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Journal articles on the topic 'Social action through music'
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1
Cipta, Febbry, and Sandie Gunara. "Sirojul Ummah: Music in Social Interaction." Harmonia: Journal of Arts Research and Education 20, no. 2 (December 27, 2020): 153–60. http://dx.doi.org/10.15294/harmonia.v20i2.21456.
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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.
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Kwon, Tae Young, and Mi Jar Lee. "An action research of Social Studies Curriculum Integrating Music." Korean Association For Learner-Centered Curriculum And Instruction 23, no. 6 (March 31, 2023): 227–47. http://dx.doi.org/10.22251/jlcci.2023.23.6.227.
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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.
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Juntunen, Marja-Leena. "Ways to enhance embodied learning in Dalcroze-inspired music education." International Journal of Music in Early Childhood 15, no. 1 (July 1, 2020): 39–59. http://dx.doi.org/10.1386/ijmec_00011_1.
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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.
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Ilić, Boris. "Popular music: Individual creativity and social framework." Zbornik Akademije umetnosti, no. 10 (2022): 202–16. http://dx.doi.org/10.5937/zbaku2210202i.
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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.
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Sadler, Olivia. "Defiant Amplification or Decontextualized Commercialization? Protest Music, TikTok, and Social Movements." Social Media + Society 8, no. 2 (April 2022): 205630512210947. http://dx.doi.org/10.1177/20563051221094769.
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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.
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Fatimah, Nurul, and Ela Hikmah Hayati. "Adaptasi Pekerja Seni Musik Dangdut di Masa Pandemi COVID-19." Jurnal Litbang: Media Informasi Penelitian, Pengembangan dan IPTEK 17, no. 1 (June 30, 2021): 35–46. http://dx.doi.org/10.33658/jl.v17i1.244.
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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.
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Mas, Lluís, Maria-Rosa Collell, and Jordi Xifra. "The Sound of Music or the History of Trump and Clinton Family Singers: Music Branding as Communication Strategy in 2016 Presidential Campaign." American Behavioral Scientist 61, no. 6 (March 22, 2017): 584–99. http://dx.doi.org/10.1177/0002764217701214.
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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.
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MacDonald, Raymond, and Suvi Saarikallio. "Musical identities in action: Embodied, situated, and dynamic." Musicae Scientiae 26, no. 4 (December 2022): 729–45. http://dx.doi.org/10.1177/10298649221108305.
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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.
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Sendra, Estrella, and Keyti. "Use of Senegalese music to raise coronavirus awareness on social media." Journal of African Media Studies 14, no. 1 (March 1, 2022): 81–94. http://dx.doi.org/10.1386/jams_00066_1.
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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.
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Ainusyamsi, Fadlil Yani. "Internalization of Sufism-Based Character Education Through Musicalization of Qasida Burdah." Jurnal Penelitian Pendidikan Islam 8, no. 2 (January 5, 2021): 161. http://dx.doi.org/10.36667/jppi.v8i2.488.
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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.
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Zakaria, Fakhri, and Gustaf Wijaya. "Dari Pertunjukan Ke Media: Konvergensi Festival Musik Dalam Merespons Pandemi Covid-19." Jurnal Media dan Komunikasi Indonesia 3, no. 1 (March 29, 2022): 4. http://dx.doi.org/10.22146/jmki.69696.
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The policy of physical and social restrictions as an action to prevent the spread of COVID-19 has forced the organization of music festivals to shift from conventional formats to virtual stages. However, this new format encountered several challenges, from infrastructure to social aspects. The practice of convergence, apart from being a form of adaptation, can also form a new social community that becomes social capital in the sustainability of the music festival, both economically and socially. This paper discusses the adaptation of music performance business actors through the convergence of music performance formats during the COVID-19 pandemic. The research method utilized is a case study. The object of research is Synchronize Fest and Tomorrowland. Both have strong and wide fans social capital. Both also have their unique way in carrying out digital convergence. Synchronize Radio and television broadcasted format is a form of convergence of musical performances carried out by the Synchronize Festival, as previously an annual multi-genre music festival on a national scale. Meanwhile, a multimedia-based website and community activation have become Tomorrowland's way of greeting its fans during the pandemic. This research is a portrait of how music festivals, as one of the sectors affected by the pandemic, are alive and stay connected to their fans.
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Barcellos, Luiz Claudio, and Rebecca Wade-Chung. "#SaveTheAmazon: Promoting global competence and making bridges in the middle school music classroom." Journal of Popular Music Education 6, no. 3 (November 1, 2022): 403–21. http://dx.doi.org/10.1386/jpme_00099_1.
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This article offers an overview of a semester-long general music class unit in an international middle school. Due to international schools’ transient nature, students come from various backgrounds, and many do not have formal musical training. Using samba and popular music as a base for the unit, students developed critical awareness and explored socio-ecological issues in sustainability, resource consumption and environmentally friendly education about the Amazon rainforest. This action research will discuss the teaching strategies used in the classroom to promote student-led learning, problem-solving and collective music-making in times of hybrid learning and physical constraints due to the COVID-19 pandemic. Initially, students studied rhythms and developed musicianship while using popular music repertoire. Subsequently, students investigated the impact of deforestation in the Amazon basin and how it may affect the world. Finally, they learned about activism in art and were encouraged to take action through songwriting and social media, developing critical awareness and global competence.
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Chang, Andrew, Steven R. Livingstone, Dan J. Bosnyak, and Laurel J. Trainor. "Body sway reflects leadership in joint music performance." Proceedings of the National Academy of Sciences 114, no. 21 (May 8, 2017): E4134—E4141. http://dx.doi.org/10.1073/pnas.1617657114.
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The cultural and technological achievements of the human species depend on complex social interactions. Nonverbal interpersonal coordination, or joint action, is a crucial element of social interaction, but the dynamics of nonverbal information flow among people are not well understood. We used joint music making in string quartets, a complex, naturalistic nonverbal behavior, as a model system. Using motion capture, we recorded body sway simultaneously in four musicians, which reflected real-time interpersonal information sharing. We used Granger causality to analyze predictive relationships among the motion time series of the players to determine the magnitude and direction of information flow among the players. We experimentally manipulated which musician was the leader (followers were not informed who was leading) and whether they could see each other, to investigate how these variables affect information flow. We found that assigned leaders exerted significantly greater influence on others and were less influenced by others compared with followers. This effect was present, whether or not they could see each other, but was enhanced with visual information, indicating that visual as well as auditory information is used in musical coordination. Importantly, performers’ ratings of the “goodness” of their performances were positively correlated with the overall degree of body sway coupling, indicating that communication through body sway reflects perceived performance success. These results confirm that information sharing in a nonverbal joint action task occurs through both auditory and visual cues and that the dynamics of information flow are affected by changing group relationships.
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Putra, Surya Purnama. "AKTUALISASI SIMBOL-SIMBOL PERLAWANAN DALAM PERTUNJUKAN MUSIK HIP-HOP TRAHGALI SOULJA DI SURAKARTA." Sorai: Jurnal Pengkajian dan Penciptaan Musik 12, no. 1 (August 27, 2019): 31–43. http://dx.doi.org/10.33153/sorai.v12i1.2621.
