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Homan, Shane. "A contemporary cultural policy for contemporary music?" Media International Australia 158, nr 1 (luty 2016): 37–47. http://dx.doi.org/10.1177/1329878x15622077.
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Creative Nation confirmed the shift by federal governments to viewing popular music as part of the Australian cultural economy, where the ‘contemporary music’ industries were expected to contribute to economic growth as much as providing a set of creative practices for musicians and audiences. In the 19 years between Creative Nation and Creative Australia, much has changed. This article examines relationships between the music industries, governments and audiences in three areas. First, it charts the funding of popular music within the broader cultural sector to illuminate the competing discourses and demands of the popular and classical music sectors in federal budgets. Second, it traces configurations of popular music and national identity as part of national policy. Third, the article explores how both national policy documents position Australian popular music amid global technological and regulatory shifts. As instruments of cultural nationalism, Creative Nation and Creative Australia are useful texts in assessing the opportunities and limits of nations in asserting coherent national strategies.
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Park, Juyong. "Networks of Contemporary Popular Musicians". Leonardo 45, nr 1 (luty 2012): 78–79. http://dx.doi.org/10.1162/leon_a_00341.
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The Internet has enabled easy storage and retrieval of various network data, including data showing the relationship between music professionals. “High-Throughput Humanities” is a new way of thought that aims to bring analysis of such large-scale data to the study of traditional humanities subjects including music. Here we present how networks of musical professionals can help us understand the process of collective music production and the human perception of musical similarity.
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Chakravarty, Devpriya. "Popular Musics of India: An Ethnomusicological Review". Journal of Ethnic and Cultural Studies 6, nr 3 (18.12.2019): 111. http://dx.doi.org/10.29333/ejecs/267.
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This article brings into discussion the presence of a contemporary popular music culture amongst globalised, urban, Indian youth which is perpetuated by Electronic Dance Music (EDM) festivals. This paper begins with the argument as to how there is no one monolithic popular music scene in India by presenting a historical analysis of a timeline for popular musics of India, a scene that has received scanty scholarly attention.
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Zosim, Olga. "Popular Music in Contemporary Church Chants". Journal of History Culture and Art Research 9, nr 2 (25.06.2020): 227. http://dx.doi.org/10.7596/taksad.v9i2.2508.
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Ho, Wai-Chung. "Secondary school students’ preferences for popular music and perceptions of popular music learned in school music education in Mainland China". Research Studies in Music Education 39, nr 1 (5.04.2017): 19–37. http://dx.doi.org/10.1177/1321103x17700688.
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This study examined popular music and school music education as cultural constructs of teenage students amid the shifting cultural and social dynamics of contemporary China. Data were drawn from questionnaires completed by 6,780 secondary students (mainly ages 12 through 17) from three cities—Beijing, Changsha, and Shanghai. The survey results revealed the extent of Chinese youths’ preferences for a variety of popular music styles in their daily lives, the relationship between their preference for popular idols and their music learning, and their views on learning popular music in school music education. The discussion in this article focuses on the dynamics of teaching popular music and learning other music styles (not limited to either popular or classical music) within the school environment in relation to teenage students’ daily music experiences and school music learning, school music teachers, and teacher education in contemporary China.
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Adjoteye, Eugene Agbasi. "The Cultural Environment of Popular Music Discourses in Contemporary Ghana: A Media and Communication Approach". Budapest International Research and Critics Institute (BIRCI-Journal): Humanities and Social Sciences 4, nr 1 (16.01.2021): 330–35. http://dx.doi.org/10.33258/birci.v4i1.1597.
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The field of popular music is important within the cultural matrix of contemporary Ghana. This paper posits the cultural environment of contemporary music discourses in Ghana as a relevant and significant terrain of media and communication worthy of research in Africa. The paper also sets off the relationship between popular music discourses and micro-identity formation in Ghana and subsequently sets off the nexus between the systemic world and the life world of contemporary Ghanaian quotidian sphere. The first part discusses the terrain of contemporary music discourses in Ghana, whilst the second part treats the emerging issues in terms of popular music discursive functionality and dysfunctionality within the interstices of the Ghanaian cultural environment.
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PARK, JUYONG, OSCAR CELMA, MARKUS KOPPENBERGER, PEDRO CANO i JAVIER M. BULDÚ. "THE SOCIAL NETWORK OF CONTEMPORARY POPULAR MUSICIANS". International Journal of Bifurcation and Chaos 17, nr 07 (lipiec 2007): 2281–88. http://dx.doi.org/10.1142/s0218127407018385.
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In this paper, we analyze two social network datasets of contemporary musicians constructed from allmusic.com (AMG), a music and artists' information database: one is the collaboration network in which two musicians are connected if they have performed or produced an album together, and the other is the similarity network in which they are connected if they were musically similar according to the music experts. We find that, while both networks exhibit typical features of social networks such as high transitivity (clustering), we find that they differ significantly in some key network features such as the degree and the betweenness distributions. We believe that this highlights the fundamental differences in the construction mechanism (self-organized collaboration and human-perceived similarity) of the new networks.
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Kim, Gooyong. "Neoliberal feminism in contemporary South Korean popular music". Politics of Sound 18, nr 4 (12.06.2019): 560–78. http://dx.doi.org/10.1075/jlp.18058.kim.
