848.2018.2.32183.
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Este artigo tem por objetivo identificar elementos referentes à criação musical do século XIX na obra de Machado de Assis. Para esse fim, escolhemos os contos “O machete”, “Um homem célebre” e “Cantiga de esponsais”, que abordam a presença da música a partir de leituras distintas que têm em comum o aprofundamento de conflitos, em vista da música como elemento subjetivo capaz de mover as paixões interiores e instigar os instintos humanos. Além disso, esses três contos cumprem com extrema correção o papel de determinar os espaços referentes à música em suas vertentes popular e erudita, corporificando um tempo em que a indústria cultural e os meios de reprodução técnica ainda não tinham se manifestado em sua configuração definitiva. *** The popular and the erudite: the music in the tales of Machado de Assis ***This article aims to identify elements related to the musical creation of the 19th century in the work of Machado de Assis. To that end, we chose the short stories “O machete”, “Um homem célebre” and “Cantiga de esponsais”, which deal with the presence of music from different approaches that have in common the deepening of conflicts, in view of music as an element subjective ability to move the inner passions and instigate human instincts. Moreover, these three tales fulfill with extreme correctness the role of determining the spaces concerning music in its popular and scholarly aspects, embodying a time in which the cultural industry and the means of technical reproduction had not yet manifested itself in its definitive configuration.Keywords: musical creation; social relationships; narrative.
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Kumar, V. Saravana. "A Novel Classical Music Recommendation System Using User Facial Expression." International Journal for Research in Applied Science and Engineering Technology 11, no. 5 (May 31, 2023): 5374–79. http://dx.doi.org/10.22214/ijraset.2023.52832.
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Abstract: In today's world, feelings play an important part in many aspects of life. The spectrum of human feelings, whether or not those sensations are verbalised, serves as the foundation for emotions. A diverse range of emotional expressions can be used to convey a person's sense of individuality. It is possible to infer a person's state of mind simply by observing their facial expressions. This project aims to determine people's feelings based on images of them and then match those feelings with suitable musical selections. The majority of today's most popular music discovery tools make use of a social or content-based recommendation engine of some kind. However, a listener's taste in music is dependent on a variety of factors in addition to their previous listening habits and the subject matter of the songs they hear. The feelings of other users are also important.
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Dahal, Bishnu Prasad. "Nepalese Nation, Nationalism and Identities in Patriotic Songs." International Journal of Learning and Development 10, no. 4 (December 31, 2020): 77. http://dx.doi.org/10.5296/ijld.v10i4.18135.
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The main purpose of this study is to investigate the different aspects of Nepalese patriotic songs. Here, lyrics of patriotic songs are reviewed and their contents are analyzed. This study is focused on how these patriotic songs assist to promote Nepalese nationalism, national beauties, national identities and national unity. It is the representative expression of all national songs and patriotic songs all over the country. Music in the form of the national songs and patriotic songs were and remain essential components of national identity and national unity. These songs are popular and accepted by Nepalese citizens as a part of their national identity and such affinities are supported by the songs’ repeated broadcast and consumption on Radio Nepal, various other Radios, Nepal Television, private television channels and social media platforms. It is found form the research that patriotic music provides a means for social cohesion, not via the propagation of dogmatic patriotic content, but through the personal and intimate associations that such songs solicit from individual citizens.
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Pilkevych, Andrii. "Contemporary Popular Culture Through the Lens of Historical and Philosophical Vision." Ethnic History of European Nations, no. 70 (2023): 117–21. http://dx.doi.org/10.17721/2518-1270.2023.70.13.
