Artykuły w czasopismach na temat „Folk-rock music”
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1
Weston, Donna. "Transforming Folk. Innovation and Tradition in English Folk-Rock Music". Musicology Australia 36, nr 1 (2.01.2014): 151–53. http://dx.doi.org/10.1080/08145857.2014.911064.
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Carter, James. "Campus Rock". Journal of Popular Music Studies 32, nr 3 (27.08.2020): 51–72. http://dx.doi.org/10.1525/jpms.2020.32.3.51.
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During 1967-8, The Lovin’ Spoonful, The Animals, The Who, Richie Havens, Jefferson Airplane and the Iron Butterfly, performed in the gymnasium at the small, liberal arts Drew University in suburban New Jersey. Turns out, this experience was not unique to Drew. College campuses across the country were essential for the growth of popular music, and of rock music in particular in the mid- to late-sixties. The music industry took notice as booking agents, record shops, pop music promoters, radio stations, and industry magazines and newspapers all began to place more emphasis on the opportunities provided by the nation’s colleges. While we know a great deal about activism on college campuses during the sixties, we know little about that same environment and its relationship to the growth and development of rock culture. This essay will explore the relationship between the growth of rock culture, the college campus, and the broader sixties experience. The college campus proved crucial in the development of rock music as student tastes determined “rock culture.” Folk, pop, soul/R&B, folk rock, hard rock, and psychedelic/acid rock, thrived simultaneously on the college campus from 1967 to 1970, precisely the period of significant change in popular music.
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Carter, James. "Campus Rock". Journal of Popular Music Studies 32, nr 3 (26.08.2020): 51–72. http://dx.doi.org/10.1525/jpms.2020.323006.
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During 1967-8, The Lovin’ Spoonful, The Animals, The Who, Richie Havens, Jefferson Airplane and the Iron Butterfly, performed in the gymnasium at the small, liberal arts Drew University in suburban New Jersey. Turns out, this experience was not unique to Drew. College campuses across the country were essential for the growth of popular music, and of rock music in particular in the mid- to late-sixties. The music industry took notice as booking agents, record shops, pop music promoters, radio stations, and industry magazines and newspapers all began to place more emphasis on the opportunities provided by the nation’s colleges. While we know a great deal about activism on college campuses during the sixties, we know little about that same environment and its relationship to the growth and development of rock culture. This essay will explore the relationship between the growth of rock culture, the college campus, and the broader sixties experience. The college campus proved crucial in the development of rock music as student tastes determined “rock culture.” Folk, pop, soul/R&B, folk rock, hard rock, and psychedelic/acid rock, thrived simultaneously on the college campus from 1967 to 1970, precisely the period of significant change in popular music.
4
Zhivitsa, A. R. "MODERN TRENDS OF ETHNIC MUSIC". Arts education and science 1, nr 30 (2022): 172–79. http://dx.doi.org/10.36871/hon.202201020.
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Modern ethnic music, represented by a wide palette of styles and trends, is an interesting global musical phenomenon, based on the actualization of national musical traditions and building intercultural dialogue. In this article, we clarify the terminological apparatus and conceptual environment of ethnic music, which in Russian realities is understood as a part of contemporary culture that combines traditional music and folk music, as well as consider the socio-cultural prerequisites for the emergence of this phenomenon and the main tendencies of ethnic music. Born as a youth folklore movement, based on a search for new sources of inspiration for young musicians and composers, today the phenomenon of ethnic music presents a rich palette in contemporary music space. These directions, formed by merging elements of different national musical traditions, synthesizing different musical styles or combining different methods, have at their core the main component — traditional musical folklore, which is embodied in new modern forms, reinterpreted and interpreted by ethnic musicians. Thus, a rich corpus of folk music culture is preserved and actualized. Among the main directions of ethnic music, we distinguish: musical folklore; folk music; ethno-fusion; new age; ethno-jazz; ethno-electronics, including folk-rock, pop-folk, folk-house and other movements based on the synthesis of musical folklore and current musical styles.
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Godeli, Maria Regina C. S., Paulo R. Santana, Vera H. P. Souza i Gisele P. Marquetti. "Influence of Background Music on Preschoolers' Behavior: A Naturalistic Approach". Perceptual and Motor Skills 82, nr 3_suppl (czerwiec 1996): 1123–29. http://dx.doi.org/10.2466/pms.1996.82.3c.1123.
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27 preschool children were observed naturally during classroom activities. Observations of behaviors of Social Interaction, Spatial Localization, and Posture categories were made under music (folk or rock and roll) and no music conditions. Music selections favored child-to-child social interaction.
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Liang, Yuyi. "A Study on the Singing Forms of Western Rock Music Integrating Classical Cultural Elements". Advances in Humanities Research 6, nr 1 (28.05.2024): 5–8. http://dx.doi.org/10.54254/2753-7080/6/2024056.
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Rock and roll is not only a form of music, but also a "attitude and philosophy of life". It is precisely because of this that rock and roll is different from general pop music, and there are various differences between Chinese and Western rock and roll. Rock music has many branches and complex forms. Its main styles include folk rock, art rock, psychedelic rock, Country rock, heavy metal, punk, etc. This article studies the singing forms of Western rock music that integrate classical cultural elements. People who listen to classical music "despise" the "vulgarity" of rock and roll, and people who play rock and roll "dislike" the "affectation" of classical music. These two music styles, which seem to never blend together, always maintain a proud attitude of respecting each other in their respective music culture circles. The extensive use of words with classical cultural elements and cultural imagery in rock music works can allow viewers to develop a sense of closeness and identification with the national essence reflected in the work from an aesthetic psychological perspective, and have a deeper understanding of the ideas expressed in the work.
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Redhead, Steve, i John Street. "Have I the right? Legitimacy, authenticity and community in folk's politics". Popular Music 8, nr 2 (maj 1989): 177–84. http://dx.doi.org/10.1017/s0261143000003366.
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In the last few years, in Britain, one of pop's cycles has turned again and folk has come back into fashion. It can be seen in the success of the Pogues, in the reformation of Fairport Convention, in the revamping of the magazine Folk Roots, in the content of Andy Kershaw's Radio One show, and perhaps most dramatically in the celebration of ‘world music’. The revival of folk entails more than a revival of old names and sounds, it also contains a redefinition of the idea of ‘folk’ itself. This shift takes its clearest form in Folk Roots where the editor, Ian Anderson, displays equal enthusiasm for examples of almost every musical genre, from country to pop to ‘world music’ to traditional folk to soul to ‘roots rock’ (Ry Cooder, The Bhundu Boys, Kathryn Tickell, Paul Simon and the Voix Bulgares are all included). Folk no longer means ‘beards and Fair Isle jumpers’; it includes punk-influenced groups like the Mekons who see folk as an approach in which ‘the ineptitude of the playing becomes stylised and eventually becomes part of the music’ (Hurst 1986, p. 17). The musical eclecticism is linked by an underlying theory of the way good music is identified.