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AbstractThis paper examines how South Korean popular music (K-pop) promotes neoliberal feminism by a discourse of resilience. In a therapeutic narrative of overcoming obstacles and achieving goals, K-pop videos deliver a hegemonic message that individuals have to be responsible for their success and well-being rather than blaming external, institutional conditions. While ostensibly promoting female empowerment, the videos update and reinforce patriarchal gender norms and expectations. To substantiate this point, I analyze music videos of the most successful K-pop group, Girls’ Generation’s “Into the New World” (2007) and “All Night” (2017) to investigate how they promote resilience discourse along with neoliberal positive psychology as a hegemonic ideal of female subjectivity.
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Кондратенко, М. В. "Oscillation of Opposites in Contemporary Icelandic Popular Music". Музыкальная академия, nr 1(785) (25.03.2024): 36–45. http://dx.doi.org/10.34690/362.
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Исландия — самая удаленная от континента европейская страна. Ее непростая история и специфические географические особенности в немалой степени повлияли на сохранение и распространение культуры, в том числе музыкальной. Долгое время страна оставалась изолирована от окружающего мира, а также находилась в зависимости от других северных государств. Несмотря на сравнительно недавнее обретение независимости и быстрое развитие разных экономических, социальных и культурных отраслей, в том числе музыки, Исландия до сих пор остается для многих загадочным местом. Суверенитет, полученный в 1944 году, запустил процесс конструирования исландцами национальной идентичности. Помимо возрождения древних традиций, наблюдается появление множества новых культурных феноменов, основанных на специфике природы, языка и литературы страны. Музыка не осталась в стороне — по сей день появляется множество разнообразных музыкальных коллективов. В процессе анализа истории Исландии мы постоянно сталкивались с феноменом сосуществования противоположностей в разных сферах. Совмещение и слияние несовместимого в одновременности часто встречается и в исландской музыке. Эту тенденцию метафорически можно связать с географическим расположением острова, через который проходит разлом тектонических плит. Центральным в данной работе стало пришедшее из метамодернистского дискурса понятие осцилляции, отражающее, на наш взгляд, актуальные процессы современной популярной музыки Исландии. Iceland is the furthest European country from the continent. Its difficult history and specific geographical features have profoundly influenced the preservation and spread of culture, including music. The country remained isolated from the outside world for a long time and depended on other northern states. Despite the relatively recent acquisition of independence and the rapid development of various economic, social and cultural sectors, including music, Iceland remains a mysterious place for many. Sovereignty gained in 1944 launched the process of Icelanders constructing a national identity. In addition to the revival of ancient traditions, there is the emergence of many new cultural phenomena based on the specific nature, language and literature of the country. Music has not remained on the sidelines—to this day, many different musical groups appear. While analyzing Iceland’s history, we constantly encountered the phenomenon of the coexistence of opposites in different areas. The theme of combining and merging incompatible things into simultaneity is often found in Icelandic music. This trend can be metaphorically associated with the geographical location of the island, through which a tectonic plate fault passes. Central to this work was the concept of oscillation, which came from metamodernist discourse, reflecting, in our opinion, the current processes of modern popular music in Iceland.
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Perrone, Charles A. "Brazil". Popular Music 6, nr 2 (maj 1987): 219–26. http://dx.doi.org/10.1017/s0261143000006000.
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With its blends of Amerindian, African and European sources, Brazil has one of the richest and most diverse musical cultures in the world. Primitive tribal musics flourish in the Amazon, rural and urban regions practise many folk/traditional forms, and cosmopolitan art music has been produced since before the time of Villa-Lobos. Various musics that can be considered popular reflect both this wide national spectrum and the impact of international mass media pop music. Here, a description of the major tendencies in contemporary urban popular music of Brazil will be followed by bibliographical and discographic indications for further study or research.
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Kronenburg, Robert. "Typological trends in contemporary popular music performance venues". Arts Marketing: An International Journal 1, nr 2 (21.10.2011): 136–44. http://dx.doi.org/10.1108/20442081111180359.
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Hawkins, Peter, i David L. Looseley. "Popular Music in Contemporary France: Authenticity, Politics, Debate". Modern Language Review 99, nr 4 (październik 2004): 1061. http://dx.doi.org/10.2307/3738555.
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Kim, Chaek. "Transformative Approach for Popular Music Education from the Perspective of Global Citizenship Education". Korean Association for the Study of Popular Music 33 (30.05.2024): 69–93. http://dx.doi.org/10.36775/kjpm.2024.33.69.
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This study reconsiders and reflects on the issues surrounding contemporary education such as anti-bias education, transformative education from the perspective of global citizenship, and education in the context of Korean popular music learning. The scope of popular music education not only comprises physical sonic elements but also includes complex socio-cultural phenomenon such as modernity and colonialism. However, a tendency to adopt a western art music-centric curriculum based on enlightenment notions persists in Korean popular music education. These factors are becoming a serious obstacle to approach contemporary virtues of music education. This study examines the asymmetric curriculum of the class based on the question of “how popular music in Korea is being reflected and how the meaning of authenticity is being defined.” To this end, this study includes comparative explanations on the reconstructed popular music curricula from different countries and seeks to understand the ethno-semantic aspects of the Korean classroom context. The different meanings of reflection upon a critical perspective are emphasized to approach the core competencies of contemporary popular music education such as global citizenship, critical, anti-bias, and transformative competency.
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Zingaro, Vincenzo. "Against Music? Heuristics and Sense-Making in Listening to Contemporary Popular Music". Philosophies 7, nr 2 (1.04.2022): 38. http://dx.doi.org/10.3390/philosophies7020038.