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The article provides an analysis of contemporary popular culture and its influence on society. Focusing on current trends and aspects of popular culture, the article explores key factors that shape this culture and define its place in the modern world. Contemporary popular culture has gained recognition as a social phenomenon, exerting significant impact on various aspects of society. Its influence is manifested in the creation and dissemination of cultural artifacts that actively engage with societal stereotypes, values, and perspectives. These artifacts can stimulate discussions, alter consciousness, and contribute to social change. Through technological communication tools and global media, «cultural products» such as music, literature, films, the video game industry, fashion, are disseminated worldwide, facilitating the exchange of ideas, cultural convergence, and the emergence of global trends. With the aid of technological communication means, integral narratives spread rapidly across the globe, resulting in cultural hybridity and the development of shared cultural experiences. However, in the process of globalization, there are inherent risks of cultural homogenization and loss of cultural diversity. Popular culture often becomes subservient to global commercial interests, yet it also becomes an object of interpretation and resistance. Active consumers reproduce, transform, and utilize «cultural products» based on their unique contexts, values, and needs. This process presents opportunities for critical analysis, alternative interpretations, and the formation of new cultural norms. Integral trends become essential means of expression, recognition, and the search for personal and collective identities. This process can be conducive, but it can also give rise to conflicts and contradictions, particularly within the context of cultural diversity and globalization. Social media platforms not only facilitate the dissemination of cultural trends but also provide a platform for self-expression and interaction between content producers and consumers. This is complemented by augmented reality, artificial intelligence, blockchain, making contemporary creativity and consumption processes a unique phenomenon that continually unlocks new possibilities.
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Abramo, Joseph Michael. "Who’s aloud* to have fun? On covers and identity crossing1." Journal of Popular Music Education 6, no. 3 (November 1, 2022): 329–48. http://dx.doi.org/10.1386/jpme_00095_1.
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Music educators regularly employ covers – or the performance of a version of a song previously performed or recorded by an artist – to learn and teach popular music. While covers might be an effective strategy towards music learning, issues of social justice become present when these covers cross genre and identity boundaries. How are educators and musicians to approach covers that enact these ethically perilous terrains? In this action-research and autoethnography-inspired study, I look at my cover of the song ‘Girls Just Want to Have Fun’ (), performed by Cyndi Lauper in 1983. I explore the ethical aspects of me – a White male – aiming to perform this feminist anthem. Using a framework of strategic anti-essentialism, I suggest that covers can be a uniquely musical way to create solidarity by crossing identity boundaries in ways not available through language. This might become a framework for judging covers that cross identity and genre boundaries. I conclude with implications for music education practice as well as research, including using strategic anti-essentialism to structure discussion in the classroom.
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Valencialaw, Natasya, and Lusia Savitri Setyo Utami. "K-Pop dan Perilaku Konsumtif Menonton Konser." Koneksi 7, no. 1 (March 29, 2023): 112–19. http://dx.doi.org/10.24912/kn.v7i1.21301.
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South Korean popular culture or K-Pop has managed to become the center of attention throughout the world, including Indonesia. Indonesia is a target for the South Korean entertainment industry market due to the large number of existing K-Pop fans. It is the intervention of the existence of communication and the mass media as a bridge connecting all information about popular culture. Popular culture also brings K-Pop along with other activities, namely music concerts. The existence of this background can lead to a consumptive behavior. The purpose of this study is to describe the process of developing Korean popular culture and the formation of consumptive behavior towards fans in watching music concerts. The discussion uses mass communication, new media, social media, popular culture, consumptive behavior and fans. To explore existing research phenomena, a qualitative research approach is used with phenomenological methods. The results can describe the development of popular culture through mass communication and mass media, this can be seen from the presence of K-Pop popular culture that enters and expands through the involvement of social media such as Youtube and Twitter. The author also describes the existence of consumptive behavior carried out by fans with aspects of being wasteful and seeking pleasure in watching concerts. Budaya populer Korea Selatan atau K-Pop berhasil menjadi pusat perhatian seluruh dunia tidak terkecuali di Indonesia. Indonesia merupakan sasaran dari pasar industri hiburan Korea Selatan karena banyaknya penggemar K-Pop yang ada. Hal itu merupakan campur tangan dari adanya komunikasi dan media massa sebagai jembatan penghubung masuknya semua informasi mengenai budaya populer. Budaya populer turut membawa K-Pop masuk bersama dengan kegiatan lainnya yakni konser musik. Adanya latar belakang tersebut dapat menyebabkan suatu perilaku yang konsumtif. Tujuan penelitian ini untuk mendeskripsikan proses budaya populer Korea yang berkembang dan adanya pembentukan perilaku konsumtif terhadap penggemar dalam menonton konser musik. Dalam pembahasannya menggunakan komunikasi massa, media baru, media sosial, budaya populer, perilaku konsumtif dan penggemar. Untuk mendalami fenomena penelitian yang ada, digunakan pendekatan penelitian kualitatif dengan metode fenomenologi. Hasil yang di dapat mendeskripsikan adanya perkembangan budaya popular melalui komunikasi massa dan media massa, hal tersebut dapat dilihat dari adanya budaya popular K-Pop yang masuk dan meluas melalui keterlibatan media social seperti Youtube dan Twitter. Penulis turut mendeskripsikan adanya perilaku konsumtif yang dilakukan oleh penggemar dengan aspek pemborosan dan mencari kesenangan dalam kegiatan menonton konser.
