Academic literature on the topic 'Social action through music'

This article describes music’s role in social interactions carried out by female members of the Marawis group Sirojul Ummah. The Marawis music is the medium they use in their efforts to convey Islamic knowledge and understanding, both for this group itself and for the surrounding community. The research method used is qualitative, in which data are collected from observations, interviews, and literature review, while the technique in analyzing data is done through a contextual approach. Social interaction in this study is viewed from the associative and dissociative aspects in the form of actions that include rational instrumental action, value rational action, effective action, and traditional action. Music is present in each of these actions. Music is both a subject and an object in social interaction, both in-groups, and out-groups. The associative and dissociative aspects of in-groups can be seen from how musical ideas and performances are developed and honed through practice activities. This activity is carried out because good musical performance is supported by techniques and methods of singing, playing, and presenting musical articulation, ornamentation, and harmonization. At the same time, the associative and dissociative aspects of out-groups can be seen from their activities in filling out events in society. The interaction process is built-in pleasant and informal situations which are shaped by an interest in music and family relationships. Since childhood, they have known each other; thus, they understand the characteristics of each person. Maturity, the maturity of thinking, and acting tend to avoid emotional conflicts that may occur. In this context, music is not only a medium for interaction, but can be a motivation in building these interactions.

Objectives The purpose of this study is to develop and implement a Social Studies Curriculum Integrating Music and to reveal how it has changed the social curriculum learning of class students. Methods The quantitative and qualitative research methods were conducted to verify the effectiveness of this curriculum. For quantitative research, the same subject was tested for Interest in social studies before and afterwards, and then analyzed through the SPSS20.0 Paired Sample T-test. For qualitative research, interview contents, learning activity results (video, photo, learning handout, etc.), class observation and reflection records were collected, and transcribed data were coded and categorized and analyzed by semantic units. Results After applying an Social Studies Curriculum Integrating Music, there was a positive change in students' interest in social subject learning. In addition, the Social Studies Curriculum Integrating Music showed positive changes related to empathy for social problems. This suggests educational meaning as a way not only to enhance interest in social subject learning but also to help empathy for social problems based on aesthetic experiences through music activities. Conclusions The implementation of the Social Studies Curriculum Integrating Music revealed educational implications suggesting that such a method of instruction and learning through a variety of music activities combined with the concepts of social studies could increase the students’ interest and effectively assist in enhancing social empathy.

Drawing on the phenomenology of embodied learning, this article presents suggestions for ways that embodied learning can be enhanced in Dalcroze-inspired music education. Here, embodied learning refers to learning from interactional experiences of the self with the physical and social environment through senses, perceptions and mind‐body action and reaction. It is suggested that embodied learning can be efficiently facilitated through teaching that promotes multisensory perceptions, images, integration and experiences, while also motivating physical, social, emotional and intellectual participation. Furthermore, promoting social interaction as well as interaction between perceptions, thoughts, emotions and actions could be regarded essential. Embodied learning can be reinforced by pedagogical actions, such as advancing awareness and a sense of self, triggering mental images, integrating different functions, building a balance between mental and physical activities, and fostering positive emotions and experiences in learning situations. By reflecting on experience, embodied learning becomes more explicit and shareable.

In the past hundred years, especially in the period after the Second World War, popular culture, and thus popular music, has become a vital part of the daily social life activities of individuals. Through the method of understanding and interpretation, the paper examines the processes of action and influence of popular music. The subject of the paper is to observe the relationships that are established between the individual as the bearer of the creative process in popular music and the social and cultural environment in which the creation process takes place and, in that sense, to determine the contribution of the scientific community in shedding light on these issues. The goal is to establish which factors and in what way they influence popular music, and what is the scope of individual creativity in the process of communication of this musical form with society. The opinion is that the individual creative personality of the author is a necessary, but not a sufficient condition for the creative process in popular music. The influences of society and culture, especially the mass media (radio, television and the Internet), in which it originates, are crucial factors that condition and / or mediate the creation of popular music. Thanks to interdisciplinary endeavours, primarily the synergy of musicology (especially critical musicology) and sociology, the knowledge about popular music has increased significantly in recent decades.

Protest music has historically been a central part of American social change movements. Although some protest music is used solely to bring attention to the evils of an oppressive group, another purpose it may serve is to foster positive self-definition and feelings of unity in communities of oppressed people, and some songs may even do both. This project aimed to explore how TikTok affords expression and connection in relation to the use of and interaction with protest music in online spaces. A critical discourse analysis of a specific case of TikTok protest music, You About To Lose Yo Job, was conducted through the lenses of personal expression as a feature of connective action and affordance theory. The following three themes emerged: lip-syncing as a tool of defiance and reclamation of space, the use of hashtags to game a commercialized platform, and the decontextualization or loss of essence of protest music. These findings indicated that the social and ideological functions served by protest music as background sounds on TikTok created potential new avenues for agency through spatial defiance afforded by green screens and strategies to amplify users’ content to new audiences. However, dominant ideologies of capitalism were also reinforced through gaming of hashtags that were associated with events and trends of culture, diluting the context and blurring the movement affiliation of users, making unclear the function the protest music may serve.