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Is the ubiquity of contemporary popular music akin to a deliberate aggression to the hearing, making the listening experience devoid of any sense? If so, is there any strategy to morph this supposed confusion into meaningful stimuli? Relying on epistemology, we attempt at promoting the act of listening as a proper way of world-making and refer to Mark Reybrouck, Bruno Nettl, Steven Brown and Joseph Jordania—among others—to gather appropriate heuristic tools. In the last part of the essay, we advance the concept of timbral quotation as an additional means to grasp meaningful cues in the timbrical richness of contemporary popular compositions. We shall sustain the particular fitness of this tool especially with regard to nowadays’ Western popular music, more and more timbre-centered rather than harmony-centered.
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Tivenga, Doreen Rumbidzai. "Contemporary Zimbabwean popular music in the context of adversities". Tydskrif vir Letterkunde 55, nr 1 (20.03.2018): 134–48. http://dx.doi.org/10.17159/2309-9070/tvl.v.55i1.1583.
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Contemporary Zimbabwean popular and urban genres of music namely, urban grooves and its variant Zimdancehall emerged and continue to exist at a time Zimbabwe is grappling with socio-economic and political adversities. The music is part of crucial artistic forms and dissent, hence for the ordinary Zimbabweans, it plays a significant role, detailing their experiences and survival strategies and influencing their patterns of entertainment and daily cultural practises. This article which is informed by popular culture theorists such as Karin Barber (1987) and John Fiske (1989) makes a textual analysis of Winky D's (2015) songs "Disappear", "Copyrights" and "Survivor" to examine the power of the songs in exploring the survival strategies employed by ordinary Zimbabweans in dealing with their experiences. The paper examines how the music is a source of power that fosters a response resonating with a postcolonial urban youth cultural activism seeking to empower the ordinary Zimbabweans to autonomously transcend their adversities and take control of their destinies in a country where the ruling elite are failing to improve the nation's socio-economic conditions.
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Albrecht, Michael Mario. "Mapping the Terrain of Contemporary Popular Music Studies: Reading Authenticity Theory intoThe Popular Music Studies Reader". Review of Communication 7, nr 3 (lipiec 2007): 314–21. http://dx.doi.org/10.1080/15358590701480721.
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Jing, Wang. "A Research on the Influence of Contemporary Popular Music upon Youths’ Self-identity". Advances in Language and Literary Studies 8, nr 5 (2.11.2017): 12. http://dx.doi.org/10.7575/aiac.alls.v.8n.5p.12.
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“Emotion” is a key to exploring the relationship between contemporary popular music and youths. In reality, youths exercise the identity construction centering on self-identity by the unconscious use of ritualization towards popular music (cultures). The article analyzes the conversion in identity construction of youths in the course of popular music appreciation in the new era, and summarizes the identity construction of “private—individual”, “public—individual”, “self—division” and “reflexive”.The study on varieties of identity types strengthens our belief that “emotion-identity” is a down-to-earth approach to research Chinese youth group of popular music appreciators.
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Kang, Stella. "Analysis of practical and popular music as contemporary music: Focusing on elementary school music textbooks". Korean Association For Learner-Centered Curriculum And Instruction 24, nr 5 (15.03.2024): 77–93. http://dx.doi.org/10.22251/jlcci.2024.24.5.77.
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Objectives The need for an accurate understanding of the concepts of contemporary music, practical music, and popular music, and the recognition of the necessity for changes in music education based on individual music tastes and preferences, are affirmed. This aims to advocate for a reassessment of music textbooks, particularly in elementary music education, through a quantitative evaluation of practical and popular music content. Furthermore, the proposal emphasizes the necessity for changes in music textbooks through individual assessments of multi-frequent songs.
Methods Analyze the popular music area included in elementary school music textbooks. We analyzed the songs included in 32 textbooks from 8 different publishers, established the multi-frequent songs, and looked into the characteristics and contents of each song. The need for changes to the songs included in textbooks is confirmed through individual evaluation of the distribution of songs included in music textbooks and the multi-frequent songs.
Results First, animation music accounts for 26.4% and movie music 25.8%, which accounts for more than 50%. Second, there are 121 foreign songs and 61 domestic songs, with POP (13.2%) followed by K-POP (9.9%), and there are many POP in the singing field. Third, there are differences between textbooks, Fourth, the content related to the music industry is insufficient, and it is included in 5 textbooks (out of 32), and Fifth, there are problems with the content and release period of multi-frequent songs. Lastly, since multi-frequent songs are repeatedly included in middle and high school textbooks, a feasibility study on this aspect is also necessary.
Conclusions There is a need to realistically reflect the songs included in textbooks, and for this, it is necessary to reexamine the songs included in textbooks. There is a need for a change in perception of popular music education due to scientific development, and a practical approach to the methods and content needed for future popular music education is needed.
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Keil, Charles. "‘Ethnic’ music traditions in the USA (black music; country music; others; all)". Popular Music 13, nr 2 (maj 1994): 175–78. http://dx.doi.org/10.1017/s0261143000007030.
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This is a brief meditation on ethnicity as a source of all powerful musical styles, as a kind of curse in the contemporary world of nation states, and as an ever more complex puzzle for every student of popular music to solve.
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Sosrowijaya, Kerso Manungga. "Transmission of Local and Traditional Music in Indonesian Popular Music (Case Studies of Indonesian Music Groups)". Harmonia : Journal of Music and Arts 1, nr 1 (6.11.2023): 55–66. http://dx.doi.org/10.61978/harmonia.v1i1.165.