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Larkey, Edward. "Austropop: popular music and national identity in Austria". Popular Music 11, nr 2 (maj 1992): 151–85. http://dx.doi.org/10.1017/s0261143000004980.
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The diffusion of rock and popular music from the US and British mass entertainment industries since the 1950s has had a profound impact on the music traditions world-wide. Several generations of youth have been socialised to the musical accompaniment of rock and roll music of the 1950s, the ‘beat music’ of the 1960s, the so-called ‘psychedelic’ or ‘underground’ rock music of the 1970s, disco, punk and new wave music in the 1970s and 1980s. It has resulted in the transplantation of these ‘foreign’ styles into music cultures with small groups of fan communities for rock and roll, country and western, blues, punk, reggae and others which were previously unheard of there before their introduction. In addition, domestic traditions have been profoundly affected by the diffusion of these new music styles and have integrated some of their musical, technical and other components into their own repertoires. The Schlager music in the German-speaking countries has been one of the most prominent in this respect, adapting syncopated rhythm but modifying its harmonic attributes in order to maintain its own prominence and cultural legitimacy in the music culture. Even the volkstümliche or folk-like music, a commercialised genre of traditional folk music, has undergone changes as a result of the diffusion of the newer forms of popular music. A third type of impact upon music tradition is that of ‘transnational’ or ‘transcultural’ styles. When imported musical and cultural innovations are mixed with domestic styles and traditions, these new styles and conventions are ultimately created. These, in turn, form a primary thrust in the cultivation and development of innovations in musical traditions, which eventually evolve into changes in the cultural identity of the particular country.
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Dorobek, Andrzej. "Nie tylko folkowa osobność Berta Janscha". Przegląd Kulturoznawczy, nr 3 (57) (październik 2023): 325–35. http://dx.doi.org/10.4467/20843860pk.23.023.18581.
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In this text, we attempt, probably for the first time in Poland, at the synthetic presentation of the artistic achievements and not only creative personality of Bert Jansch, sometimes referred to as “British Dylan” and highly appreciated by fellow folk musicians as well as by genuine rock stars, such as Jimmy Page or Neil Young. Jansch’s career as a truly unique folk singer/guitar player/composer/lyric writer shall be dicussed here in a wider analytical perspective, with vital references to the history of the British and American folk movement as well as, first of all, to the career of his transatlantic “counterpart”. Jansch’s inability to comfortably fit into any folk or folk-rock stereotypes with respect to music, lyrics or media personality shall also be stressed, in the same comparative context.
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Heinonen, Yrjö. "Finno-Ugric Rune Song Tradition Revisited: A Critical Discourse Analysis of Värttinä's "Äijö"". Articles 25, nr 1-2 (17.12.2012): 138–70. http://dx.doi.org/10.7202/1013309ar.
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Contemporary Finnish folk music, unlike internationally successful contemporary Finnish rock (HIM, Nightwish, The Rasmus), transmits Finnish and Finno-Ugric tradition in a reinterpreted form to international audiences. This article explores this transmission through a case analysis of Äijö, a song by Värttinä, "the brand name" of Finnish World Music. Critical Discourse Analysis (CDA) provides a unified framework, which allows for tan examination of how different folk music traditions and the practices of Western popular music have been used in Äijö. The data with which this research was undertaken consists of publicly available media texts representing different stages of the production, distribution and consumption of Äijö.
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Fursenko, T. F. "Value Orientations Development in Adolescents by Means of Folk Music". Психологическая наука и образование 24, nr 2 (2019): 29–36. http://dx.doi.org/10.17759/pse.2019240203.
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The paper focuses on the pedagogical aspect of developing value orientations in adolescents by means of folk music. It provides an outline of various views on the issue; reveals the meaning of the value orientations concept; analyses the pedagogical settings necessary for the development of value orientations in adolescents and personality-oriented pedagogical technologies. The author describes her method of ‘value actualisation’ which is based on the use of some of the best pieces of folk music in contemporary arrangements that embody the values of the modern society and nourish universal human as well as cultural-historical national values. When working with adolescents, it’s important to take into account their musical interests and needs and to use contemporary arrangements of traditional music, for instance, folk-rock and folk-pop, gradually expanding the focus. The paper gives examples of how traditional music can be used in working with value orientations in adolescents. The outcomes of the study show that developing value orientations by means of folk music can be effective if personality-oriented pedagogical technologies are employed (which promote mastering and incorporating in the adolescent’s activity the entire spectrum of traditional music) and if the process of educating is humane and democratic enough.
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Ilienko, O., i A. Furdychko. "PERFORMANCE FEATURES OF THE «CHERVONA RUTA» FESTIVAL: FOCUS ON THE INHERITANCE OF TRADITIONS". Bulletin of Mariupol State University Series Philosophy culture studies sociology 12, nr 24 (2022): 34–40. http://dx.doi.org/10.34079/2226-2849-2022-12-24-34-40.
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The national character of Ukrainian pop music today is determined by the appeal of folklore at various levels. This way of creating compositions leads to such types of interrelationship of folklore with jazz, pop and rock music, arrangements of folk songs, folk music and citation of materials, creation of original compositions based on folklore, fusion of the national manner of performing non-folklore. Today, songs that are synthesized in ethnic motifs and folklore in a modern setting are popular. But back in the 70s, B. Ivasiuk and the Chervona Ruta vocal and instrumental band were the founders of this approach. So far, the arrangements of folk melodies by the band "Chervona Ruta" have been used by popular rock bands - "Haydamaki", "Mandry", "Perkalaba", "Hutsul calypso", "Kobza original", "Crying", "Down" and others. The modern Ukrainian pop band continues the tradition and modernizes its songs in various interpretations. The paper studies the features of the "Chervon Ruta" festival from 1988 to 2016. The focus is on continuing the traditions of the participants of the ensemble festival of the same name. The practical significance is to highlight the directions of musical creativity of the bands that continue (transform) the traditions of the Chervona Ruta ensemble. Keywords: "Chervona Ruta", festival, Ukrainian music, pop standard.
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Saddiqa, Ayesha, Fatima Sajid Chauhan i Adeen Asif. "Coke Studio: Adaptation of Folk Songs for Bridging Cultural and Generation Gap". Global Social Sciences Review IX, nr I (30.03.2024): 145–57. http://dx.doi.org/10.31703/gssr.2024(ix-i).13.
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Coke Studio (CS, Pakistan) showcases a fusion of various musical genres, from traditional classical, folk, Sufi, ghazal, and qawwali to contemporary hip-hop, rock, and pop. This study explores the adaptation of folk songs within CS through Cardwell's 'meta-text' theory (2002), contending that the essence of the original text is retained in subsequent adaptations. Additionally, it examines the rhizome-like nature of these adaptations. Employing multimodality, the study analyzes folk songs from Coke Studio Season 10, utilizing auditory, visual, and spatial elements to create a cohesive artifact with broad semiotic appeal in today's globalized world. CS's immense popularity underscores its ability to balance aesthetic concerns with technological advancements. Furthermore, the study positions CS as a platform for rediscovering, reforming, and sustaining cultural heritage, catering to the new generation. By blending traditional folk with rock elements and appealing to audiences of all ages, CS bridges the gap between generations, fostering a 'third space' music as proposed by Bhabha (1994). This music is now intertwined with contemporary youth culture, contributing to the emergence of a new national identity. Thus, the adaptations of folk songs in Coke Studio serve as a contemporary reinterpretation of history and cultural heritage, connecting youth with their past while grounding them in the present.