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TOURNÈS, LUDOVIC. "The Landscape of Sound in the Nineteenth and Twentieth Centuries." Contemporary European History 13, no. 4 (November 2004): 493–504. http://dx.doi.org/10.1017/s0960777304001912.
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Alain Corbin, Les cloches de la terre. Paysage sonore et culture sensible dans les campagnes au XIXe siècle (Paris: Flammarion, 1994), 359 pp., €8.69 (pb), ISBN 2080814532.Glenn Watkins, Proof through the Night. Music and the Great War (Berkeley, Los Angeles and London: University of California Press, 2003), 598 pp., $49.95 (hb), ISBN 0520231589.Jeffrey Jackson, Making Jazz French. Music and Modern Life in Interwar Paris (Durham, NC, and London: Duke University Press, 2003), 266 pp., $21.95 (pb), ISBN 0822331373.Bernard Gendron, Between Montmartre and the Mudd Club. Popular Music and the Avant-Garde (Chicago and London: University of Chicago Press, 2003), 388 pp., $55.00 (hb), ISBN 0226287351.David Looseley, Popular Music in Contemporary France (Oxford and New York: Berg, 2003), 254 pp., $25.00 (pb), ISBN 1859736319.Though undoubtedly thriving, the history of music is still a somewhat peripheral area of research which many historians dismiss as secondary. For many years publication in the subject remained the domain of two kinds of researchers, either musicologists – ‘insiders’ au fait with the technical vocabulary – or sociologists and practitioners of ‘cultural studies’ – ‘outsiders’ chiefly interested in the reception of musical phenomena and their role in the constitution of individual and collective identities. This division has become very blurred over the last few years, which have seen the emergence of a number of works with an interdisciplinary approach. But for most historians the history of music remains a largely unfamiliar theme which they struggle to include in any global social or cultural analysis. This struggle is apparent at two levels: first, the difficulty of developing guidelines to the historicity of musical events and, second, the difficulty of escaping the chronology of classical music, which is predicated on a succession of styles and composers. Based on these two points, this article will attempt to develop, through a transverse reading of certain recent works, some working hypotheses centring on the notion of a ‘landscape of sound’ or paysage sonore, as proposed some ten years ago by Alain Corbin, a notion which, it seems to me, may make a valuable contribution to rejuvenating the history of music.
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Hadi, Sumasno. "Estetika Lagu Banjar Populer: Suatu Representasi Kultural, Pengalaman Eksistensial, dan Nilai Sosial Masyarakat Banjar." KAMBOTI: Jurnal Sosial dan Humaniora 1, no. 2 (April 29, 2021): 106–13. http://dx.doi.org/10.51135/kambotivol1iss2pp106-113.