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This paper contains the actualization of resistance symbols contained in the performances of Trahgali Soulja, a hip-hop music group based in Surakarta. This includes reviewing the audience’s response to the music performed. The problems that arise are (1) the efforts of the Soulja Trahgali music group in constructing the symbols of resistance, (2) the form of actualization of ideas or the construction of symbols through the stage actions performed by Trahgali Soulja that illustrate the ideology of resistance, and ( 3) audience’s response to the stage action offered by Trahgali Soulja. The production and packaging of Trahgali Soulja’s performances are carried out on the backstage/back region - including the discovery of musical ideology, the process of interpreting the ideology of resistance, and the behind-the-scene communications among players. Then a scenario for the performance is employed in the stage action on the front stage/front region, and of course there are elements to support the performances being prepared. The positive response is shown by the audience with the emergence of the Red Ax Soldier community which supports the entire behavior of Trahgali Soulja, and not even rarely did this community adopt the musical behavior of Trahgali Soulja. In addition, social media such as Facebook, YouTube and Instagram also become the showrooms for this group’s hip-hop songs.Keywords: actualization, symbol of resistance, hip-hop music performances, trahgali soulja.
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González Martínez, Susana, and Nelson Varas-Díaz. "Heavy metal music as communal intervention: Experiences and challenges in the context of the metal-academia dyad in Jaén, Spain." Metal Music Studies 7, no. 1 (March 1, 2021): 7–26. http://dx.doi.org/10.1386/mms_00029_1.
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In this article we aim to address the complex interrelation between metal music and academia through a case study design and analysis. The case study examined is an academic conference held during the past seven years at the University of Jaén, located in Jaén, a province in the south of Spain. This sociocultural project, entitled the ‘Rock and Metal Encounter’ (RME), has taken place in a context of frequent out-migration, with a precarious rural economy, and poor communication networks. There a small metal scene has resisted a precarious setting characterized by restrictive public policies towards music and culture. The RME has combined two lines of action; a purely academic one, through the diffusion of studies on metal music; and a social one, in which community intervention components have been interspersed with the aim of promoting social cohesion and cultural development among Jaén’s metal scene. In light of this experience, we discuss the potential use of metal music as a form of community intervention to foster the cultural development of small music scenes in disadvantaged settings, and the university’s role in this process. We also explore resistance and tensions faced by the incursion of metal music as a community intervention practice in this particular academic setting.
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González-Martínez, Susana. "The didactic role of feminist art in metal music: Coven bands as a relational device for personal improvement and social justice." Metal Music Studies 8, no. 3 (September 1, 2022): 401–21. http://dx.doi.org/10.1386/mms_00087_1.
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This article presents an analysis of the feminist artistic practices that some bands are adopting through metal music to show how their approaches are linked to a tradition in the history of feminist art. For this purpose, I addressed these feminist metal bands to demonstrate how their practices align with feminist and artistic pedagogies that evolved during the 1970s women’s liberation movement. I examine how artists, like second-wave feminist art groups, create an integrating framework that transcends the scope of art, managing to simultaneously convene and attend to various personal and social processes, based on a reflection substantiated on social group theory, feminist art, feminist pedagogies and ritual studies. Similarly, I highlight and differentiate their specific strategies by analysing their practices in order to understand, on the one hand, these feminist bands as a powerful relational device, which I have termed ‘coven bands’, and, on the other hand, the set of their practices as a didactic action of feminist resistance for personal improvement and social justice. Therefore, I will show how coven bands – whose name is a metaphor that evokes a gathering or circle of witches – are both a collective critical conscience and a multifunctional platform where several of life’s processes can be conjured up, such as relational learning, mutual help, psycho-emotional healing, creativity, empowerment and social action simultaneously.
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Mao, Mao, Alan F. Blackwell, and David A. Good. "Understanding Meaningful Participation and the Situated Use of Technology in Community Music for Active Ageing." Interacting with Computers 32, no. 2 (March 2020): 185–208. http://dx.doi.org/10.1093/iwc/iwaa014.
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Abstract An unfortunate tendency in previous HCI research has been to give the impression that it aims to ‘fix the problem’ of human ageing, suggesting a ‘deficit’ model of ageing or a ‘prosthetic’ model of technology. We conducted diary-aided interviews to investigate how technology use is situated in active, healthy older adults’ meaningful participation in community music. We argue that recognizing community music practices and technology use as situated action provides opportunities to grasp the subtleties of social participation and design for active ageing. We identified technology-mediated music practices, such as music sharing and revisiting, and how they evolved through the reconfiguration of connections between technology, competence, and forward-facing identities. We found that identity development, via routes such as exercising control, role transitions, and social spaces, had psychological significance and implications for active ageing. We explore how HCI leverages the perspective of active ageing and might facilitate older adults’ meaningful participation enhanced by technologies.
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Broughton, Mary C., Jessie Dimmick, and Roger T. Dean. "Affective and Cognitive Responses to Musical Performances of Early 20th Century Classical Solo Piano Compositions." Music Perception 38, no. 3 (February 1, 2021): 245–66. http://dx.doi.org/10.1525/mp.2021.38.3.245.
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Effective audience engagement with musical performance involves social, cognitive and affective elements. We investigate the influence of observers’ musical expertise and instrumental motor expertise on their affective and cognitive responses to complex and unfamiliar classical piano performances of works by Scriabin and Hanson presented in audio and audio-visual formats. Observers gave their felt affect (arousal and valence) and their action understanding responses continuously while observing the performances. Liking and familiarity were rated after each excerpt. As hypothesized: visual information enhanced observers’ action understanding and liking ratings; observers with music training rated their action understanding, liking and familiarity higher than did nonmusicians; observers’ felt affect did not vary according to their musical or motor expertise. Contrary to our hypotheses: visual information had only a slight effect on observers’ arousal felt affect responses and none on valence; musicians’ specific instrumental motor expertise did not influence action understanding responses. We also observed a significant negative relationship between action understanding and felt affect responses. Ideas of empathy in musical interactions motivated the research; the empathy framework in relation to musical performance is discussed. Nonmusician audiences might be sensitized to challenging musical performances through multimodal strategies to build the performer-observer connection and increase understanding of performance.
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Öğüt, Evrim Hikmet. "Music, Migration, and Public Space: Syrian Street Music in the Political Context." Arts 10, no. 4 (October 22, 2021): 71. http://dx.doi.org/10.3390/arts10040071.