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Laskar, Mahmudul Hasan. "Westernization of Musical Culture and Cultural Stratification in Northeast India: Role of Western Music on the Consumption of Music among Youth". Youth and Globalization 4, nr 2 (10.02.2023): 240–58. http://dx.doi.org/10.1163/25895745-04020013.
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Abstract The musical culture in Northeast India is assimilated to Western music. The influence of Western music in the Northeast is more than in any other region of India. Folk music, regional film music, and Indian film music are developed as popular culture. The study revealed that Western music genres like rock, rap, and pop are integral to Northeast India’s music culture. In line with global music culture, rock bands in Northeast India are in operation that molded the music culture. Youths, particularly students, are ardent followers of Western music culture and developed a youth sub-culture. But a unique phenomenon also occurred, e. g. cultural stratification among sections of youths. The study revealed that the tribal youths are more attached to Western music than their non-tribal counterpart. It is highlighted that rural youths are more attached to regional and Indian film music, but urban youths prefer Western music.
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Hidalgo, Marcela, i Ricardo Salton. "Argentina". Popular Music 6, nr 2 (maj 1987): 227–30. http://dx.doi.org/10.1017/s0261143000006012.
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This bibliography is designed to complement the article by Pablo Vila. It contains recently published academic books and articles, but excludes journalism. The discography covers significant recent music in the fields of national rock, tango, folk and ‘fusion’.
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Kerékfy, Márton. "Verwendung, Verleugnung, Wiederentdeckung – Ligeti und ethnische Musiken". Studia Musicologica 57, nr 1-2 (czerwiec 2016): 35–47. http://dx.doi.org/10.1556/6.2016.57.1-2.3.
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Regarding György Ligeti’s relation to ethnic music, his oeuvre can be divided into three periods. Until 1956 he used East European folk music in the manner of Hungarian composition of the 1940s and 1950s, but upon leaving Hungary he apparently rejected folkloristic inspiration. In his late period from 1978 on, however, ethnic musics became again central to his creative work, albeit in a basically different way than in his youth. This article provides an overview of Ligeti’s early folkloristic pieces and a brief characterization of his use of elements of Eastern European folklore in Le Grand Macabre, Hungarian Rock, Passacaglia ungherese and the Horn Trio. Finally, it traces back Ligeti’s “lamento melody,” that appears for the first time in the last movement of the Horn Trio, to certain types of the Hungarian folk lament. Ligeti’s references to folklore do not mean an idealization of his past, but are rather signs of an ambivalent attitude toward his own roots, in which nostalgic longing, ironic distancing, and desperate mourning are equally present.
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Yri, Kirsten. "Corvus Corax: medieval rock, the minstrel, and cosmopolitanism as anti-nationalism". Popular Music 38, nr 03 (październik 2019): 361–78. http://dx.doi.org/10.1017/s0261143019000229.
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AbstractThis article explores the German band Corvus Corax and their reinterpretion of the Middle Ages as a creative answer to Germany's problematic history of nationalism. Invoking the community ideals and ideological values of the 1960s and 1970s, which, in the context of the GDR took on even more significance, Corvus Corax borrowed ‘authentic’ medieval texts and melodies, rendering them in acoustic arrangements inspired by medieval performance practices. In short, German ‘folk’ bands invented ‘medieval’ rock to sidestep Nazi connotations with the word ‘folk’. Besides invoking the semantic shift from ‘folk’ to ‘medieval’, I argue that the band adopts the figure of the medieval minstrel and asserts that his multilingual texts, ‘foreign’ instruments and colourful performance practices speak to an inclusive, diverse and cosmopolitan community. Paradoxically, they do so by first positioning the medieval minstrel as a punked-up, marginalised ‘outcast’. The cultural capital of this outcast status helps medieval rock bands like Corvus Corax carve out a space for marginalised voices who, in their new privileged positions, offer a form of retribution for politics of exclusion, racism and authoritarianism.
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Sora, Andrei. "Transsylvania Phoenix, Romanian Ethno-rock, and the Politics of Folk Music". Rock Music Studies 7, nr 1 (8.08.2019): 23–33. http://dx.doi.org/10.1080/19401159.2019.1651526.
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Bondarenko, Andriy. "UKRAINIAN ELECTRONIC MUSIC IN GLOBALISATION AND NATIONAL REVIVAL". Scientific Journal of Polonia University 43, nr 6 (18.06.2021): 9–15. http://dx.doi.org/10.23856/4301.
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The article considers the impact of globalisation and national revival processes on the development of electronic music in Ukraine. It is shown that in the early stages of development (the late 1990s – early 2000s) Ukrainian electronic music is dominated by the focus on Western European music culture, and early festivals of dance electronic music (“The Republic of Kazantip”, “Ultrasonic”) also borrow Russian traditions, which indicates the predominance of globalization and peripheral tendencies in this area. At the same time, the first creative searches related to the combination of electronic sounds with the sounds of Ukrainian folklore are intensified. In particular, the article considers the works of the 2000s-2010s by O. Nesterov and A. Zahaikevych, representing folk electronics in the academic sphere, and works by Katya Chilly, Stelsi, Kind of Zero representing folk electronics in non-academic music. The aesthetic basis of such combinations was the musical neo-folklore of the last third of the XX century and the achievements of folk rock in the late 1990s. Intensification of these searches in the late 2010s, in particular the popularity of such artists as Ruslana, Onuka, Go_A allow us to talk about intensifying the national revival processes in the musical culture of Ukraine and involving Ukrainian music in the world culture preserving its national identity.
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Alkhayat, Marwa Essam Eldin. ""Are My Songs Literature?": A Postmodern Appraisal of Bob Dylan's American Popular Music Culture". Jurnal Humaniora 30, nr 1 (24.02.2018): 27. http://dx.doi.org/10.22146/jh.32137.
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The current study is a postmodern appraisal of Bob Dylan’s artistic career and vocal gestures to examine the way melody in popular music works in relation to speech and singing, the grand and the ordinary. It historicizes Bob Dylan’s protest music of the 1960s within the paradigm of folk music culture. Dylan’s music is full of riffs, blues sequences, and pentatonic melodies—all heavily part and parcel of blues, folk, gospel, and country music. It is the music that dwells on the pleasures of repetition, of circularity, and of the recurring familiar tune integrated within Dylanesque poetics of rhyme delivered with his idiosyncratic, deep and intense range of voices. Dylan is the official son of the legacies of social, communal, and ritual music-making that mirrors contemporary pop and rock back to folk and blues, street-sung broadsides and work songs, the melodies of medieval troubadours, and the blessed rhythms of Christianity and Judaism. The study is an attempt to illustrate how musicology and ethnomusicology in particular can contribute to understanding Dylan as a ‘performing artist’ within the postmodern paradigm. Thus, the study seeks to establish Dylan as a phenomenal, prolific postmodernist artist, as well as an anarchist. The power and originality of Dylan’s music constitute a prima facie case that his performances should be considered postmodernist art.