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Abstract The philosophical aspects of art (aesthetics) explored in this study refer to the popular Banjar songs (with a sample of 14 song titles). Therefore, the vision of discussing the aesthetics of the popular Banjar song is appropriate to expose, extract, and uplift its ontological, epistemological and axiological values. This study is a qualitative-descriptive type of research with aesthetic study approach (wetland environmental aesthetics), with the object of popular Banjar songs. From this design, the data analysis method uses two approaches, namely: music analysis and art philosophy analysis (philosophical aesthetics). The results of this study found that the aesthetic concept of the popular Banjar song refers to the following three philosophical aspects. First, the metaphysical value or substance of the popular Banjar song which lies in its two ontological realities, namely musical expressions and song lyrics in the Banjar language as a representation of Banjar culture. Second, the value of knowledge and art truth (aesthetic epistemology) of the popular Banjar song tends to be in the framework of the philosophy of empiricism, namely the knowledge and truth of art that prioritizes the existential experience of the subject. Third, the social value of the popular Banjar song that stands out is the discourse on work ethic which is based on the value of religiosity, while the prominent political value (social institution) is family education. Keywords: aesthetics, philosophy of beauty, Banjar song, beauty, music Abstrak Aspek-aspek filsafat seni (estetika) yang digali pada kajian ini menunjuk pada lagu-lagu populer Banjar (dengan sampel 14 judul lagu). Oleh karenanya, visi pembahasan estetika lagu Banjar populer ini adalah selayaknya usaha pendedahan, penggalian, dan pengangkatan nilai ontologis, epistemologis dan nilai aksiologisnya. Kajian ini merupakan penelitian berjenis kualitatif-deskriptif dengan pendekatan kajian estetika (estetika lingkungan lahan basah), dengan objek lagu-lagu Banjar populer. Dari desain ini, maka metode analisis datanya menggunkan dua pendekatan yaitu: analisis musik dan analisis filsafat seni (estetika filosofis). Hasil kajian ini menemukan bahwa konsep estetika lagu Banjar populer menunjuk pada tiga aspek filosofis berikut. Pertama, nilai metafisik atau substansi lagu Banjar populer yang berada pada dua realitas ontologisnya yaitu ekspresi musikal serta lirik lagu berbahasa Banjar sebagai representasi kultur Banjar. Kedua, nilai pengetahuan dan kebenaran seni (espistemologi estetik) lagu Banjar populer cenderung pada kerangka filsafat empirisme, yakni pengetahuan dan kebenaran seni yang mengutamakan pengalaman eksistensial subjekny. Ketiga, nilai sosial lagu Banjar populer yang menonjol adalah wacana tentang etos kerja yang didasari oleh nilai religiusitas, sedangkan nilai politis (pranata sosial) yang menonjol adalah pendidikan keluarga. Kata kunci: estetika, filsafat keindahan, lagu Banjar, keindahan, musik
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Jeong, Minhui, and Kyung Hoon Han. "Examples of Popular Music Marketing Using Social Networking Service (SNS) and Its Promotional Effect: Focusing on Instagram, YouTube, and TikTok." Korean Society of Culture and Convergence 44, no. 10 (October 31, 2022): 729–44. http://dx.doi.org/10.33645/cnc.2022.10.44.10.729.
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Based on the case of popular music marketing using SNS, this study examined the promotional effect. Task-oriented type that connects users with other famous singers, helping them use SNS effectively. Self-oriented type provides various information by inserting the album name, release date, and agency information into the teaser video and allows users to know the news through the YouTube community tab. Interaction type consists of activities such as posting fancams, companion animals, and exercise videos with oneself, family, and members through SNS, or responding to comments left by fandoms and expressing gratitude. This study shows that SNS, which has a close relationship with the public, has been established as one of the major marketing factors in today's music market. In addition, this study suggests that marketing using SNS should constantly change in line with popular music trends.
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Malkovskaya, I. A. "Brazil: Roots of Popular Culture (experience of interpretations)." Cuadernos Iberoamericanos 11, no. 3 (October 5, 2023): 107–30. http://dx.doi.org/10.46272/2409-3416-2023-11-3-107-130.