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Due to the lack of social systems supporting the cultural productions of migrant societies in Turkey, the venues and opportunities to which migrant musicians have access for the maintenance of their musical practices are limited. Under the given circumstances, especially in the first years after their arrival, street musicianship emerged as a new musical practice for Syrian musicians in Istanbul, and Beyoğlu District, the city’s cultural and political center, has become the venue for street musicians’ performances. Despite undergoing a rapid neoliberal transformation, Beyoğlu district, with Taksim Square and Istiklal Avenue, is a venue of interaction among locals, tourists, and various migrant groups from diverse social classes and identities. As such, it still possesses the potential to be the public sphere which can operate as the space of “a democratic ideal.” For migrant musicians, the street music practices, which fill the very heart of city with their voices and sounds, are means of claiming their existence in the city as potential actors of this public sphere. However, conducting the interaction with the other public space actors and the state officials through street music is not an easy task for Syrian musicians, and it requires the use of tactics from them. In this article, I summarize the given circumstances of Syrian street music performances and discuss the Beyoğlu district in the frame of being—or not being—a public space. I propose street music practice as political action, a “social non-movement”, as Asef Bayat calls it, and situate migrant musicians as political actors who are possible allies of other subaltern groups in Turkey.
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Grissom-Broughton, Paula A. "A matter of race and gender: An examination of an undergraduate music program through the lens of feminist pedagogy and Black feminist pedagogy." Research Studies in Music Education 42, no. 2 (November 1, 2019): 160–76. http://dx.doi.org/10.1177/1321103x19863250.
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Feminist pedagogy, originating in social constructivism and critical theory, offers an instructional approach for a more democratic and diverse curriculum and pedagogy. Extending from feminist pedagogy is Black feminist pedagogy, which offers a more specialized instructional approach for underrepresented populations in education. Both feminist pedagogy and Black feminist pedagogy foster a unique intersection for institutions of higher education whose historic mission integrates race and gender as part of its targeted efforts. This study examines ways feminist pedagogy and Black feminist pedagogy are integrated into the undergraduate music program at Spelman College, a historically Black college for women. Using Barbara Coeyman’s four principles of traditional feminist pedagogy for women’s studies in music and the general music curriculum (i.e., diversity, opportunities for all voices, shared responsibility, and orientation to action) as a theoretical framework, the following three components were examined for this study: content (curriculum and course design), context (structural influences of gender and race), and pedagogy (classroom instruction and learning outcomes). The analysis of data ascertained through triangulated measures of interviews, observations, and document collection provided suggestions as to how music educators can design and teach within a music environment that is socially and culturally inclusive for all students.
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Millar, Oscar, and Ian Warwick. "Music and refugees’ wellbeing in contexts of protracted displacement." Health Education Journal 78, no. 1 (July 16, 2018): 67–80. http://dx.doi.org/10.1177/0017896918785991.
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Objectives: The aim of this study was to improve understanding of the relationship between music practice and the wellbeing of young refugees, by examining the perspectives of Yazidi music participants aged 11–18. Design: Focused exploratory case study design, informed by the Ottawa Charter for Health Promotion which provided the conceptual framework for the research. Setting: A camp in northern Greece, where people from Iraq and Syria had been living for up to a year. Method: Data were collected over a 5-week period through participant observation of individual music lessons and group music workshops involving between 3–12 participants. In addition, semi-structured interviews were conducted with a sub-sample of six participants (three boys and three girls) aged 11–18. Results: Findings indicate that activities involving music practice can impact positively on young people’s wellbeing, enabling the development of emotional expression, improved social relations, self-knowledge and positive self-identification, and a sense of agency. Conclusion: The positive impacts of music practice noted here suggest it has the potential to be a promising health promotion approach for young refugees, by helping to develop supportive environments, through which community action can be strengthened and personal skills developed.
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Appert, Catherine M. "LOCATING HIP HOP ORIGINS: POPULAR MUSIC AND TRADITION IN SENEGAL." Africa 86, no. 2 (April 6, 2016): 237–62. http://dx.doi.org/10.1017/s0001972016000036.
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ABSTRACTThis article complicates internationally circulating origin myths that alternately link hip hop to West African griot traditions or highlight the global resonance of its roots in the US inner city. I argue that such generalizing narratives potentially obscure how complex understandings of traditional cultural production inform local engagements with hip hop in Africa, and advocate instead for ethnographically generated interpretive frameworks that enable alternative, locally grounded analyses of hip hop cultures. In doing so, I examine the particularity of Senegalese invocations of origin myths to ask how local and global histories are reimagined through discourse about musical practice. Based on their understandings of tradition as something that precedes, is transformed in, and remains integral to contemporary urban life in Senegal, underground hip hoppers conflate the local popular genrembalaxwith griot practice, contrasting it with hip hop as a modern music born from experiences of urban struggle that resonate with their own realities. I demonstrate that Senegalese hip hop practice is defined not only through political engagement or social action but also through and against local musical practices that performatively re-inscribe the political and social systems that limit and contain youth.
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Fiorentino, Matthew C. "Considering Antiracism in Student Teacher Placement." Journal of Music Teacher Education 28, no. 3 (January 7, 2019): 58–71. http://dx.doi.org/10.1177/1057083718820713.
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Student teaching represents the culmination of a preservice music educator’s preparation. In student teaching, notions of the transformative potential of music education may be reinforced or subverted. The placement of student teachers, an underresearched process in music teacher education, may be a space where teacher educators can work toward racial justice. In this article, I explore critical antiracist theory in music teacher education in two fictionalized vignettes. I apply an antiracist lens to the process of student teacher placement to suggest ways to interrogate problematic policies and practices. Avenues for antiracist praxis include (a) naming the racialized nature of an institution’s professional network, (b) mapping the racial landscapes of prospective placements, (c) addressing issues of representation in student teacher placement, and (d) becoming race-power conscious. Through this article, I illustrate how antiracist theory might guide music teacher education toward social action by addressing issues related to racism, racial representation, and school segregation.
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de Bruin, Leon Rene. "Shaping interpersonal learning in the jazz improvisation lesson: Observing a dynamic systems approach." International Journal of Music Education 36, no. 2 (July 13, 2017): 160–81. http://dx.doi.org/10.1177/0255761417712318.
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Music institutions predominantly utilize the one-to-one lesson in developing and supporting music students’ learning of skill and knowledge. This article explores the effect that interpersonal interaction plays in shaping pedagogical applications between teacher and student. Observing the learning of improvisation within this individualized social context, dynamic systems theory (DST) is used to explore how learning and development of musical improvisation skills are shaped by interpersonal behaviors and learning relationships. Through the dimensions of teacher “action” and “affiliation”, this phenomenological study investigates the interactive behaviors of five expert Australian educator/improvisers and their students. Interpretative phenomenological analysis is utilized to identify modes of behavioral interactions that evolve through dynamic and fluid interplay. Interactive behavior positions and facilitates the delivery of skill, knowledge, teacher attitudes and understandings of the improvisation process. An interpersonal model of behaviors within the instrumental music lesson is posited, and implications for ongoing critical reflection of interpersonal and pedagogical approaches in the one-to-one context are suggested.
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Sacheli, L. M., C. Verga, E. Arcangeli, G. Banfi, M. Tettamanti, and E. Paulesu. "How Task Interactivity Shapes Action Observation." Cerebral Cortex 29, no. 12 (October 7, 2019): 5302–14. http://dx.doi.org/10.1093/cercor/bhz205.