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Alkhayat, Marwa Essam Eldin. ""Are My Songs Literature?": A Postmodern Appraisal of Bob Dylan's American Popular Music Culture". Jurnal Humaniora 30, nr 1 (24.02.2018): 27. http://dx.doi.org/10.22146/jh.v30i1.32137.
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The current study is a postmodern appraisal of Bob Dylan’s artistic career and vocal gestures to examine the way melody in popular music works in relation to speech and singing, the grand and the ordinary. It historicizes Bob Dylan’s protest music of the 1960s within the paradigm of folk music culture. Dylan’s music is full of riffs, blues sequences, and pentatonic melodies—all heavily part and parcel of blues, folk, gospel, and country music. It is the music that dwells on the pleasures of repetition, of circularity, and of the recurring familiar tune integrated within Dylanesque poetics of rhyme delivered with his idiosyncratic, deep and intense range of voices. Dylan is the official son of the legacies of social, communal, and ritual music-making that mirrors contemporary pop and rock back to folk and blues, street-sung broadsides and work songs, the melodies of medieval troubadours, and the blessed rhythms of Christianity and Judaism. The study is an attempt to illustrate how musicology and ethnomusicology in particular can contribute to understanding Dylan as a ‘performing artist’ within the postmodern paradigm. Thus, the study seeks to establish Dylan as a phenomenal, prolific postmodernist artist, as well as an anarchist. The power and originality of Dylan’s music constitute a prima facie case that his performances should be considered postmodernist art.
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Gradowski, Mariusz. "Rock and Roll Styles and Genres in Poland (1957–1973)". Musicology Today 13, nr 1 (1.12.2016): 106–12. http://dx.doi.org/10.1515/muso-2016-0003.
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Abstract This paper describes the process of establishing rock and roll styles and genres (as defined by Allan F. Moore) in Polish musical culture. My Ph.D. research has revealed three phases in this process. Phase 1: imitation (1957-1962), phase 2: Polonisation (1962-1967) and phase 3: artistic re-interpretation (1967-1973). I present the detailed characteristics of each phase (i.e. their socio-political context, the phenomenon of cover versions, the fusion of rock and roll with local folk music, the development of original artistic language) as well as providing musical examples (mostly from Czesław Niemen’s recordings, which remain one of the most interesting examples of Polish popular music).
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Lofton, Kathryn. "Dylan Goes Electric". Journal of Popular Music Studies 33, nr 2 (1.06.2021): 31–50. http://dx.doi.org/10.1525/jpms.2021.33.2.31.
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Within the study of rock music, religion appears as a racial marker or a biographical attribute. The concept of religion, and its co-produced opposite, the secular, needs critical analysis in popular music studies. To inaugurate this work this article returns to the moment in singer-songwriter Bob Dylan’s career that is most unmarked by religion, namely his appearance with an electric guitar at the 1965 Newport Folk Festival. Dylan’s going electric became, through subsequent years of narrative attention, a secularizing event. “Secularizing event” is a phrase coined to capture how certain epochal moments become transforming symbols of divestment; here, a commitment writ into rock criticism as one in which rock emerged by giving up something that had been holding it back. Through a study of this 1965 moment, as well as the history of electrification that preceded it and its subsequent commentarial reception, the unreflective secular of rock criticism is exposed.
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Dedić, Nikola. "Highway 61 Revisited: Bob Dilan i francuski poststrukturalizam / Highway 61 Revisited: Bob Dilan and French Poststructuralism". AM Journal of Art and Media Studies, nr 3 (15.06.2013): 11–23. http://dx.doi.org/10.25038/am.v0i3.32.
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The main aim of this text is to show parallels between rock music and poststructuralist philosophy. As a case study one of the most celebrated rock albums of all times – Bob Dylan’s Highway 61 Revisited from 1965 is taken. It is one of the crucial albums in the history of popular culture which influenced further development of rock music within American counter culture of the 60s. Dylan’s turn from the politics of American New Left and folk movement, his relation towards the notions of the author and intertextuality, and his connection with experimental usage of language in the manner of avant-garde and neoavant-garde poetry, are juxtaposed with the main philosophical standpoints of Jean-François Lyotard, Jean Baudrillard, Roland Barthes and Julia Kristeva which historically and chronologically coincide with the appearance of Dylan’s album.
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Stimeling, Travis D. "Ecomusicology: Rock, Folk, and the Environment by Mark Pedelty". Notes 70, nr 3 (2014): 452–55. http://dx.doi.org/10.1353/not.2014.0038.
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Mahmud, Fitriningsih Pratiwi, i Ahmad Rifani Talaohu. "Cultural Identity of North Maluku in Folk Pop: When Traditional Meets the Future". Anaphora : Journal of Language, Literary, and Cultural Studies 6, nr 2 (31.12.2023): 191–203. http://dx.doi.org/10.30996/anaphora.v6i2.9760.
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North Maluku, which located in the eastern part of Indonesia is known for its rich cultural diversity that has been established for centuries. There are many traditions and arts that are represented as part of its cultural expression, in which one of them is music. There are several genres of music that are popular among local residents, from traditional, such as Baronggeng music to modern, such as pop, dangdut, and rock. Amongst these variety of music genres, there is one genre that is able to attract the attention of people outside North Maluku, namely Folk Pop. Interestingly, one of the figures who is quite active in expressing North Maluku identity through this Folk Pop genre is a group of young people who are members of a local music group known as TreesHome. However, a question arises when considering whether or not the identity presented by TreesHome reflects the cultural identity of North Maluku Therefore, the study aims to attest how TreesHome is able to maintain the cultural identity of North Maluku in in each music video clip and each of their stage acts. This study is qualitative descriptive research, and by using Identity Theory approach by Stets and Burke (2022), the study will examine and analyze the aforementioned problem. From the analysis result, can be concluded that TreesHome is able to express elements of North Maluku's cultural identity through a combination of 7 out of 11 ethnic cultural elements proposed by Salter & Harpending (2013) with modernization in the Folk Pop music genre that they present which ultimately provides added value to the cultural identity of North Maluku. Overall, the research can contribute in development of strengthening North Maluku’s cultural identity through Folk Pop by combining traditional and modern music performance.
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Bizhanova, Kenzhegul, Bakyt Arinova, Gulshat Akbayeva i Aiym Massimbayeva. "Youth Identity Development on the Basis of Traditional Kazakh Folk Music". Folklore: Electronic Journal of Folklore 93 (sierpień 2024): 79–104. http://dx.doi.org/10.7592/fejf2024.93.kazakh_youth.