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This article explores the dynamic process of transmitting local and traditional music within the context of Indonesian popular music. As Indonesia boasts a rich cultural heritage, the study delves into how traditional musical elements are incorporated and transformed within the works of contemporary Indonesian music groups. The research employs a qualitative approach, utilizing case studies of prominent Indonesian music groups. Through an in-depth analysis of their compositions, arrangements, and performances, the study aims to unravel how traditional musical influences are transmitted and integrated into the fabric of popular music. The findings reveal diverse strategies Indonesian music groups employ in incorporating local and traditional elements. Case studies showcase the adaptation of traditional instruments, melodic patterns, and rhythmic structures, providing insight into how cultural heritage is woven into the contemporary musical landscape. The discussion section engages with the implications of this transmission process, addressing questions of cultural identity, artistic innovation, and audience reception. It explores how the synthesis of traditional and popular music contributes to the evolution of Indonesia's musical identity and its resonance within a global context. In conclusion, this article illuminates the multifaceted nature of the transmission of local and traditional music in Indonesian popular music. The case studies provide a lens to understand the dynamic interplay between tradition and innovation, shedding light on the creative processes that shape the country's musical tapestry. This study contributes to the broader discourse on the global dynamics of music transmission and the significance of cultural heritage in contemporary musical expressions.
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De Ferranti, Hugh. "‘Japanese music’ can be popular". Popular Music 21, nr 2 (maj 2002): 195–208. http://dx.doi.org/10.1017/s026114300200212x.
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Traditional genres, modern popular music, ‘classical’ concert music and other styles of music-making in Japan can be viewed as diverse elements framed within a musical culture. Bourdieu's concept of habitus, and Williams' of dominant, residual and emergent traditions, are helpful in formulating an inclusive approach, in contrast to the prevailing demarcation between traditional and popular music research. Koizumi Fumio first challenged the disciplinary separation of research on historical ‘Japanese music’ and modern hybrid music around 1980, and the influence of his work is reflected in a small number of subsequent writings. In Japanese popular music, evidence for musical habitus and residual traits of past practice can be sought not only in characteristics typical of musicological analysis; modal, harmonic and rhythmic structures; but also in aspects of the music's organisation, presentation, conceptualisation and reception. Among these are vocal tone and production techniques, technical and evaluative discourse, and contextual features such as staging, performer-audience interaction, the agency of individual musicians, the structure of corporate music-production, and the use of songs as vehicles for subjectivity. Such an inclusive approach to new and old musical practices in Japan enables demonstration of ways in which popular music is both part of Japanese musical culture and an authentic vehicle for contemporary Japanese identity.
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Brace, Tim. "Popular Music in Contemporary Beijing: Modernism and Cultural Identity". Asian Music 22, nr 2 (1991): 43. http://dx.doi.org/10.2307/834306.
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Ojukwu, Ebele, Elizabeth Obielozie i Chinyere Esimone. "Nigerian values and contemporary popular music: a new look". OGIRISI: a New Journal of African Studies 12, nr 1 (21.07.2016): 114. http://dx.doi.org/10.4314/og.v12is1.7.
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Baker, Sarah, Peter Doyle i Shane Homan. "Historical Records, National Constructions: The Contemporary Popular Music Archive". Popular Music and Society 39, nr 1 (29.07.2015): 8–27. http://dx.doi.org/10.1080/03007766.2015.1061336.
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Rapport, Evan. "International Popular Music Styles and Contemporary Bukharian Jewish Identity". Journal of Jewish Identities 10, nr 1 (2017): 89–103. http://dx.doi.org/10.1353/jji.2017.0005.
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Parkes, Stuart. "Into the groove: popular music and contemporary German fiction". Journal of Contemporary European Studies 24, nr 4 (7.04.2016): 539–40. http://dx.doi.org/10.1080/14782804.2016.1170386.
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Pickup, I. "Review: Popular Music in Contemporary France: Authenticity, Politics, Debate". French Studies 58, nr 3 (1.07.2004): 443–44. http://dx.doi.org/10.1093/fs/58.3.443.
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Manuel, Peter. "Music as symbol, music as simulacrum: postmodern, pre-modern, and modern aesthetics in subcultural popular musics". Popular Music 14, nr 2 (maj 1995): 227–39. http://dx.doi.org/10.1017/s0261143000007455.
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Postmodern aesthetics has come to be recognised as a salient feature of much popular culture, including music. Urban subcultures, and especially migrant subcultures, may have inherent inclinations toward postmodern aesthetics, while at the same time retaining ties to modern and even pre-modern cultural discourses. The syncretic popular musics created by such subcultures may reflect these multiple cultural orientations by combining postmodern and more traditional characteristics. Thus, for example, punk rock and rap music can be seen to combine postmodern techniques of pastiche, bricolage and blank irony with modernist socio-political protest. Similar eclecticisms can also be found in the musics of some urban migrant subcultures, whose syncretic musics, like their senses of social identity, often self-consciously juxtapose or combine ancestral homeland traditions with the most contemporary cosmopolitan styles and attitudes. Interpretations of such musics may call for a particularly nuanced appreciation of the distinct aesthetic modes which may coexist in the same work.
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Benjamins, Laura. "Learning through praise: How Christian worship band musicians learn". Journal of Popular Music Education 3, nr 3 (1.12.2019): 417–33. http://dx.doi.org/10.1386/jpme_00004_1.
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Popular music education continues to increase in North American educational settings. While popular music teaching and learning are recognized in a variety of contexts, contemporary Christian church praise bands have not been significantly addressed in music education literature. In addressing this gap, the purpose of this study is to examine the musicking practices occurring in the contemporary worship music (CWM) context and how these lead contemporary Christian musicians to acquire and develop their musical skills. Green’s five principles of informal music learning were found to apply in part, yet other distinctive features were also present in study findings. Themes such as elitism, excellence, hierarchies of musical engagement, and inclusion/exclusion of worshippers and the congregation also arose, providing interesting areas for future research.