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Abstract Action observation triggers imitation, a powerful mechanism permitting interpersonal coordination. Coordination, however, also occurs when the partners’ actions are nonimitative and physically incongruent. One influential theory postulates that this is achieved via top-down modulation of imitation exerted by prefrontal regions. Here, we rather argue that coordination depends on sharing a goal with the interacting partner: this shapes action observation, overriding involuntary imitation, through the predictive activity of the left ventral premotor cortex (lvPMc). During functional magnetic resonance imaging (fMRI), participants played music in turn with a virtual partner in interactive and noninteractive conditions requiring 50% of imitative/nonimitative responses. In a full-factorial design, both perceptual features and low-level motor requirements were kept constant throughout the experiment. Behaviorally, the interactive context minimized visuomotor interference due to the involuntary imitation of physically incongruent movements. This was paralleled by modulation of neural activity in the lvPMc, which was specifically recruited during the interactive task independently of the imitative/nonimitative nature of the social exchange. This lvPMc activity reflected the predictive decoding of the partner’s actions, as revealed by multivariate pattern analysis. This demonstrates that, during interactions, we process our partners’ behavior to prospectively infer their contribution to the shared goal achievement, generating motor predictions for cooperation beyond low-level imitation.
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Chandransu, Nantida. "Integrating multicultural music education into the public elementary school curricula in Thailand." International Journal of Music Education 37, no. 4 (June 25, 2019): 547–60. http://dx.doi.org/10.1177/0255761419855827.
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This article reflects on various challenges encountered during a pilot action-based research “Integrating Multicultural Music Education into the Elementary School Curricula of Public Schools in Thailand.” This project was set up to develop lesson plans, activities, teaching tools and evaluation methods for music teachers. As a pilot-curriculum model, it pays particular attention to cross-cultural understanding for helping Thai children gain a sense of cultural conceptualization and the skills necessary for growing up in a racially, religiously, and culturally diverse society. This research attempts to explore possibilities for various music cultures introduced to the formal education system in Thailand, which had previously restricted music education to nationalist-based Thai music and certain samples of Western classical music. Once children discover multiple music cultures, their perspectives are broadened. The outcomes of this research will also be beneficial for future instruction designs. The attempt to update music education in the Basic Education level to accommodate changing social and cultural contexts affected by globalization and urbanization will raise awareness of cultural diversity and the direction of music education curriculum development. Music education through the Thai formal education system is one method of preparing children to grow up in a culturally diverse world.
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DeNora, Tia, and Sophie Belcher. "‘When You're Trying Something on You Picture Yourself in a Place Where They are Playing This Kind of Music’ — Musically Sponsored Agency in the British Clothing Retail Sector." Sociological Review 48, no. 1 (February 2000): 80–101. http://dx.doi.org/10.1111/1467-954x.00204.
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Despite the philosophical tradition from Plato onward, sociologists have not yet explored in full music's role as an active ingredient in social formation. This project has been left to environmental psychologists and market researchers who are more interested in ‘what’ music can cause than in exploring its mechanisms of operation and the implications of these mechanisms for the constitution of social agency. This paper draws upon ethnographic research in and around High Street retail outlets to examine music's role in shaping consumer agency – in-store conduct, purchase behaviour subjectivity, identity. Exploring music in this way illuminates the interface of material culture, social action and subjectivity. Music is used by retailers to signal target clientele and brand image and to structure the temporal dimensions of the retail to environment over the day, week and year. It is also used to structure in-store conduct. It is more important in relation to younger shoppers and to ‘browsers’. Some stores rely upon unacknowledged skill of sales assistants, who often act as ambassador users of store products, to make and implement local music policies. Music provides contextualization cues that may structure in-store subjectivity and clients' orientations to themselves as consumers and to goods on display. The heightened degree of aesthetic reflexivity exhibited by younger shoppers may be part of a transformation of the processes in and through which agency is produced and reproduced, one that is linked to an ascendancy of commercial control over agency's constitution.
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Di Scipio, Agostino. "The Politics of Sound and the Biopolitics of Music: Weaving together sound-making, irreducible listening, and the physical and cultural environment." Organised Sound 20, no. 3 (November 16, 2015): 278–89. http://dx.doi.org/10.1017/s1355771815000205.
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The ever-increasing focus on sound in recent creative practices has ideological implications and seems to reframe and problematise ontological perspectives on music. Today it is possible to contrast notions of music as identical with sound (as in the discursive framework of ‘audio culture’) with artistic practices where sound and music arenot at allidentical, and the usually implicit hierarchy between them is probably twisted. This article discusses such matters from a methodological position that weaves together issues usually discussed in different areas of concern: it understands ecologically informed notions of sound and auditory experience as strictly intertwined with critical and inventive attitudes on technology, particularly as their intertwining is elaborated through performative practices. It suggests that, in music as well as in sound art, what we hearassound andinsound is the dynamics of anecology of situated and mediated actions, as a process that binds together (1) human beings (practitioners and listeners, their auditory inclinations), (2) technical agencies (the domain where means and ends are dialectically negotiated as practitioners strive to achieve a certain freedom in action across the public space of technological mediations and delegations) and (3) the environment (the physicalandcultural context where sound-making and listening practices take place). The general idea is that the manners by which we shape up our relationship to sound and appropriate the technical mediations involved in working with it, are ofbiopoliticalrelevance for social endeavours that might (still) be ‘music’
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Abd-Rahim, Atiqah. "Online Fandom: Social Identity and Social Hierarchy of Hallyu Fans." Journal for Undergraduate Ethnography 9, no. 1 (March 12, 2019): 65–81. http://dx.doi.org/10.15273/jue.v9i1.8885.
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Hallyu fans are people who are dedicated to popular culture in South Korea, including music, drama and film. This study focuses on fans of Korean pop music, which is known as K-pop. Developments in digital communication technology have given rise to media such as forums, websites, video channels, and fan sites that are consumed by K-pop fans. Fans participate in multiple fandoms because these websites are easily accessed by public audiences. However, problems arise when fans start to compete, using their knowledge to help validate their existence and to help the perception of authentic identities within fan communities. This paper is based on virtual ethnographic fieldwork that identified fans’ constructions of their own identities and the building of a social hierarchy through various online practices. The research findings are based on four months of fieldwork with two online Hallyu fandoms; ELF (Ever Lasting Friends) and A.R.M.Y (Adorable Representative M.C. for Youth). The findings reveal that conflicts exist in certain fandoms which aid in defining fan identities and, at the same time, fans undertake positive socialising actions which contribute to the fandom itself. Interactions between fandoms also need to be recognised, since online fandoms can be seen as borderless.
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Nicholls, David. "Getting Rid of the Glue: The Music of the New York School." Journal of American Studies 27, no. 3 (December 1993): 335–53. http://dx.doi.org/10.1017/s0021875800032060.