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The roots of Brazilian folk culture have different forms, structure and history. These roots have been formed over a long period, they have intertwined and influenced one another. Authentic cultures (Indian tribes) and «newcomers» (African and European culture) have been interacting with one another in complex socio-political realities. Together these cultures have created a vivid aesthetic image of the country. The aesthetic principle is most clearly expressed in folklore, the forms of which are diverse and multifaceted. The culture of the people is dynamic; it speaks through folklore in a variety of verbal and non-verbal languages: plastic art, music, dance, folk crafts, national costumes, works of the verbal genre (fairy tales, epics, legends, myths, etc.). Folk culture defines the identity of society, it is reflected in the high aesthetics of professional visual art, music, literature and gradually enters into mass culture and show business. Modernism, the art trend of the early 20th century, became a vivid reflection of the folk features of Brazilian culture. Over time, the tendency to rely on folk national culture has intensified, affecting all aspects of society — from mass culture to social policy. The cultural construction of society in close interaction and cooperation with the folk tradition, the consolidation and renewal of tradition ultimately determine the mentality of the nation, the stability of its existence and self-preservation. The study of Brazilian folk culture opens up new horizons for those who yearn to understand the world of diversity and the world of beauty. The coexistence in a single space of the people of many traditions and aesthetic images that do not oppose, but complement each other, inspires historical optimism which is «colored» by our experience of interpreting the culture of Brazil.
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Street, John, Matthew Worley, and David Wilkinson. "‘Does it threaten the status quo?’ Elite responses to British punk, 1976–1978." Popular Music 37, no. 2 (April 13, 2018): 271–89. http://dx.doi.org/10.1017/s026114301800003x.
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AbstractThe emergence of punk in Britain (1976–1978) is recalled and documented as a moment of rebellion, one in which youth culture was seen to challenge accepted values and forms of behaviour, and to set in motion a new kind of cultural politics. In this article we do two things. First, we ask how far punk's challenge extended. Did it penetrate those political, cultural and social elites against which it set itself? And second, we reflect on the problem of recovering the history and politics of moments such as punk, and on the value of archives to such exercises in recuperation. In pursuit of both tasks, we make use of a wide range of historical sources, relying on these rather than on retrospective oral or autobiographical accounts. We set our findings against the narratives offered by both subcultural and mainstream histories of punk. We show how punk's impact on elites can be detected in the rhetoric of the popular media, and in aspects of the practice of local government and the police. Its impact on other elites (e.g. central government or the monarchy) is much harder to discern. These insights are important both for enriching our understanding of the political significance of punk and for how we approach the historical record left by popular music.
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Jola, Corinne, Moa Sundström, and Julia McLeod. "Benefits of dance for Parkinson’s: The music, the moves, and the company." PLOS ONE 17, no. 11 (November 21, 2022): e0265921. http://dx.doi.org/10.1371/journal.pone.0265921.
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Dance classes designed for people with Parkinson’s are very popular and associated not only with increasing individuals’ motor control abilities but also their mood; not least by providing a social network and the enjoyment of the music. However, quantitative evidence of the benefits is inconsistent and often lacks in power. For a better understanding of the contradictory findings between participants’ felt experiences and existing quantitative findings in response to dance classes, we employed a mixed method approach that focussed on the effects of music. Participant experience of the dance class was explored by means of semi-structured interviews and gait changes were measured in a within-subjects design through the Timed Up and Go (TUG) test before and after class, with and without music. We chose the TUG test for its ecological validity, as it is a simple test that resembles movements done in class. We hypothesised that the music and the dance class would have a facilitating effect on the TUG performance. In line with existing research, we found that before class, the gait of 26 participants was significantly improved when accompanied by a soundtrack. However, after class, music did not have a significantly facilitating effect, yet gait without music significantly improved after class compared to before. We suggest that whilst the music acts as an external stimulator for movement before the dance class, after the dance class, participants have an internalised music or rhythm that supports their motor control. Thus, externally played music is of less relevance. The importance of music was further emphasised in the qualitative data alongside social themes. A better understanding of how music and dance affects Parkinson’s symptoms and what aspects make individuals ‘feel better’ will help in the design of future interventions.
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Ye, Ye, and Erxin Wang. "Yuan-Ming Sanqu Songs as Communal Texts: Discovering Their Literary Vitality from a New Research Perspective." Journal of Chinese Literature and Culture 8, no. 1 (April 1, 2021): 113–38. http://dx.doi.org/10.1215/23290048-8898648.