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Banjo, Omotayo O., i Kesha Morant Williams. "Behind the Music: Exploring Audiences’ Attitudes toward Gospel and Contemporary Christian Music". Journal of Communication and Religion 37, nr 3 (2014): 117–38. http://dx.doi.org/10.5840/jcr201437323.
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A number of studies across disciplines have examined the influence of popular music on identity; however, comparative study of Christian music genres, which are clearly racially marked, is lacking. Based on Tajfel and Turner’s social identity perspective, this article examines the ways in which Black listeners of Black gospel and White listeners of Contemporary Christian music (CCM), evaluate themselves and one another. Although there have been popular speculations about these differences, there is no empirical evidence of these assumptions. Findings suggest that while in-group members are generally more favorable toward their music than the out-group, privilege allows for Black listeners to be more open toward White majority music while the opposite is not true.
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Sklavounakis, Georgios. "Semiotics on music charts: The signification of late-blooming hits in contemporary popular music". Punctum. International Journal of Semiotics 9, nr 2 (2023): 189–208. http://dx.doi.org/10.18680/hss.2023.0025.
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Eliseo Verón’s approach to circulation focuses on the gap between production and recognition and the consideration of texts in relation to their contexts of production and consumption. In this paper, we employ Veron’s concepts of grammar of production and grammar of recognition to examine popular songs that reached their peak of success several years after their release. Drawing our case studies from the Hot 100 American singles chart, we combine social semiotics and semiotics of popular music to examine the contexts of the initial songs’ release and their eventual commercial peak while considering changes in the media ecology and how these songs re-entered popular culture. The corpus of songs examined is split into three major categories: Songs that re-entered popular culture after their performer’s passing, recurring Christmas- themed songs, and hits featuring in audiovisual productions like films and television series.
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O'Brien, Michael. "Activism, Authority, and Aesthetics: Finding the Popular in Academies of Música Popular". IASPM Journal 5, nr 1 (29.04.2015): 36–53. http://dx.doi.org/10.5429/ij.v5i1.721.
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"Música popular" in Spanish comprises an overlapping but distinct category from its English language cognate popular music. Latin American scholars and musicians alike recognize the category as fundamentally linked to subaltern or counterhegemonic subjectivities, and música popular occupies a complex relationship to hegemonic institutions (the state, educational institutions, and the culture industry) in populist democracies like that of contemporary Argentina. Perhaps nowhere are these tensions between populism and hegemony more apparent than in state-sponsored schools of popular music that began to emerge in the 1980s. Based on an ethnographic study of the oldest and one of the best known of these schools in Latin America, this article explores the conceptual tensions inherent in the notion of a populist and counterhegemonic school of music, and provides evidence of the ways those tensions are expressed and partially resolved through discourse and musical performance in and outside of the classroom.
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Menger, Pierre-Michel. "Technological Innovations in Contemporary Music". Journal of the Royal Musical Association 114, nr 1 (1989): 92–101. http://dx.doi.org/10.1093/jrma/114.1.92.
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The subject of my paper is the use of new technologies in serious musical creation. Although I cannot develop the comparison with popular music and its mass market, one will understand implicitly the importance of the fact that ‘all of my story’ is set within the institutions and environment located on the edge of the market. My aim is not to show why diverse technologies that have appeared in the last 40 years have been exploited by composers, but rather how innovations such as electroacoustic and computer music were able to ‘succeed’. I employ the word ‘success’ in the organizational sense: it is the lasting formation of new segments of musical creation and the mobilization of composers, of partners from the scientific world, and of the technical and financial resources for establishing these new segments.
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Perrott, Lisa. "Experimental animation and the neosurrealist remediation of popular music video". Animation Practice, Process & Production 8, nr 1 (1.12.2019): 85–106. http://dx.doi.org/10.1386/ap3_00006_1.
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Once appearing to function primarily as a commercial tool for popular entertainment, the popular form of music video has recently been exposed by scholars as formally and functionally diverse, with a rich history stretching back decades before the advent of MTV. Animated music videos owe much to centuries old traditions spanning the visual, musical and performing arts, providing performative and material models that inspire contemporary video directors. Experimental animation, surrealism and music video form a matrix of historical and contemporary significance; however, few scholars have undertaken close examinations of the relations between them. John Richardson and Mathias Korsgaard show how music video directors have employed surrealist compositional strategies together with experimental animation methods, thus giving rise to challenging new forms that traverse disparate approaches to art and culture. Building upon their contributions, this article explores the continuity between experimental animation, surrealism and music video, with a view to discovering the subversive potential of this matrix. In order to probe this potential, the author examines how music video directors experiment with animation technique as a means of subversion and enrichment of popular music video. Through close analysis of music videos directed by Adam Jones, Stephen Johnson, Floria Sigismondi and Chris Hopewell, this article charts the continuity of surrealist strategy across culturally specific moments in history, thus provoking questions around the perceived functions of animated media and popular music video.
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Howard, Karen. "Traditional Japanese Music in Contemporary Times". General Music Today 33, nr 3 (11.02.2020): 52–57. http://dx.doi.org/10.1177/1048371320902753.