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The term New York School is usually applied to a number of American visual artists working in and around Manhattan from the early 1940s through to the late 1950s. The group included abstract expressionists, abstract impressionists and action painters; among its leading lights were Willem de Kooning, Mark Rothko, Jackson Pollock, Philip Guston and Franz Kline. The typical features of New York School art were innovative individual expression and a rejection of past tradition. And while this led to the development of a number of independent styles, rather than a single group style, the overall result was a characteristic American avant-garde approach to art which had much influence internationally.
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van Rooyen, Anrie, and Andeline dos Santos. "Exploring the lived experiences of teenagers in a children’s home participating in a choir: A community music therapy perspective." International Journal of Community Music 13, no. 1 (May 1, 2020): 81–101. http://dx.doi.org/10.1386/ijcm_00011_1.
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This study explored the lived experiences of teenagers in a children’s home who participated in a choir that was facilitated from a community music therapy perspective in Pretoria, South Africa. Sixteen weekly choir sessions were held. These included a variety of interactive vocal techniques. A performance marked the end of the process, where songs selected by the teenagers were performed. Qualitative data were collected through fourteen semi-structured individual interviews at the end of the process. All interview transcripts were analysed through utilizing interpretative phenomenological analysis. The study concluded that participation in this community music therapy choir offered the teenagers perceived meaningful intra- and interpersonal experiences. At an intrapersonal level, the participants experienced discovering their musical voices; accessing inner strength to take action both in the here-and-now and in the future; increased self-awareness, self-esteem and self-confidence; as well as expressing and regulating emotions. In terms of interpersonal experiences, the teenagers experienced growth in relationships; improved social skills; and greater connection with the broader community.
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Mabingo, Alfdaniels. "Music as a pedagogic tool and co-teacher in African dances: Dissecting the reflections and practices of teachers of cultural heritage dances in Uganda." Research Studies in Music Education 42, no. 2 (June 28, 2019): 231–47. http://dx.doi.org/10.1177/1321103x19843202.
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The subject of the inseparability of music and dance in African artistic experiences has preoccupied scholars and researchers in the field of ethnomusicology, ethnochoreology, and musicology. Commonly, music is conceptualized as an accompaniment to dance. Moreover, the existing literary perspectives frame the inseparability of music and dance in African communities in aesthetical, structural, functional, and semiotic terms. This article provides an intellectual excursion that locates music as pedagogy of dances in African practices. It offers a critical examination of how teachers of cultural heritage dances in nonacademic environments in central Uganda engage music as a pedagogic aid. I draw on the idea of choreomusicology and social learning theories to locate the place of music in dance not just as an accompaniment, but also as a teaching and learning aid. A total of eight dance teachers were engaged through storytelling, interviews, and inquisitorial observation for a period of nine months to elicit their reflections on and interpretations of application of music as a pedagogic stimulus in teaching cultural heritage dances. The findings revealed that elements of music such as songs, mnemonics, instrumental sounds, body percussion, and drum rhythms are key drivers in guiding and framing the teaching and learning processes of the dances. Through music, the dance teachers provoke learners to individually and communally embody, experience, question, abstract, experiment with, concretize, and conceptualize kinesthetic and historicized movement knowledge and skills of the dances. Music scaffolds and staircases learners into kinesthetic journeys of embodied knowing, experiential agency, constructive thinking, creative and reflective imagination, socialized connectivity, and corporeal action. The article provides insights into how music and dance practitioners in Western and non-Western traditions can leverage music to facilitate holistic pedagogic and creative processes of dance.
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London, Jeffrey. "Portland Oregon, Music Scenes, and Change: A Cultural Approach to Collective Strategies of Empowerment." City & Community 16, no. 1 (March 2017): 47–65. http://dx.doi.org/10.1111/cico.12222.
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This article highlights the role of the independent music culture of Portland, Oregon, in establishing a productive culture of consumption and spaces that contribute to the place character of the city. Derived from an ethnographic research project of urban culture and social change in Portland, Oregon, guided interviews and extended participant observation helped to bring to light the cultural economy that artists and musicians make for the city. The cultural production of Portlanders in the indie music community, and those who work and produce in neighborhood settings, has served the city in the most recent period of rapid gentrification. Many scholars have focused on the way bohemian concentrations have led to gentrification; others have highlighted the contingent labor that art makers provide. What I argue here is as the city develops in these ways, artisanal workers and music makers work to use their established networks and situated meaning in the city to fend off these processes and extend their presence in space. Through these collective strategies of empowerment, culture and music move into political discourse and affect political action on the city level.
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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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JEDWILLAT, LUISA, and NATALIA NOWACK. "A GAME WITH MUSIC OR MUSIC WITH A GAME? ABOUT THE VIDEO GAME KARMAFLOW." Art and Science of Television 16, no. 4 (2020): 85–108. http://dx.doi.org/10.30628/1994-9529-2020-16.4-85-108.
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Over 70 years ago, Theodor W. Adorno and Hanns Eisler philosophized about functional music in their programmatic script Composing for the Films. In spite of all the social criticism that the authors practiced with relish, it was already about the essential—the determination of a meaningful coexistence of synergetically connected art events. With the spread of video games, the question arises again and again: how to combine action and sound without falling prey to Mickey Mousing effect? As one of the youngest branches of music studies, ludomusicology describes a number of musical application scenarios, systematized according to effects and techniques. Their principles are comprehensible—under normal circumstances. With the Karmaflow—The Rock Opera Videogame, however, a project was started that leads to a new configuration between the media: in this game you play, in a manner of speaking, with or against the music itself. Because of its design, Karmaflow deserves to be considered on its own. Additionally, outside the subgroup of “music-based games”, heavy metal music is an exception among video games. The present essay illustrates the specific concept of the game which indeed can be placed in a range between video games and rock operas. The insights gained through (self-) observation are compared with the results of an exploratory survey. The survey was aimed at revealing the influence of sound on the gaming experience. The majority of respondents confirmed the connection between music and gameplay and the effect of musical characterization on some specific decisions. Test subjects, who, due to their preferences, belonged to the target group of game developers, judged differently than the other experiment participants.
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Siregar, Lita Amanah, and Maria Ulfa. "Gender-Based Double Standard in Taylor Swift's Song." LITE: Jurnal Bahasa, Sastra, dan Budaya 18, no. 2 (September 30, 2022): 83–96. http://dx.doi.org/10.33633/lite.v18i2.5783.
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This research examines the way gender based double standards represented in Taylor Swift’s song namely “The Man”. The objects of the research are the song lyrics and music video of Taylor Swift’s “The Man”. The research applies social semiotic analysis theoretical framework. The song lyric is analysed using the ideational metafunction of Halliday, while the music video using the representational meaning of Kress and Leeuwen’s Visual Grammar. The result shows that, in the lyrics, the portrayals of gender-based double standards mostly realized through the use of relational and material processes. The relational processes relates man with attributes such as “more of a boss”, “fearless leader”, “alpha type”, and “Leo”(Leonardo Di Caprio), while the material actualizes man’s action such as “play the field”, “hustled” and “put in the work”. Additionally, the Music Video is dominated by reactional processes that reveal people’s positive reaction towards man’s action and followed by symbolic attribute process that represents men in a more central, active and agentive manner and women in a marginal, passive, and object positions. Man is also portrayed as successful leader, greatest dad, rich man, while women are mostly seen laying down, wearing sexy attire and as object’s to man’s pleasure.