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This study strived to determine the most popular music genre among young Kazakhs in the context of personal, social, and national identity development, specify the relationship between musical preferences and personality type, and disclose the level of influence of traditional Kazakh folk music on the identity of the Kazakh youth. The authors conducted a survey and a test by taking advantage of such research methods as sociological survey, statistical analysis, social phenomena cognition (assessment, analogy tracking, comparison), psychological and typological concepts of Jung, as well as Abulkhanova-Slavskaya’s methodology for revealing personality traits. As a result of the investigation, hip-hop and rap were identified as the most popular music genres among the respondents (42.2%). Analysis of the data obtained in accordance with Abulhanova-Slavskaya’s personality typology revealed that 89% of the respondents preferring blues/jazz, classical music, and folk music demonstrated personality traits corresponding to the reflexive personality type; 91% of punk/rock and heavy metal fans showed conformity to the contemplative personality type; 87.5% of pop-music lovers were attributed the harmonious personality type; 93.5% of hip-hop and rap music fans – the productive personality type; 84% of traditional music fans – the performing type; and 96% of fans of pop with folk tunes – the functional type. It was also uncovered that 89% of the respondents who preferred traditional music belonged to the sensitive personality type characterized by impressionability, openness, empathy, alertness, firmness, conscientiousness, and, at the same time, inferiority complexes, and a tendency to psychogenic depressions and phobias.
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Bhalke, Daulappa Guranna, Betsy Rajesh i Dattatraya Shankar Bormane. "Automatic Genre Classification Using Fractional Fourier Transform Based Mel Frequency Cepstral Coefficient and Timbral Features". Archives of Acoustics 42, nr 2 (27.06.2017): 213–22. http://dx.doi.org/10.1515/aoa-2017-0024.
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Abstract This paper presents the Automatic Genre Classification of Indian Tamil Music and Western Music using Timbral and Fractional Fourier Transform (FrFT) based Mel Frequency Cepstral Coefficient (MFCC) features. The classifier model for the proposed system has been built using K-NN (K-Nearest Neighbours) and Support Vector Machine (SVM). In this work, the performance of various features extracted from music excerpts has been analysed, to identify the appropriate feature descriptors for the two major genres of Indian Tamil music, namely Classical music (Carnatic based devotional hymn compositions) & Folk music and for western genres of Rock and Classical music from the GTZAN dataset. The results for Tamil music have shown that the feature combination of Spectral Roll off, Spectral Flux, Spectral Skewness and Spectral Kurtosis, combined with Fractional MFCC features, outperforms all other feature combinations, to yield a higher classification accuracy of 96.05%, as compared to the accuracy of 84.21% with conventional MFCC. It has also been observed that the FrFT based MFCC effieciently classifies the two western genres of Rock and Classical music from the GTZAN dataset with a higher classification accuracy of 96.25% as compared to the classification accuracy of 80% with MFCC.
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Cross, Rod. "Pop Music in the Middle School – Some Considerations and Suggestions". British Journal of Music Education 5, nr 3 (listopad 1988): 209–16. http://dx.doi.org/10.1017/s026505170000663x.
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Most young people these days enjoy listening to music. It may well be their main interest and one of their favourite pastimes. Some may express a preference for classical music, others for minority interests, such as folk, country, blues, jazz, or big band. For the vast majority, however, it is likely that their taste will be partly, if not exclusively, for pop, i.e. that brand of music which originated with Bill Haley'1956 recording of ‘Rock Around The Clock’, and which now applies to all music loosely associated with the Top Forty charts. In this article the author describes a course, with 10 and 11 year old pupils, which examined the history, styles and social significance of pop music.
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de kloet, jeroen. "popular music and youth in urban china: the dakou generation". China Quarterly 183 (wrzesień 2005): 609–26. http://dx.doi.org/10.1017/s030574100500038x.
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the import of illegal, cut cds from the west (dakou cds) in the mid-1990s marked the revitalization of chinese rock culture. this article analyses the rise of dakou culture in the context of the interrelated processes of globalization and marketization of chinese culture. contrary to accounts that proclaim the crisis or death of chinese rock, this article describes the re-emergence of rock since the mid-1990s. it presents an overview on three different scenes, part of the dakou culture among chinese youth. the fashionable bands are inspired by a cosmopolitan aspiration, the underground bands signify the return of the political and the urban folk singers express a nostalgic longing. all three scenes attest to the current diversity of popular music cultures in china, and are interpreted as sonic tactics employed by chinese youth to carve out their own space amidst an increasingly commercialized and globalized society.
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ECKSTEIN, LARS. "Torpedoing the authorship of popular music: a reading of Gorillaz' ‘Feel Good Inc.’". Popular Music 28, nr 2 (maj 2009): 239–55. http://dx.doi.org/10.1017/s0261143009001809.
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AbstractThis article addresses problems of authorship and creative authority in popular music, in particular in view of a pervasive split between modes of aesthetic production (involving modernist assemblage, multiple authorship, and the late capitalist logic of major label policies) and modes of aesthetic reception (which tend to take popular music as the organic output of individual performers). While rock musicians have attempted to come to terms with this phenomenon by either performing a ‘Romantic’ sense of authenticity (basically by importing folk values to the production process) or ‘Modernist authenticity’ (by highlighting experimentation and alienation), Damon Albarn and Jamie Hewlett, creators of Gorillaz, found a third way which ingeniously allows them to do both. By creating a virtual rock band, and by hiding their own media personalities behind those of their virtual alter egos, they brought themselves into a position which allows them to produce ‘sincere’ popular music which ‘playfully’ stages the absurdities of major label music business while very successfully operating within its very confines.
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Savitskaya, E. A. "Paradoxes of the Ironical in the Works of the Swedish Rock Band Samla Mammas Manna". Art & Culture Studies, nr 1 (marzec 2023): 242–69. http://dx.doi.org/10.51678/2226-0072-2023-1-242-269.
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The article is dedicated to manifestations of irony and humour in rock music as illustrated by the example of the Swedish progressive/avant-rock band Samla Mammas Manna (1969–2008). These manifestations often have a paradoxical (surprising, confusing) effect. What is paradoxical, for instance, is the combinations of artistic and stylistic elements which create a bright sound canvas. Samla Mammas Manna boldly and humorously combined twisted symphonic and rock structures with simple melodic and rhythmic fragments, avant-garde rock with folk elements and free-jazz improvisations. In relation to folklore, there is also a certain irony: it is not homage to ancient art, but its mocking rethinking. There is also a certain paradoxicality in the performing techniques, sometimes very unconventional (but always a brilliant display of technical mastery), and in stage appearance and live acts, inviting the audience to be a part of performance. The article provides a detailed analysis of Samla Mammas Manna’s artistic techniques, style evolution, musical and stage dramaturgy, and ways of interacting with the audience. It also discusses the influence of carnival and circus aesthetics on rock music.