ENGLISHOne of the government policies on management of COVID-19 pandemic is community activity restriction, includes dangdut music show. The study aims to describe the efforts of dangdut artists adapting to COVID-19 pandemic. It was qualitative research using phenomenology approach. This study was conducted in Pati Regency. Data were obtained through interviews and observation. The interviews were carried out with five instrument players and two singers. Meanwhile, the observations were made on dangdut music shows, which held offline and virtual on social media. The data were analyzed descriptively. This study found that the community activity restriction caused dangdut artists couldn’t conduct music shows and lead to income reduction. Then, those dangdut artists adapted to this situation. First, on Thursday, Juli 8 2020, some artists held a peaceful action and praying together in Pati’s city center. This action aimed the dangdut artists were allowed to perform music shows. Second, the dangdut artists transformed dangdut shows following the new normal rules. Third, conducting virtual dangdut shows through various social media, such as Youtube, Facebook, and Instagram INDONESIASalah satu kebijakan pemerintah dalam penanganan penyebaran COVID-19 adalah pembatasan kegatan masyarakat, termasuk pementasan musik dangdut. Penelitian bertujuan untuk menggambarkan upaya adaptasi yang dilakukan para pekerja seni musik dangdut di tengah pandemi COVID-19. Metode yang digunakan adalah metode kualitatif dengan pendekatan fenomenologi. Penelitian dilakukan di Kabupaten Pati. Pengumpulan data dilakukan dengan wawancara dan observasi. Wawancara dilakukan dengan lima orang pemain alat musik dan dua orang penyanyi. Adapun observasi dilakukan terhadap kegiatan seni musik dangdut yang digelar secara luring maupun daring di me-dia sosial. Data dianalisis secara deskriptif. Penelitian ini menghasilkan temuan bahwa kebijakan pembatasan kegiatan masyarakat menyebabkan pekerja seni musik dangdut tidak dapat mengadakan pertunjukan. Sebagai akibatnya, pendapatan para pekerja seni musik dangdut mengalami penurunan. Para pekerja seni musik dangdut melakukan beberapa upaya agar dapat terus eksis dan bertahan hidup di tengah pandemi. Pertama, melakukan kegiatan aksi damai dan doa bersama di alun-alun Kabupaten Pati pada Kamis, 8 Juli 2020, agar diberikan izin pertunjukan. Kedua, mengadakan pertunjukan musik sesuai aturan kebiasan pola baru. Ketiga, menggelar konser musik virtual melalui berbagai media sosial seperti Youtube, Facebook, dan Instagram.

Sound branding has been eventually used to recognize the brand and associated with certain values. Despite being a powerful branding resource, especially in political campaigns, music is still underrated in both practitioners’ and researchers’ fields of action. The objective of this study is to analyze the potential of music to conduct a political branding strategy by itself. Six campaign ads from the 2016 U.S. elections are analyzed acoustically and semiotically to gain insights on the music-branding significance. The results suggest that both Clinton and Trump campaigns used music strategically to communicate values in the emotional arena. In particular, Trump’s music conducted brand associations and personality strategy based on the construction of a war hero taking action to save his homeland in times of crisis. Music can transmit brand values through interactions based on emotional experiences. The connections stablished in this article between music and branding can be taken as a model for practitioners to design future political strategies and researches to test brand constructs within the music-branding framework.

This article provides a critical overview of musical identities as a research topic. A broad distinction between identities in music (IIM) and music in identities (MII) highlights how musical engagement is central to identity construction. These concepts are integrated with recent advances in psychological theory derived from enactive cognition (4E cognition) to propose a new framework for understanding musical identities, Musical Identities in Action (MIIA). This framework foregrounds musical identities as dynamic (constantly evolving, dialogical, and actively performed), embodied (shaped by how music is physically expressed and experienced), and situated (emergent from interaction with social contexts, technologies, and culture). Musical identities are presented as fluid and constructed through embodied and situated action. Interdisciplinary research on music and adolescence is utilized to show how the MIIA framework can be applied to specific contexts and how musical identities interact with other aspects of life. Examples of the embodied nature of musical identities are provided from early interactions to professional performance and everyday informal engagement. Technology is highlighted as one topical and situated context, using digital playlists and a recent online improvisation project as examples. Implications of the MIIA framework for education and health are also presented, proposing that a key goal of music education is the development of positive musical identities. Recent advances in humanities research such as post-qualitative inquiry (PQI) and metamodern philosophical theory are proposed as useful multidisciplinary approaches for developing new knowledge related to musical identities.

Senegal is a country with a long history of oral tradition, where the griot is the leading figure responsible for the transmission of messages from generation to generation over centuries. They are highly regarded and considered in society as a mediator and advisor through their music or spoken word. As Senegal witnessed the arrival of the first cases of coronavirus, a large number of musicians used social media to disseminate songs raising coronavirus awareness. Following these first initiatives, President Macky Sall met with several acclaimed musicians in the country. This led to the production of a polyphonic song released by the social media platforms of the Ministry of Health and Social Action. This article looks at music as an ‘edutaining’ and phenomenologically proximate communication strategy to raise awareness about coronavirus and the measures that can be taken to prevent its spread.

This study aims to internalize Sufism-based character education through the musicalization of Qasida Burdah. This research uses a social action method, self-reflection research conducted by researchers together with participants in social situations to improve, solve problems, empower, develop, or advocate for certain social communities. This research was conducted at Darussalam Islamic Boarding School in Ciamis-Indonesia for five months, starting from October 2019 to February 2020. The internalization of Sufism-based character education through Qasida Burdah was carried out through three stages of action. The first stage is 'deepening words' as a basic understanding to animate every poem text Qasida Burdah. The second stage is the 'deepening of meaning' as a step to instill substantial value from the poetry of Qasida Burdah. The final stage is to appreciate music as a preliminary reflection-praxis to the depth of the word and meaning of the poetry of Qasida Burdah. Through Qasida Burdah's musicalization, students (santri) become more religious, more disciplined, more respectful of others, more respectful of differences, more tolerant, not rude, arrogant, pretentious, and ignorant of others. This shows that Sufism-based character development can be done using a variety of media, including musical media.