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Zhao, Yuxiang Chris, Yan Zhang, Jian Tang, and Shijie Song. "Affordances for information practices: theorizing engagement among people, technology, and sociocultural environments." Journal of Documentation 77, no. 1 (October 8, 2020): 229–50. http://dx.doi.org/10.1108/jd-05-2020-0078.
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PurposeIn the domain of information science, affordance is a relatively new concept that deserves further exploration. It may serve as a bridge to narrow the research-practice gap that has persisted in information studies. Building upon previous research, we call for a broader concept of affordance that would help researchers understand information practices from an ecological perspective.Design/methodology/approachThe study focuses on conceptualizing affordances for information practices in order to theorize engagement among people, technology, and sociocultural environments. We develop a hierarchical model and a component model to illustrate how key tenets of affordances can be linked with the decomposition of activities and its mechanism. Following this, we describe an illustrative case of a popular Chinese cloud-based music platform to demonstrate the utility of our conceptual frameworks in guiding studies of information practices.FindingsThe study proposes to shift the focus of technology affordances, which highlights the features and functions of particular technologies, to the affordances for practices that are enacted through technology and social construction within a sociocultural environment. The illustrative case of the cloud-based music platform shows that the proposed models can provide a structured view of operations, actions and motives for music information practices. The processes of internalization and externalization offer insight into the decomposition of information practice as a chain of activity-action-operation.Originality/valueThis study contributes to the literature on theorizing engagement among people, technology and sociocultural environments through the theoretical lens of affordances and sheds new light on the challenges of information practice.
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Kyriacou, Chris. "Enhancing mental health through social pedagogy: A case study of a music course for troubled adults." Psychology of Education Review 41, no. 2 (2017): 31–34. http://dx.doi.org/10.53841/bpsper.2017.41.2.31.
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One of the major challenges facing society is how to offer help and support for troubled adults experiencing mental health problems. The practice of social pedagogy often involves working with others in ways that will help to enhance their self-esteem and self-confidence, and empower them to engage in actions that will improve their lives. The case study reported here was based on observations of six teaching sessions and interviews with ten troubled adults taking part in a course on music designed for troubled adults living in the local community. The study identified aspects of social pedagogic practice evident in how participants experienced the course, and how such practice was perceived by participants as enhancing their mental health.
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Soganci, Ismail O. "Instruments of Change: An Action Research Study of Studio Art Instruction in Teacher Education." International Education Studies 9, no. 7 (June 28, 2016): 47. http://dx.doi.org/10.5539/ies.v9n7p47.
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<p class="apa">This article narrates a nine-month action research project conducted in order to improve studio art instruction in a preservice art education programme in Turkey. Setting out to determine the relevant problems through interpretation of conversations, anecdotes, essays and observations of 16 third-year BA students, the instructional atmosphere was rearranged with respect to three themes deduced in the action research process: “us and them,” “old-fashioned curriculum,” and “caring”. The principal results illustrate the concrete examples of “instruments of change” that integrate these themes in studio art teaching: Design of the studio, willing participation, guidance on demand, collegial environment, inclusive curriculum, language, social media and music, and casual interaction. The study presents articulations of participants on each one of these instruments through direct quotes along with links to the broader educational literature. The final concentration is on a discussion based on the changes in the instructional setting conveying the essential role of “caring” in the processes of forming “instruments of change” for art education professionals.</p>
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Feldman, Walter Zev. "Klezmer Music in the Context of East European Musical Culture." Judaic-Slavic Journal, no. 1 (3) (2020): 231–70. http://dx.doi.org/10.31168/2658-3364.2020.1.11.
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The repertoire and social role of the klezmer musician in Eastern Europe can be best appreciated within the context of the broader “traditional” musical life of East European Jews. From the early seventeenth century onward the emphasis on the “Jewishness” and halakhic validity of all aspects of life now became fixed and part of local custom (minhag). This merging of the sacred and the secular came to affect music and dance just as it did costume, through the internal action of the Jewish community, not pressure from external sources. The instrumental klezmer music and the accompanying profession of badkhones (wedding orator) displayed both the fusion of the religious and secular in Jewish life, and a continuing tension between secular and religious allusions, moods, and techniques. The “Jewishness” in musical style – especially in instrumental klezmer music but also in Hasidic niggunim and to some extent in Yiddish song – grew by a process of cultural differentiation.This process involved both the preservation and development of ancient features, and the reinterpretation of borrowed musical material to suit principles alien to the original source.This chapter briefly characterizes the system of repertoires and genres of the East European Jews, beginning with the music of prayer, through the various paraliturgical songs, to the music of Hasidism, and the many sub-genres of religious, secular and professional song in the Yiddish language. The chapter concludes with a presentation of the two established musical professionals in traditional East European Jewish life – the khazn (cantor) and the klezmer.
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Steinhilber, Dominik. ""Smoke the Weed" for the Planet: Snoop Lion's Green Reincarnation of Hip Hop." Ecozon@: European Journal of Literature, Culture and Environment 13, no. 1 (April 28, 2022): 37–54. http://dx.doi.org/10.37536/ecozona.2022.13.1.4503.
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While early hip hop could still offer social commentary, global issues began to disappear from the genre by the late 90s and early 2000s. Due to gangsta rap’s emphasis on authenticity and on the individual’s ‘realness,’ issues of social and environmental justice seem to have become increasingly inaccessible to rap music: any attempts to address wider, ‘real’ issues, if they were to happen, took the risk of appearing not ‘real’ but inauthentic, cynical capitalizations on social issues at best. This paper seeks to outline how Snoop Lion’s Reincarnated (2013) and in particular its eighth track “Smoke the Weed” employs the imagery of Reggae and Rastafarianism to reconstitute, transform, or “reincarnate” hip hop and thereby once again open it up to social and environmental commentary. While at first sight it is merely another glorification of recreational marihuana use in line with Snoop Dogg’s earlier, pre-Lion oeuvre, “Smoke the Weed” offers a highly complex critique of the environment and humans’ place and agency within it. “Smoke the Weed” can be seen to discuss, primarily through the metaphors of seeds, plant-growth, and marihuana use, the interconnection between (the necessity for) social action and (the necessity for) environmental action. Snoop harnesses the performativity of gangsta rap to offer a sincere, if never really ‘authentic,’ vision of green street consciousness. Through his clear lack of ‘realness’ as a Reggae artist, Snoop Lion can mobilize ‘naturalness’ for hip hop.
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Amalia, Farah, and Haryadi Haryadi. "MUSIK KRITIS DALAM MEMBANGUN KESADARAN TERHADAP KONDISI SOSIAL POLITIK: STUDI KASUS MUSIKALISASI NYELENEH KARYA JASON RANTI BAGI GENERASI MUDA." Jurnal Politik indonesia (Indonesian Journal of Politics) 7, no. 2 (November 15, 2021): 97–105. http://dx.doi.org/10.20473/jpi.v7i2.30444.