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FABBRI, FRANCO. "Orchestral Manoeuvres in the 1970s: l’Orchestra Co-operative, 1974–1983". Popular Music 26, nr 3 (październik 2007): 409–27. http://dx.doi.org/10.1017/s0261143007001353.
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AbstractL’Orchestra, a cooperative established in 1974/75, based in Milan, Italy, was a unique organisation, involving musicians, sound and lighting engineers, music critics and teachers, and concert managers. It was started as a kind of artists’ union, a federation of folk, rock, political song, jazz, avant-garde groups, but in a few months it became a concert agency and a record company; it held music courses for amateurs and published music tutorials; it helped managing the first multipurpose art/social centre in Milan. L’Orchestra promoted studies along various disciplinary perspectives (sociology, music education, ideological criticism, semiotics) that in some respects embody and in others help explain the development of popular music studies and of the International Association for the Study of Popular Music (IASPM) in Italy.
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Dorobek, Andrzej. "Nowojorska tożsamość rockowa". Kultura i Społeczeństwo 67, nr 4 (28.12.2023): 133–50. http://dx.doi.org/10.35757/kis.2023.67.4.7.
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The author strives to present the essence of the artistic phenomenon which — through analogy to the term “New York School” used in cultural studies discourse in regard to painting and poetry — he has decided to call the “New York School of Rock”. It is presented in a broader context of what is known as popular music, in the variety associated with New York and encompassing a panoply of styles and performers: from the folk rock Bob Dylan to the hard rock Blue Öyster Cult, and with a special emphasis on the music proposed by The Velvet Underground, The Fugs and The Godz. They constituted the core of the trend described here — and it was also from them in a way that the new-wave punk of Patti Smith or Television derived. In the context thus laid out, the article endeavours to grasp the essence of the New York rock identity in a dialectic perspective: from the disheartening vision of the metropolis on the Hudson River and The Velvet Underground, drawing inspiration from minimalism and “noise music”, through its antithesis in the form of Billy Joel’s radiant pop-rock image of that big city, to a kind of synthesis in the early works of David Byrne and his group, Talking Heads.
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Stanfield, Peter. "Crossover: Sam Katzman'sSwitchblade Calypso Bop Reefer Madness Swamp Girlor ‘Bad Jazz,’ calypso, beatniks and rock 'n' roll in 1950s teenpix". Popular Music 29, nr 3 (październik 2010): 437–55. http://dx.doi.org/10.1017/s0261143010000255.
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AbstractThis essay challenges the received wisdom that teenpix of the 1950s were dominated by a soundtrack of rock 'n' roll. I argue that this cycle of film production was marked by a diversity of musical genres, styles and types. Not only rock 'n' roll, but rhythm 'n' blues, folk, rockabilly, swing, West Coast jazz, bebop, Latin music such as the mambo, the rhumba, the cha cha chá, and Caribbean calypsos were all heavily featured in these films. This study is carried out through a focus on the temporal arrangements – fads, cycles, trends – that govern serial production and consumption of movies and popular music. Following Philip Ennis' thesis that rock 'n' roll is best defined by its ability to ‘crossover’ musical boundaries – to move, for example, across the pop, country, and rhythm 'n' blues charts – I argue that the film industry chose not to overly limit the music it had on offer and instead provided a varied package, some of which, it expected, would crossover and appeal to diverse and capricious teenage tastes.
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Shuvera, Ryan. "“New Life” into Old Sounds". Journal of Popular Music Studies 32, nr 2 (1.06.2020): 178–90. http://dx.doi.org/10.1525/jpms.2020.32.2.178.
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Simone Schmidt is a folk and country musician based in tkaronto (Mohawk word from which Toronto, Ontario, is derived). Schmidt's 2017 album Audible Songs from Rockwood is part of their solo work as Fiver and part of an attempt to write “new life into and around folk, country, and rock songs.” The album is based on their time spent at the Archives of Ontario reading the original case files of the Rockwood Asylum for the Criminally Insane that operated in Kingston, Ontario, from 1856 to 1881. The songs are sung from the imagined perspectives of different women imprisoned at Rockwood. I read and engage with Schmidt's work as a performance of unsettling. Unsettlement comes through on this album in direct ways, such as Schmidt's challenges to ideas of land possession and challenges to the bases of the medical and psychiatric designations. More subtle challenges come through the portrayals of the women, which, though largely imagined, come from a place of self-reflexivity. In this paper I will examine how Schmidt uses the sounds of traditional North American folk and country music as a sonic bed for a performance of unsettling on Audible Songs from Rockwood.
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Shuvera, Ryan Ben. "Southern Sounds, Northern Voices". Journal of Popular Music Studies 30, nr 4 (grudzień 2018): 177–90. http://dx.doi.org/10.1525/jpms.2018.300412.
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Wilf Carter (Montana Slim) crossed the Canadian-U.S. border in 1935 to further his career as a country musician. Hank Snow moved to Nashville in 1945, reaching the stage of the Grand Ole Opry in 1950. Twenty-one years later Neil Young settled into Nashville’s Quadraphonic Sound Studio to record songs that would be featured on the album Harvest. Today, Nashville’s New West Records represents country-inspired Canadian musicians Daniel Romano and Corb Lund. These artists make up part of a notable history of northerners blending North American identities through country music. A significant and overlooked part of this history came to light in 2014 with the release of the Native North America (Vol. 1): Aboriginal Folk, Rock, and Country 1966-1985 compilation from Light In The Attic Records. NNA (Vol. 1) is a collection of limited releases from Indigenous musicians from across Canada and Alaska. It is significant because it makes audible that Indigenous musicians performed—and continue to perform—country, folk, and rock music, challenging the borders and identities forced on them through settler-colonialism. These artists bring together southern sounds and northern voices—often using northern Indigenous languages—to articulate different experiences under North American colonization. This paper begins to explore how artists such as Willie Dunn, John Angaiak, and William Tagoona unsettle North American boundaries and identities through country music. This paper also begins to explore the opportunities and challenges this compilation presents to white settler listeners.
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Emmery, Laura. "Made in Yugoslavia: Studies in Popular Music". Musicological Annual 57, nr 1 (5.07.2021): 271–82. http://dx.doi.org/10.4312/mz.57.1.271-282.
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Made in Yugoslavia: Studies in Popular Music (edited by Danijela Špirić Beard and Ljerka Rasmussen) is a fascinating study of how popular music developed in post-World War II Yugoslavia, eventually reaching both unsurpassable popularity in the Balkans and Eastern Europe, and critical acclaim in the West. Through the comprehensive discussion of all popular music trends in Yugoslavia − commercial pop (zabavna-pop), rock, punk, new wave, disco, folk (narodna), and neofolk (novokomponovana) − across all six socialist Yugoslav republics, the reader is given the engrossing socio-cultural and political history of the country, providing the audience with a much-needed and riveting context for understanding the formation and the eventual demise of Tito’s Yugoslavia.