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Music in Japan is richly varied and includes documented genres dating back more than 1000 years. From classical court music known as gagaku, to the dramatic music plays in kabuki, to contemporary J-pop (subgenre of popular music), educators can find a sound to suit every instructional need. The focus here will be on considerations of three traditional instruments used in Japan: the koto (zither), shakuhachi (bamboo flute), and shamisen (three-stringed instrument), and a unique educational experience for those interested in studying these traditions. The learning program is offered through a koto school in Tokyo that is more than a century old, and they now offer a course in English every other summer. Also offered are suggestions for incorporating traditional Japanese music into elementary and secondary general music settings.
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Häger, Andreas. "Christian rock concerts as a meeting between religion and popular culture". Scripta Instituti Donneriani Aboensis 18 (1.01.2003): 36–55. http://dx.doi.org/10.30674/scripta.67281.
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Different forms of artistic expression play a vital role in religious practices of the most diverse traditions. One very important such expression is music. This paper deals with a contemporary form of religious music, Christian rock. Rock or popular music has been used within Christianity as a means for evangelization and worship since the end of the 1960s. The genre of "contemporary Christian music", or Christian rock, stands by definition with one foot in established institutional (in practicality often evangelical) Christianity, and the other in the commercial rock musicindustry. The subject of this paper is to study how this intermediate position is manifested and negotiated in Christian rock concerts. Such a performance of Christian rock music is here assumed to be both a rock concert and a religious service. The paper will examine how this duality is expressed in practices at Christian rock concerts.
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Middleton, Jason, i Roger Beebe. "The racial politics of hybridity and ‘neo-eclecticism’ in contemporary popular music". Popular Music 21, nr 2 (maj 2002): 159–72. http://dx.doi.org/10.1017/s0261143002002106.
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This paper explores some forms of rock/rap hybridity and a historically related shift toward a greater eclecticism in consumption practices in popular music in the United States in the late 1990s, a period marked by the decline of rock as the dominant mode of popular music. This decline has repercussions not simply for a musical style, but additionally for the privileged subjects who are both the producers and consumers of that music: predominantly white, middle-class males. A number of different strategies have emerged which attempt to develop new positions for these white suburbanites to occupy in the contemporary music-cultural terrain in order to re-assert their hegemony as both producers and consumers. On the producers' side, the most common strategy has been to develop hybrid forms which combine rock with styles of its musical competitors – most notably, of hip hop music and culture. On the consumer side, the response has been the emergence of a ‘neo-eclectic’ form of listening where a number of formerly disparate or even hostile musical forms are consumed by a single (white suburban) individual.
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Spanu, Michael. "Sacred Languages of Pop: Rooted Practices in Globalized and Digital French Popular Music". Open Cultural Studies 3, nr 1 (1.02.2019): 195–206. http://dx.doi.org/10.1515/culture-2019-0018.
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Abstract Nowadays, popular music artists from a wide range of cultures perform in English alongside other local languages. This phenomenon questions the coexistence of different languages within local music practices. In this article, I argue that we cannot fully understand this issue without addressing the sacred dimension of language in popular music, which entails two aspects: 1) the transitory experience of an ideal that challenges intelligibility, and 2) the entanglement with social norms and institutions. Further to which, I compare Latin hegemony during the Middle Ages and the contemporary French popular music, where English and French coexist in a context marked by globalisation and ubiquitous digital technologies. The case of the Middle Ages shows that religious control over Latin led to a massive unintelligible experience of ritual singing, which reflected a strong class divide and created a demand for music rituals in vernacular languages. In the case of contemporary French popular music, asemantical practices of language are employed by artists in order to explore alternative, sacred dimensions of language that challenge nationhood.
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Nenic, Iva. "We are not a female band, we are a band!”: Female performance as a model of gender transgression in Serbian popular music". Muzikologija, nr 19 (2015): 135–56. http://dx.doi.org/10.2298/muz1519135n.
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Instrumental performance, leadership, and authorship by women in music has historically been subjected to various repressive regimes, while many of the prejudices and restrictions regarding female musicking can still be discerned in contemporary popular music practices in Serbia. These mechanisms have been transferred into contemporary music with different ideological and stylistic inclination, such as indie music cohorts and folk- or tradition-based genres and scenes. The structural preconditions that articulate the subject position of female instrumentalists, regardless of genre or the scene they belong to are the lack of history of female playing and the requirement that they reach the supposedly higher standards of male musicians. This article starts with a brief genealogy of female instrumental music performance from late socialism to the diversity of contemporary popular music in its present neo-liberal context. Against that background it interprets the disciplining mechanisms restricting female musical creativity and performance, addressing the issues of identity and power through female agency in music.
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Wilson, Oli, i Michael Holland. "Not our ‘Dunedin sound’: Responses to the historicisation of Dunedin popular music". Popular Music 39, nr 2 (maj 2020): 187–207. http://dx.doi.org/10.1017/s0261143019000278.
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AbstractThe music that was produced in Dunedin, New Zealand, during the 1980's occupies a unique place in the global indie music canon. In writing about this supposed ‘Dunedin sound,' critics and scholars alike have fixated on the city's remoteness: it is believed to be distant from metropolitan centres of music industry power and influence, and consequently supported a subversive and democratised local music scene. This article explores the implications of the ongoing historicisation of Dunedin's popular music scene along these lines, and highlights the ways in which the valorisation of the city’s musical heritage obstructs problematic power dynamics that impact the way young musicians in the city express place and musical identity. Our research applies an embedded participatory ethnography to unpack the ideological positions occupied by contemporary local musicians, and to critique factions within the contemporary musical scene in the city.