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Abstract When examining songs in Chinese literature, we can distinguish among literary, musical, and communal aspects of their circulation. Sanqu songs became popular in the form of musical texts in the Yuan and Ming dynasties, but the ci song lyrics, by the Southern Song dynasty (1127–1279) if not earlier, had already become a form of communal text in a broad sense. While relying on musical and literary aspects in the early stages of circulation, such ci song lyrics also became increasingly meaningful as social artifacts characterized by diverse forms of usage and participation, and they have been widely appreciated as a “literary-cultural phenomenon” unrelated to music per se. Standard histories of Chinese literature typically interpret the interaction between Song dynasty ci song lyrics and Yuan dynasty sanqu songs and song-drama as a natural evolution of literary forms. To be sure, these histories address the vitality of the musicality and popular nature of such songs while also paying attention to the artistic styles, inherent characters, and originality of sanqu song composition (tige xingfen 體格性分). From such an analysis, however, we know very little about the textual forms and mechanisms of transmission of Yuan-Ming sanqu songs beyond the realm of music and songwriters. In this regard, this article explores whether it was possible for the ci song lyrics, as a literary genre of greater maturity and higher status, albeit divorced from music, to transfer its literary experience to sanqu songs. Such a line of inquiry is also relevant to the study of the survival of various forms of Chinese musical literature beyond their original environments. It also helps us think about the complex relationships between the musical and communal functions of ci song lyrics and sanqu songs.
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Piech, Magdalena. "Regionalism in the Virtual Era." Politeja 16, no. 2(59) (December 31, 2019): 195–206. http://dx.doi.org/10.12797/politeja.16.2019.59.13.
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The symbolic concept of kashmiriyat, dated back to 16th century, generally covers most of the aspects of Kashmiri Muslims’ culture perceived as traditional. However, in the modern era of globalization and rapid growth of the media, particularly the Internet, the world is changing really fast, together with local cultures and identities. The budding influence of social media on the culture of participation, opens a new field for artistic activity. It is especially the younger generation, prone to rebel against the existing reality, who make use of those aims to express oneself. One of the most alluring means to do so is music. It stimulates people’s awareness and tends to unite people beyond boundaries by its universal language. Thanks to its emotional potential, popular music recently gathered its momentum among Kashmiri Muslims as well. The paper presents the examples of two young Kashmiri musicians, MC Kash and Ali Saffudin, as the carriers of Kashmiri Muslim cultural identity. Pointing out the traditional symbols, how they are being reinterpreted and mixed with the elements of current reality and Western culture, I will try to show some aspects of this identity, focusing on the place of regionalism in it.
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Borecky, Andrew. "Dungeons, Dragons, and Music." Journal of Sound and Music in Games 2, no. 1 (January 1, 2021): 46–64. http://dx.doi.org/10.1525/jsmg.2021.2.1.46.
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Since 1974, Dungeons & Dragons (D&D) has existed on the fringes of popular culture alongside many other tabletop roleplaying games. In recent years, however, D&D and other RPGs have emerged at the forefront of gaming culture. The allure of fantasy and magic draws players into creating and roleplaying characters in a mediated fantasy space through social interaction. Though largely untheorized, Dungeons & Dragons has been examined through sociological and philosophical lenses, though these studies often ignore the performative aspects of the game itself. During gameplay, Dungeon Masters (DMs) often exploit sensory detail, music specifically, in order to encourage roleplay in their players. The fifth edition handbook of D&D states that DMs can use “music, art, or recorded sound effects to help set the mood, and many players and DMs alike adopt different voices for the various adventurers, monsters, and other characters they might play in the game.” The following research explores the use of music within D&D as it relates to the players’ ability to immerse themselves within the game, drawing on research in ludomusicology and applying a lens of reflexive and close ethnography. Additionally, this research explicates a growing popularity of D&D on the internet through shows such as Critical Role and the live storytelling genre, as well as how it has altered ideas concerning the performance of voice. Based on interviews with players and observations of D&D games in person and via online streaming services, this article asserts that music allows players to immerse themselves within the setting of the game, which in turn creates a form of participatory performance for both the players and the Dungeon Master.