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Nofre, Jordi. "‘Catalanism Only Will Win by the Force of Songs’, Revisited 100 Years After. The Role of Catalan(ist) Pop-Rock Music in Socially Sanitizing Working-Class Neighborhoods of Barcelona (1976–2000)". International Review of Social Research 2, nr 2 (1.06.2012): 1–20. http://dx.doi.org/10.1515/irsr-2012-0013.
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Abstract: During the last years of the Spanish fascist regime, two politically contrary music scenes emerged in Barcelona. While Catalanist folk music emerged for political freedom, Spanished rock’n’roll, punk, and heavy scenes emerged in the working-class suburbs of Barcelona, denouncing bad conditions of everyday urban life. The great success of this last music scene in Barcelona in the 1980s led to the then nationalist, conservative government of Catalonia to promote a new socially and politically sanitized music scene in response to such class-based contestation. This study aims to explore how a new Catalan(ist) pop-rock scene was created to socially and culturally sanitize the working-class suburbs of Barcelona along the decades of the 1980s and 1990s.
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Myers, Ted. "The Making ofFour Decades of Folk Rock: Anatomy of a Box Set". Popular Music and Society 30, nr 5 (grudzień 2007): 639–49. http://dx.doi.org/10.1080/03007760701577096.
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Fulk, Kirkland A. "Sounds German?: Popular Music in Postwar Germany at the Crossroads of the National and Transnational". German Politics and Society 35, nr 2 (1.06.2017): 1–6. http://dx.doi.org/10.3167/gps.2017.350201.
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A musical undercurrent has long permeated German culture and intellectual life. For more than a century, theories and practices of folk, art, and classical music—variously understood both in their mutual interrelation and as entirely distinct—have anchored definitions of German national identity and the German cultural heritage. More recently, musical styles such as jazz, rock and roll, and hip-hop have also played a key role in the emergence of new social movements and alternative sensibilities in Germany. Indeed, since the end of World War II, popular music practices in Germany have been alternatively decried as drivers of Americanization and hailed as catalysts of technological development that prompt new ways of producing and consuming music to emerge.
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Hagedorn, Hans Christian. "Don Quijote en el jazz francés". Çédille, nr 18 (2020): 515–49. http://dx.doi.org/10.25145/j.cedille.2020.18.21.
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The intense reception that Don Quixote has had in French music is a well-known, well-documented and well-researched phenomenon. However, criticism has focused pri-marily on classical music and opera; few studies have been devoted to pop music, rock or folk, and none has so far dealt with the traces that the Cervantine novel has left in French jazz. In this paper we document, analyse and compare twenty examples of French jazz compositions that are inspired by the masterpiece of Cervantes, taking into account aspects such as its reception in jazz from other countries, or the interesting presence of the myth of Don Quixote in French jazz of the 21st century.
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SAPOZHNIK, Olga. "THE ORIGIN AND DEVELOPMENT OF ROCK MUSIC IN UKRAINE: THE SEARCH FOR CULTURAL IDENTITY". Fine Art and Culture Studies, nr 1 (26.04.2024): 80–88. http://dx.doi.org/10.32782/facs-2024-1-11.
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The aim of the article is to carry out an attempt to carry out a comprehensive analysis of the musical-aesthetic, socio-cultural, cultural-historical prerequisites for the development of rock music in Ukraine, which influences the musical-aesthetic thesaurus, forms the aestheticosphere, value orientations and, ultimately, determines the national-cultural identity of a young person. It is worth proving that musical culture, including the rock industry, has become the embodiment of musical ideals and mental and ideological attitudes of the Ukrainian music lover, which in turn influenced the processes of national identification and left a characteristic imprint on the ethnonational mentality and musical culture as a whole. The methodology of the research consists in the synthesis of art and cultural approaches to the study of the phenomenon of rock music in the Ukrainian art space, in the use of dialectical methods of analysis, synthesis, comparison, generalization and interconnection of cultural identity with the musical culture of the Ukrainian nation. The scientific novelty lies in the theoretical comprehension of the vocal and instrumental art of rock music in Ukraine as a phenomenon of musical cultural genesis and a form of national and cultural identification, in the implementation of cultural and artistic reflection on this genre and style variety. For the first time, the retrospection of Ukrainian rock music is presented in the context of cultural and historical processes of national identification. Through the prism of the author's approach, rock music appears as the embodiment of artistic and aesthetic ideals and mental and ideological trends, leaving a characteristic imprint on the processes of national and cultural identification, ethno-national mentality and the musical culture of Ukraine in general. The studied material allowed us conclusions that the formation and development of domestic rock music covers four stages. The four stages of the functioning of domestic rock music, which we have studied, contributed to the search for national and cultural identity, focused on the national aspect of the rock industry. In turn, this influenced the formation and cultivation of national features in rock music and musical culture as a whole, namely: in the introduction of the Ukrainian language as "fashionable" in the youth rock environment, in authentic intonation inclusions in arrangements, rock compositions, in the names of works and bands; in the use of folk traditions, folklore themes, regional motifs, dialects in vocal and instrumental rock sound of Ukrainian origin. These musical, aesthetic and cultural features of the national rock music contributed to the establishment of national and cultural identity, the popularization of the Ukrainian segment and the entry of the national musical culture into the world art space. The materials of this article were tested by the author in the process of teaching the course "Modern Popular Estradna Music" in the structure of secondary and higher music education and as a special course in out-of-school art education. A manuscript of the textbook of the same name has also been prepared, where domestic rock music is presented as a trigger and a business card of the national, cultural and musical identification of Ukraine.
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Abid, Sobia, Muhammad Zahid Bilal i Aleena Begum. "MUSIC AND TRANS CULTURALISM: ANALYZING THE ROLE OF COKE STUDIO MUSIC IN PAKISTAN". Pakistan Journal of Social Research 04, nr 03 (30.11.2022): 933–43. http://dx.doi.org/10.52567/pjsr.v4i03.972.
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This research study assesses the significance of music as a cultural component of society. Coke Studio in Pakistan is producing and releases music that has traditional and modern appeals for people of all ages. The study implies the theory of cultivation and musical communication as a conceptual framework to analyze the role of Coke Studio Music in trans-culturalism. The methodology of research is based on data collection through a cross-sectional survey employing a structured questionnaire. Data from the university students was collected through random sampling technique. The results show that Coke Studio is introducing genres with ancient roots. It is presenting classical and historic traditions through a transfusion of modern elements which is appealing to youth. Respondents are said to believe that Coke Studio is producing new sounds and enriching Pakistani traditional music by merging it with modern music, including eastern classical, Folk, Qawwalii, Bhangra, Sufi, contemporary Hip Pop, Rock and Pop music. Keywords: Music, Cultural Component, Trans Culturalism, Transfusion, Coke Studio
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FEIGENBAUM, ANNA. "‘Some guy designed this room I’m standing in': marking gender in press coverage of Ani DiFranco". Popular Music 24, nr 1 (styczeń 2005): 37–56. http://dx.doi.org/10.1017/s0261143004000285.