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ATEŞ ASLAN, Irmak, i Gamze Elif TANINMIŞ. "A QUALITATIVE RESEARCH ON POPULAR MUSIC PEDAGOGY". IEDSR Association 7, nr 20 (22.07.2022): 51–62. http://dx.doi.org/10.46872/pj.559.
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The aim of this study is to explore Popular Music Pedagogy, one of the 21st-century education approaches, in order to contribute to the literature on contemporary instruction methods. It is a qualitative study carried out with literature review method for collecting data. The findings were listed in a gradual manner with coherence of scope. This research is significant in that it reveals the general principles and functioning of Popular Music Pedagogy. The study shows that Popular Music Pedagogy is essentially an approach in which traditional pedagogy is adapted to a self-directed learning environment. As a consequence, the studies on Popular Music Pedagogy were analyzed and suggestions were made accordingly. The present study is expected to provide guidance in both collecting data about the approach and research along with applications of the approach for researchers who intend to use Popular Music Pedagogy.
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Karvelis, Noah. "Popular Music Education as a Technology of Access and Intervention: Tanglewood and Popular Music Education in the US". Action, Criticism, and Theory for Music Education 22, nr 3 (październik 2023): 122–43. http://dx.doi.org/10.22176/act22.3.122.
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In this article, I explore how popular music became incorporated into the field of music education in the 21st-century United States. In doing so, I suspend notions of popular music education as simply inclusive or able to produce creative people. Instead, I question how inclusion becomes constructed and defined historically in relation to ideas such as the need for creative people and the possibilities and purposes of popular music education. To pursue such understandings, the analysis focuses primarily on the Tanglewood Symposium as a site of production. I examine the documentary report of the symposium in order to question the intersecting multiple historical trajectories and modes of thought that construct popular music education at Tanglewood. Following this, I consider how these histories have left significant impacts on the epistemologies and practices of contemporary popular music education. In the process, I draw attention to the ways in which notions of desired (and not desired) kinds of people become constructed, how inclusions and interventions become administered in response, and how such ideas become constructed through modes of thought that have little to do with music or popular music practice yet serve to produce popular music education.
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Sone, Enongene Mirabeau. "Power, Powerlessness and Radical Protest in Contemporary Cameroonian Popular Music". Muziki 18, nr 1 (2.01.2021): 82–109. http://dx.doi.org/10.1080/18125980.2021.1947154.
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Steinbrecher, Bernhard. "Mainstream popular music research: a musical update". Popular Music 40, nr 3-4 (grudzień 2021): 406–27. http://dx.doi.org/10.1017/s0261143021000568.
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AbstractThis article reviews studies that examine internationally circulating music which has reached the upper echelon of all-genre single charts in the 21st century. The examinations will be used as examples for the analysis of sonic aesthetics that are embedded in a particular frame of cultural debate, which the article conceptualises as ‘mainstream popular music’. The research field is then mapped and discussed with regard to prevailing objectives, methods and findings, including elaborations on how future research might advance understanding of the aesthetics within the discourses of mainstream popular music and, thus, of contemporary culture at large. The literature review focuses on music- and listener-based analytical directions and critically reflects on the frequent absence of theoretically well-founded and empirically underpinned, context-sensitive music examinations, particularly with regard to quantitative and audience research. The concluding section calls for a more integrated perspective on mainstream popular music as a discourse and praxis formation.
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Emielu, Austin. "Some theoretical perspectives on African popular music". Popular Music 30, nr 3 (21.09.2011): 371–88. http://dx.doi.org/10.1017/s0261143011000249.
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AbstractPopular music occupies a dominant position in the musical landscape of contemporary Africa, yet academic study of popular music is still in its infancy in most parts of Africa. This may be due in part to the absence of theoretical frameworks that stimulate popular music discourses from the African perspective. This paper is an attempt to fill this lacuna. Based on a critical and qualitative analysis of data gathered from field situations, participant observation, interviews and published literary materials on the subject matter, the paper theorises that the creation of African popular music is characterised by two significant processes: indigenisation and syncretisation. The paper further states that African popular music is a socially responsive phenomenon, sustained through the interplay of cross-cultural and trans-national social dynamics. The paper therefore proposes ‘social reconstructionism’ as a new theoretical paradigm for the analysis of African popular music. The paper also suggests that the term ‘African pop’ should be adopted as a generic name for all popular music forms in Africa.
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Hidayatullah, Rahmat. "Islamic Underground Movement: Islamist Music in the Indonesian Popular Music Scene". Studia Islamika 31, nr 1 (3.05.2024): 63–93. http://dx.doi.org/10.36712/sdi.v31i1.30664.
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Since the fall of the New Order regime in 1998, music has become a site of religio-political resistance among the new Islamist generation in Indonesia. This research examines the emergence of Islamist music on the Indonesian underground music scene to show the deepening influence of the Islamist movement among urban Muslim youth and the shifting strategy of the new Islamist generation from structural politics to cultural politics. The emergence of Islamist music indicates how a new generation of Islamists negotiates an Islamist worldview with contemporary popular culture. By maintaining the aggressive character of underground music, they adopt the Western popular culture as a code of resistance against the secular cultural hegemony. They also use popular music as a cultural approach or a strategy to promote the Islamist ideology to all urban Muslim youth.
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Eze, Samson Uchenna. "Echoes of Ethnicity: Popular Music and the Resurgence of Igbo Nationalism in Democratic Nigeria". Ethnomusicology 67, nr 1 (1.01.2023): 23–44. http://dx.doi.org/10.5406/21567417.67.1.04.