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Critical music has the ability to describe the socio-political reality that occur in the country. Musicians describe their concerns and ideas through lyrics found in critical music. So, musicians take advantage of the function of music as mass communication. Through critical music, the delivery of socio-political phenomena can be intertwined in a more informal and relaxed manner. Especially for the younger generation who are very close to the development of music, where Indonesia is in a demographic bonus phase. In this study, researcher attempted to explain the dynamics of critical music in Indonesia's political ecosystem and how it affects the critical awareness of the younger generation. Jason Ranti describes his anxiety through the lyrics that are eccentric but rich in meaning, relaxed but not purposeless, and critical without being patronizing. Jason Ranti's critical music can build the interest of the younger generation to be more critical of the ongoing socio-political phenomena. This study uses documentation as the main data which is supported by interviews. The result of this research is that Jason Ranti has contributed in spreading critical insights to the younger generation. By understanding the meaning of eccentric musicalization through critical hermeneutic theory, Jason Ranti describes the current social phenomenon and tries to provide alternative responses for his listeners. The younger generation becomes more caring, empathetic and interested about the socio-political phenomena that are happening. Through Jason Ranti's critical music, the younger generation can take responsive actions in responding to the socio-political phenomena that are currently happening. Critical Music, Socio-Political Conditions, Jason Ranti, Younger Generation.
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Kiverstein, Julian, and Erik Rietveld. "Skilled we-intentionality: Situating joint action in the living environment." Open Research Europe 1 (May 21, 2021): 54. http://dx.doi.org/10.12688/openreseurope.13411.1.
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There is a difference between the activities of two or more individuals that are performed jointly such as playing music in a band or dancing as a couple, and performing these same activities alone. This difference is sometimes captured by appealing to shared or joint intentions that allow individuals to coordinate what they do over space and time. In what follows we will use the terminology of we-intentionality to refer to what individuals do when they engage in group ways of thinking, feeling and acting. Our aim in this paper is to argue that we-intentionality is best understood in relation to a shared living environment in which acting individuals are situated. By the “living environment” we mean to refer to places and everyday situations in which humans act. These places and situations are simultaneously social, cultural, material and natural. We will use the term “affordance” to refer to the possibilities for action the living environment furnishes. Affordances form and are maintained over time through the activities people repeatedly engage in the living environment. We will show how we-intentionality is best understood in relation to the affordances of the living environment.
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Kwapień, Joanna. "Etnomuzykologia Solidarności. Wokół "Musical Solidarities: Political Action and Music in Late Twentieth-Century Poland" Andrei F. Bohlman." Res Facta Nova. Teksty o muzyce współczesnej, no. 22 (31) (December 15, 2021): 161–67. http://dx.doi.org/10.14746/rfn.2021.22.12.
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The article discusses the book Musical Solidarities by Andrea F. Bohlman. In her monograph she describes the history of Solidarity, placing sound at the centre of her analysis. The methods she uses allow her to examine historical facts holistically: she reaches for fieldwork as well as voice analysis, specific music motifs, and the influence of Polish musicians and composers on social attittudes in the 1980s. She offers an interesting analysis of the songs that acompanied the protests and the phenomenon of Stefan Bratkowski’s “Gazeta Dźwiękowa” [Sound Gazette] and its influence on the listeners. She draws attention to the icons of the Solidarity period such as Father Jerzy Popiełuszko, Lech Wałęsa, Krzysztof Penderecki and their voices, understood both literally and metaphorically. She also analyses contemporary reinterpretations of songs from that period, using Jacek Kaczmarski’s Mury [Walls] and Janek Wiśniewski padł [Janek Wiśniewski fell]. The author rejects the chronological approach to research, analysing the historical period through problematization of selected issues.
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Pîrjol, Florentina, and Daiana-Elena Ionesc. "COMMUNICATION, CHRONEMICS, SILENCE LANGUAGE." Business Excellence and Management 9, no. 4 (December 15, 2019): 35–45. http://dx.doi.org/10.24818/beman/2019.9.4-03.
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The communication exists whenever a social entity can affect another and alter its reactions by transmitting information not by direct action. The word communication has a very broad meaning; it encompasses all the processes whereby a spirit can affect another spirit. Obviously, it includes not only written or spoken language, but also music, visual arts, theatre, ballet and, in fact, all human behaviors. Communication is the result of a relationship, regardless of the period related to the relationship. This form of relationship is built from the first contact, from a first impression, thus evolving through words chosen on the basis of reason or emotion, which can be decisive in this regard.
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Smilkova, Smilena. "DEVELOPMENT OF MILITARY SKILLS IN CHILDREN FROM NUV BY EDUCATIONAL NUCLEAR MUSICAL PRACTICE AND ELEMENTS OF MUSICAL EXPRESSION." Knowledge International Journal 28, no. 3 (December 10, 2018): 1031–34. http://dx.doi.org/10.35120/kij28031031s.
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The curiosity of the children is the driving force of their behavior, their impulse for action, their flight of fantasy, the "discovery" of the world, their proof and self-affirmation to others and to themselves.The pursuit of "discovery" has different manifestations in different children. It is manifested in the ways of perceiving and clarifying the reality of children's fantasy, its creativity, its courage, its ingenuity, its ingenuity.This article examines the problem of developing soft skills in primary school children through certain educational cohorts in music education: Musical practice including perception and reproduction and Elements of musical expression. A literary review of the problem has been carried out. An attempt is made to identify the intersections between the music education in elementary school and the development of soft skills in the students.Music is a serious "provocateur" in the expression of childhood. She, the music, educates, trains, stimulates, enthusiastically. "Invisible" as an image of time, the music introduces the children to the styles of different ages, to the thoughts and emotions of the people who lived "long ago" and "now," with the ways of expressing them both from the ethnos and from the personal creative vision of the composer. Music helps children walk around the world, worn by the wings of imagination and aided by the craftsmanship of the creators who have left behind the trail of personal and social understanding of the world and life.Through the music practice of Perception, children learn about the masterpieces of renowned masters. Through the second element of the musical practice - Reproduction, they become interpreters, "interpreters" of the vast universe of human dreams, sorrows, desires, gusts, hopes. The nature and essence of the Elements of Musical Expression leads them to a logical and reasoned explanation of the difficult and enigmatic musical language.How do the Educational Kernels Influence Musical Practice and Elements of Musical Expression on the Development of Soft Skills in Children of primary school? Comprehensive! They create listening and listening skills, feedback, flexibility and adaptability, thinking outside of the box, telling stories, personal and social organization, "seeing" and evaluating the positive.Of course, learning music, understanding and performing it, creating soft skills during the learning period takes place over time - a long, gradual, permanent, labor-intensive process. But resisting the time, embracing music with the interest, curiosity and purity of the child's soul, it is the time that is grateful for the knowledge and wisdom of the formed spiritual person.