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Examining ways in which gender is marked in the press coverage of self-produced, folk-rock artist and record label owner Ani DiFranco, this paper explores how language employed in rock criticism frequently functions to devalue and marginalise women artists' musicianship, influence on fans, and contribution to the rock canon. Investigating how the readerships of different publications may influence the ways in which journalists mark gender in rock criticism, this study utilises a corpus of 100 articles on Ani DiFranco published between 1993 and 2003 from print and online magazines and newspapers in Canada, the United States and the United Kingdom. Focusing on the use of inter- and intra-gender artist comparisons, adjectival gender markers and ‘metaphorical gender’ markers in artist background information, lyrical and musical analyses and descriptions of fans, this analysis maps the discursive conventions that music critics and theorists continue to rely on in reviews and profiles of women artists.
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Sicherl Kafol, Barbara, Olga Denac i Jerneja Žnidaršič. "Interest of Slovene Students in Listening to Various Musical Genres". Musicological Annual 52, nr 1 (27.06.2016): 189–205. http://dx.doi.org/10.4312/mz.52.1.189-205.
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The aim of the study was to find out which musical genres are young people’s favourite, why they listen to those specific genres and which genres they used to listen to in their childhood together with their parents. The results show that most students‘s favourite genres are pop, rock, RnB and popular folk music. The results confirm that the choice of genres listened to together with parents during childhood affects musical preferences of students.
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PIEKUT, BENJAMIN. "Music for Socialism, London 1977". Twentieth-Century Music 16, nr 1 (luty 2019): 67–93. http://dx.doi.org/10.1017/s1478572219000100.
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AbstractMembers of the rock band Henry Cow co-founded Music for Socialism in early 1977 with the assistance of several associates in London's cultural left. Their first large event, a socialist festival of music at the Battersea Arts Centre, gathered folk musicians, feminists, punks, improvisers, and electronic musicians in a confabulation of workshops, performances, and debates. The organization would continue to produce events and publications examining the relationship between left politics and music for the next eighteen months. Drawing on published sources, archival documents, and interviews, this article documents and analyzes the activities of Music for Socialism, filling out the picture of a fascinating, fractious organization that has too often served as a thin caricature of abstruse failure compared with the better resourced, more successful, and well-documented Rock Against Racism. As important as the latter was to anti-racist activism during the rise of the National Front, it was not concerned with the issues that Music for Socialism considered most important – namely, how musical forms embody their own politics and how musicians might control their means of production. Affiliated with the Socialist Workers Party (UK), Rock Against Racism produced massive benefit concerts and rallies against the fascist right, drawing together musicians and audiences from punk and reggae. The much smaller events of Music for Socialism enrolled musicians from a range of popular music genres and often placed as much emphasis on discussion and debate as they did on having a good time. The organization's struggles, I will suggest, had less to do with ideological rigidity than it did with the itineracy and penury of musicians and intellectuals lacking support from the music industry, governmental arts funding, labor organizations, or academia.
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Nedlina, Valeriya. "Neotraditionalism and Innovations in Kazakh Instruments and Music-Making". International peer-reviewed journal 11, nr 4 (1.12.2023): 34–53. http://dx.doi.org/10.59850/saryn.4.11.2023.33.
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In the XX and XXI centuries, Kazakh music went through three waves of innovations: first, after centuries of solo-only performance, ensembles and orchestras appeared in the first decades of the Soviet period. Then, ethnographic, iconographic, and archaeological research brought back to life lost or nearly-forgotten instruments in 1970-80s, and in the 2000s new types of ensembles and neo-folk instruments appeared under global influences. All these changes were driven by two opposite tendencies: intensive cross-cultural interaction (primarily on the West-East axis) met the growing interest to the nation’s past. This neotraditional mindset influences, on the one hand, to music instrument-making, on the other hand, to performance practice. In the first wave, the need for creating the orchestra of Kazakh folk instruments, declared by Akhmet Zhubanov, caused the foundation of the workshop where standardized dombra (plucked lute chordophone) and qobyz (bowed lute chordophone) were created together with their modernized cousins (prima, alto and bass versions). During the second wave, such prominent scholars as Bolat Sarybayev turned to a restoration of the lost instruments (sherter, zhetygen, saz syrnai, percussionand so on) that were later included in orchestras and ensembles and even institutionalized within the conservatoire’s classes. The third wave is strongly associated with various kinds of popular music. Some ensembles (as Turan and Hassak) moved toward the World music style, others (as Aldaspan) experimented in electronic and rock directions. So, it is obvious that all three waves are interconnected. Unification and experiments with materials in the early Soviet period, as well as the creation of special workshops and laboratories for folk music, have created a systematic cycle of research and reconstructions.
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Petrov, Ana. "“Rock and Roll Will Keep us Together”: Music and the representations of Yugoslav collectivity in the Day of Youth". Studia Musicologica 56, nr 4 (grudzień 2015): 417–27. http://dx.doi.org/10.1556/6.2015.56.4.9.
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In this article I will point out to the role of music in the Day of Youth, the most important state holiday in the socialist Yugoslavia. I will show that in the afterwar period, the music for the jamboree was selected in order to highlight certain important events from the People’s Liberation Struggle, so that it consisted in the combination of traditional, partisan and folk songs, and it was regularly related to Tito himself. After Tito’s death in 1980, the Day of Youth was in crisis, together with the country, but despite that, the celebrations were organized almost until the very end of Yugoslavia. The celebrations after Tito were marked by a tendency to overcome the crisis of the ideology of “brotherhood and unity,” so that it was concluded that the Day of Youth should be modernized. I argue that the music played a crucial role in the process, leading to the promulgation of rock and roll as “our future,” i.e. the future of the young. The collectivities that were represented in the jamboree also changed in accordance with the music, so that those in the 1980s included casual rock and roll dancing instead of traditional round dances.
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Mendis, B. I. L. M., P. A. D. S. Palihaderu, Dilan Amila Satharasinghe, J. M. K. J. K. Premarathne, Arosha S. Dissanayake, Harshini Rajapakse, Panduka Karunanayake i in. "Exploration of Music Preferences among the Socioeconomic Stereotypes: A Cross-Sectional Study". Journal of Advanced Research in Social Sciences 4, nr 4 (20.12.2021): 1–18. http://dx.doi.org/10.33422/jarss.v4i4.540.
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Music preference is being influenced by various sociological factors. This study was undertaken to investigate music preferences across five different socio-economic classes in selected urban and suburban areas of Sri Lanka. Ten music tracks representing the correspondent musical genres were selected. The single most preferred and the weighted hedonic mean score for the genres in each class were obtained as upper class: jazz, upper middle class: nature music, middle class: popular instrumental, working class: popular instrumental and poor class: rock. The interaction between socio-economic classes and genres was significant (p<0.05). Compelling associations for folk, jazz, and popular instrumental genres were found with the upper-middle class while the upper class has shown a significant association for popular instrumental music. Despite the socio-economic status, the highest preference and the highest weighted hedonic mean score were recorded with popular instrumental. Thus, understanding music preference behaviour is vital for music education and research.