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Abstract This article discusses the ethnicization of Igbo popular music amid renewed secessionist calls for the defunct state of Biafra. It engages with people's interpretation of ethnic sentiments as expressed in the music of two Igbo popular musicians in Nigeria and the significance of this phenomenon. Given the undercurrents of ethnic rifts, which preceded the Nigeria-Biafra war (1967–1970), postwar Nigerian society remains fraught with questions of ethnonationalism. Within the heated polity, Igbo popular musicians routinely engage in nostalgic discourses about Biafra by articulating the catastrophes of the past and mobilizing the populace to confront present challenges. Specifically, the article engages with the dialectics of ethnonationalism in contemporary Igbo popular music via critical analysis of current repertoire. It contends that Igbo popular musicians deploy ethnic memories, symbols, and cultural essentials as potent political, communication, and mobilization strategies to nurture the consciousness of the Igbo nation in Nigeria.
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Bagaskara, Akbar, Maria Adinda i Veronica Yoni Kaestri. "Musik Klasik dalam Paradigma Kontemporer: Penyelidikan tentang Apresiasi dan Pendengar". PROMUSIKA 11, nr 2 (29.10.2023): 65–74. http://dx.doi.org/10.24821/promusika.v11i2.11076.
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Penelitian ini bertujuan untuk melacak pergeseran apresiasi musik klasik pada konteks era kontemporer, selain itu juga menganalisis persentase pendengar musik klasik dalam menghadapi tren musik di era kontemporer, dan menakar tantangan serta strategi yang muncul dalam upaya mempertahankan genre musik klasik dalam pergereseran atmosfer era kontemporer. Metode yang digunakan dalam penelitian kali adalah mix method (gabungan antara kuantitatif dan kualitatif) yang mana data bersumber dari bentuk numerik (kuantitatif) dan narasi (kualitatif). Namun, penggunaan kualitatif cenderung lebih dominan dalam menarasikan banyak hal dalam penelitian ini. Hasil dari penelitian ini meliputi berapa hal berikut; (1) apresiasi musik klasik di era kontemporer jauh berbeda dengan era lampau, yang mana kini apresiasi musik klasik dapat diakses dengan mudah dengan platform-platform digital yang telah tersedia dan berbagai macam kemudahan lainnya. (2) persentase pendengar musik klasik jauh tertinggal dari genre lain, dalam data pendengar musik di Amerika Serikat pada tahun 2018, genre musik klasik hanya menempati posisi ke tiga belas dari lima belas genre yang diteliti, dengan persentase hanya 0,7%. (3) adapun respon terhadap tantangan dan upaya pembentukan strategi yang bisa dilakukan dalam pelestarian musik klasik di era kontemporer dapat berupa; memaksimalkan penggunaan platform digital, perbanyak tour konser lintas wilayah, manfaatkan penggunaan live streaming untuk konser daring, kolaborasi lintas genre musik, ciptakan konten-konten edukatif, dan banyak libatkan musik klasik pada budaya popularAbstractClassical Music in the Contemporary Paradigm: An Enquiry into Appreciation and Listening. This article aims to trace the shifting appreciation of classical music in the context of the contemporary era while also analyzing the percentage of classical music listeners in the face of music trends in the contemporary era and assessing the challenges and strategies that arise to maintain the classical music genre in the shifting contemporary atmosphere. The method used in this article is a mixed method (a combination of quantitative and qualitative) where data comes from numerical (quantitative) and narrative (qualitative) forms. However, the use of qualitative tends to be more dominant in narrating many things in the research. The results of this research include the following: (1) The appreciation of classical music in the contemporary era is much different from the past era, where classical music appreciation can be accessed easily with available digital platforms and various other conveniences. (2) The percentage of classical music listeners is far behind that of other genres. In the data on music listeners in the United States in 2018, the classical music genre only occupies the thirteenth position out of the fifteen genres studied, with a percentage of only 0.7%. (3) the response to challenges and efforts to form strategies that can be done in the preservation of classical music in the contemporary era can be to maximize the use of digital platforms, increase cross-regional concert tours, take advantage of the use of live streaming for online concerts, collaborate across musical genres, create educational content, and involve classical music in popular culture.Keywords: Classical Music; Contemporary Era; Appreciation; Listeners
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Burston, Jonathan. "Theatre space as virtual place: audio technology, the reconfigured singing body, and the megamusical". Popular Music 17, nr 2 (maj 1998): 205–18. http://dx.doi.org/10.1017/s026114300000060x.
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Early popular and theoretical work in popular music studies often bestowed implicit or explicit legitimacy on forms of music cultivating or preserving a ‘live’, ‘unplugged’, ‘acoustic’ and hence ‘authentic’ sound. Over the past fifteen years, much popular music scholarship (Frith 1986; Goodwin 1992; Cutler 1984) has rightly problematised this approach. It is important to note, however, that interpretations of popular music texts or scenes that depict the electrification or digitalisation of sound as uncomplicatedly pro-social or progressive remain problematic themselves. Within popular music production today, few areas exist where these aesthetics of recorded music have failed to penetrate. But there is one sub-field of popular music where the characteristic sounds of recording studio technology are still relatively new. It warrants the attention not only of those engaged in the study of popular music, but also of those involved in the exploration of virtual environments. This sub-field is the contemporary stage musical.
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Williams, Sean, B. Lee Cooper i Steve Redhead. "Popular Music Perspectives: Ideas, Themes, and Patterns in Contemporary Lyrics". Notes 49, nr 2 (grudzień 1992): 623. http://dx.doi.org/10.2307/897947.
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