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Netrawati, Netrawati. "The Appropriateness of Cognitive Behavior Therapy to Reduce Adolescent’s Social Media Addiction." Jurnal Neo Konseling 4, no. 2 (October 23, 2022): 31. http://dx.doi.org/10.24036/00705kons2022.
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Millennial generation is currently faced with rapid developments and advances in the field of technology and communication. The use of technology can be utilized for a lot of things, such as interacting in social media by sending messages or voice note, calling, listening to music, reading books through digital platform, reserving hotel, online, going online shopping in one time. Social media provides many experiences from psychological perspective with the potential which can cause problematic behavior. The use of social media in society can be termed as a double-edged sword causing negative effects such as, addiction or dependence on social media. Social media addiction is potentially becoming mental health problem for some users accessing excessively without any limit social media addiction is a habit or behavior that gives the feeling of pleasure when accessing the social media account for a long time and feels uncomfortable, angry, or bored if he cannot open the account. CBT is a therapy directing and modifying thoughts, feeling, and action by emphasizing the brain as analysis, decision making, questioning, action, and return decision that are directed at changing for better behavior. Th purpose of the study is to produce counseling module with cognitive behavior therapy setting group approach to reduce practical social media addiction and can be useful for counseling teachers at school. Through counseling with CBT approach, clients are trained to monitor their mindset and identify feelings and situations that can trigger their social media addiction behavior. This study uses ADDIE model development (Analyze, Design, Development, Implementation, and Evaluation), because ADDIE model employs general and systematic basis, the framework is gradual from one part to another. The counseling module for cognitive behavior therapy approach to reduce social media addiction in adolescents is appropriate both in content and appearance. It is ready to be used by counseling teachers at schools.
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Bahruddin, Muh, Ibnu Hamad, and Pinckey Triputra. "The Representation of Social Changes in Indonesian Muslim Society: A Semiotic Analysis of ‘Ketika Mas Gagah Pergi’." Jurnal Komunikasi: Malaysian Journal of Communication 37, no. 2 (June 30, 2021): 68–82. http://dx.doi.org/10.17576/jkmjc-2021-3702-05.
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This research investigates the social changes concerning Islam's revitalisation, which was constructed by the movie Ketika Mas Gagah Pergi (KMGP). The research criticises structuration theory, which does not accommodate religion as part of social changes, especially in making new social changes. The researcher utilised semiotic logic by using the process of meaning or signification, which comprises signs or representation, object, and interpretant. The researcher also conducted in-depth interviews with filmmakers to understand the context from which the texts were produced. As a result, it was discovered that KMGP utilised signs to construct social changes through the act of wearing a veil, Islamic religious music, and the prohibition of shaking someone's hands which is not his/her mahram (legal spouse or guardian based on Islamic law), the separation of men and women in a wedding occasion, and other new rules which were previously not familiar in society. Nevertheless, to legitimise the new rules in these particular social practices, KMGP often used structure resources. For example, Gagah legitimated his action by referring to the tradition of Sundanese (one of the Indonesian tribes) to the prohibition of shaking a non-mahram’s hands. This is supported by hadith (speech, attitude, and behaviour of Prophet Muhammad) about this particular action. This movie also proved that the rules of Islamic religion became an important element that changed social order, especially in Indonesia. Keywords: Movie, Indonesian Muslim Society, social changes, structuration, representation.
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Barber, Sarah B., and Mireya Olvera Sánchez. "A DIVINE WIND: THE ARTS OF DEATH AND MUSIC IN TERMINAL FORMATIVE OAXACA." Ancient Mesoamerica 23, no. 1 (2012): 9–24. http://dx.doi.org/10.1017/s0956536112000016.
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AbstractThis paper examines the social context of music and musical instruments in pre-Columbian Mesoamerica through the detailed analysis of a late Terminal Formative period (a.d.100–250) burial from the site of Yugüe in the lower Río Verde Valley of Oaxaca. The burial contained a sub-adult male interred with an incised bone flute and a plaster-backed iron-ore mirror. The Yugüe flute is the earliest reported bone flute from Mesoamerica and is incised and carved to create the bas relief image of a skeletal male figure. Based on the instrument's archaeological context and elaborate incising, we argue that the flute was categorized in pre-Columbian ontology as an animate object that actively participated in ceremonial action at Yugüe. While the nature of such ceremony remains unclear, the incising on the flute indicates that the instrument was capable of making manifest ancestral and divine forces affiliated with rain, wind, and agricultural fertility.
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Reardon, James, Denny McCorkle, Anita Radon, and Desalegn Abraha. "A global consumer decision model of intellectual property theft." Journal of Research in Interactive Marketing 13, no. 4 (November 20, 2019): 509–28. http://dx.doi.org/10.1108/jrim-07-2018-0093.
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Purpose Intellectual property theft amounts to billions of dollars per year worldwide. The first step in stemming this loss is to understand the underlying precursors of this behavior. This paper aims to propose and test a model of consumer choice to purchase or pirate intellectual property, specifically music. This paper combines and applies the theory of reasoned action (TRA) and Becker’s theory of crime to develop a more comprehensive model of digital piracy behavior. Culture was tested as an antecedent to the attitudes and the perceptions of risk associated with music piracy. Design/methodology/approach A survey of 4,618 participants was conducted across 23 countries. Construct measures were validated using confirmatory factor analysis in LISREL. A conceptual model was tested using logistic structural equation modeling in MPlus. Respondents were asked about the last music they acquired to test a behavioral model of music piracy. Findings The results indicated that culture, specifically rule orientation and uncertainty avoidance, had a significant impact on attitudes toward the music industry, ethical perceptions of music piracy and risk perceptions. Respondents’ ethical perceptions of downloading had the highest impact on music piracy behavior. The personal/copy risk associated with the illegal downloading of music had a significant impact while the relative channel risk did not. The market value, quality and selection also had a significant impact on downloading behavior, as did the respondent's ability to find and download music. Research limitations/implications While this paper was limited by focusing on the illegal downloading of music, the results can provide guidance in the design of future research concerning the piracy and unlicensed downloading of other types of intellectual properties such as movies/videos, TV, paywall content and e-books. Practical implications In recent years, improved access to music and video through online streaming and online stores has significantly decreased music piracy. This research indicated that further inroads into this behavior could be made through better online purchase access and through consumer education about the ethics and results of digital downloading. Further, efforts are more efficient by targeting cultures with lower levels of rule orientation with ethics education and targeted risk messages in countries with higher uncertainty avoidance. Social implications Yearly losses to the music industry amount to about $5-29bn. Many find music and video downloading and “sharing” as acceptable. The model developed in this research has implications to affect this mass loss of revenue to the music industry and perhaps the societal view of downloading behavior that is illegal but commonly accepted. Originality/value This model is the first to integrate cultural aspects into models of digital piracy. In addition, the model is developed from a strong theoretical base (TRA and Becker’s theory of crime) to integrate multiple antecedents to intellectual property theft research.