Gotowe bibliografie tematyczne / Popular music

Gotowa bibliografia na temat „Popular music”

Autor: Grafiati
Data publikacji: 4 czerwca 2021
Data aktualizacji: 30 lipca 2024

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Artykuły w czasopismach na temat "Popular music"

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Bintarto, A. Gathut. "Aspek Olah Vokal Musik Klasik Barat pada Musik Populer". Journal of Urban Society's Arts 1, nr 1 (10.04.2014): 44–56. http://dx.doi.org/10.24821/jousa.v1i1.787.

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Setiap medium musik mempunyai keistimewaan yang bisa dikaji seperti halnyapada musik klasik Barat dan musik populer. Norma daya tarik musik populeryang ringan dan mudah dinikmati tidak seperti pada musik klasik Barat atauyang sering disebut sebagai musik seni, namun demikian bukan berarti bahwamemainkannya tidak ada syarat artistik. Bervariasinya musik dan banyaknya pelakumusik mengakibatkan standar yang tinggi dan menuntut pemahaman terhadapdetail musik. Musik populer bertolak dari kebiasaan orang dan musisinya inginmemenuhi kebutuhan tersebut. Gambaran emosional yang muncul pada teksmenyebabkan kecenderungan naturalistik dalam bernyanyi. Melalui penelusuranasal-usul musik populer dan penelitian studi kasus di lapangan ditemukan bahwamusik populer beraliran soul serta R&B (rhythm and blues) mempunyai kesamaanunsur dengan teknik dan gaya bernyanyi klasik pada penerapan suara yang ratadalam rentang ambitus (even scale technique), penggunaan imajinasi dengan iramabebas, nada-nada hiasan, teknik vibrato, dan bahkan gaya bernyanyi Gregorianmurni dengan iringan ritmis yang dianggap sebagai suatu kebaruan dalam musikpopuler. The Overview on the Aspect of Western Classical Singing on Popular Music.Every music medium such as Western classical and popular music has its own practicalspecification due to the observation of each characteristic and uniqueness. The potentialattractiveness of popular music is different from the Western classical music in its easylistening characteristics, but it does not mean that the music does not have the artisticcharacter at all. More performers and more variations in the popular music mayaffect the higher standard and require the demand in every aspect of the details. Thepopular music is derived from the daily habit and that is the way the musician shoulddo to make this kind of music. The emotional characteristics in their lyrics cause thenaturalistic singing tendency. Through the observation of the popular music origin andthe field research study, it is founded that soul and R&B music have the similarities. Interms of the classical music, both use the typical scale technique, imagination with thefree rhythm, ornamentation, vibrato technique and even pure Gregorian singing styleused in some popular songs accompanied by rhythmical music served as a new idea inpopular music.
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Manggala, Bondan Aji. "“DURMA” (Model Penciptaan Pesan dan Kesan Musik Melalui Pembenturan Teks Lirik dengan Ekpresi Musik)". Acintya Jurnal Penelitian Seni Budaya 12, nr 1 (3.08.2020): 23–32. http://dx.doi.org/10.33153/acy.v12i1.3139.

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ABSTRACT This article is part of a report on the results of artistic research (works of music) in the field of music. Briefly expresses experience and some knowledge findings related to the process of creating musical works of art. "Durma" is an editorial for this artwork, which contains three works of music with a popular music creation approach. Inspired by the anxiety of observing the infertility of creativity in the area of popular music in Indonesia, through "Durma" the thought was made to model the creativity of popular music by paying attention to the clash of lyric texts with musical expressions to produce messages and impressions of songs that are not public. In the habits of popular music, the elements of lyric text and musical expression are linear and mutually reinforcing relationships. It has never been imagined before that when a popular musical creation thinks a little freely and tries to clash ideas with an established knowledge of popular music creation, it will instead create ambiguity and the complexity of a refreshing taste. The outputs of the "Durma" artistic research include (1) art work products in the form of audio recordings of three songs entitled (a) Candles, (b) Girls, and (c) Good Night, (2) research reports, and (3) scientific publications articles that unravel the knowledge behind this work process.Keywords : Music creation, popular, clash of musical expressions and lyric texts ABSTRAK Artikel ini adalah bagian dari laporan hasil penelitian artistik (karya musik) di bidang musik. Secara singkat, ini mengungkapkan pengalaman dan beberapa temuan pengetahuan terkait dengan proses penciptaan karya seni musik. "Durma" adalah editorial untuk karya seni ini, yang berisi tiga karya musik dengan pendekatan penciptaan musik populer. Terinspirasi oleh kecemasan mengamati ketidaksuburan kreativitas di bidang musik populer di Indonesia, melalui "Durma" pemikiran dibuat untuk memodelkan kreativitas musik populer dengan memperhatikan benturan teks lirik dengan ekspresi musik untuk menghasilkan pesan dan tayangan lagu yang tidak umum. Dalam kebiasaan musik populer, unsur-unsur teks lirik dan ekspresi musik adalah hubungan linier dan saling menguatkan. Belum pernah terbayangkan sebelumnya bahwa ketika sebuah ciptaan musik populer berpikir sedikit dengan bebas dan mencoba untuk bertabrakan dengan pengetahuan mapan tentang ciptaan musik populer, ia malah akan menciptakan ambiguitas dan kompleksitas rasa yang menyegarkan. Output dari penelitian artistik "Durma" meliputi (1) produk karya seni dalam bentuk rekaman audio dari tiga lagu berjudul (a) Lilin, (b) Gadis, dan (c) Selamat Malam, (2) laporan penelitian, dan (3) artikel publikasi ilmiah yang mengungkap pengetahuan di balik proses kerja ini. Kata kunci: Penciptaan musik, populer, benturan ekspresi musik dan teks lirik
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Kallio, Alexis Anja. "Popular “problems”: Deviantization and teachers’ curation of popular music". International Journal of Music Education 35, nr 3 (sierpień 2017): 319–32. http://dx.doi.org/10.1177/0255761417725262.

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Despite many music classrooms welcoming popular musics in striving towards an inclusive and democratic education, there has been relatively little research into teachers’ decisions regarding which popular musics are included and which are excluded from classroom activities. This is of particular interest taking into account arguments that the norms and values associated with some popular musics or songs exist in conflict with the ideals and ideologies of formal schooling. Through interviews with five Finnish music teachers, this article explores the identification and navigation of “problematic” popular musics in school contexts. Teachers noted that four musical features: lyrics, imagery, musical mood and emotional affect, influenced their constructions of popular musics and their repertoire selections for students. This study suggests that popular repertoire decisions are ethically, ideologically, and politically loaded, and that welcoming students’ own musics does not necessarily result in a more inclusive, democratic classroom culture.
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Leach, Robert. "Popular Music". Musical Times 131, nr 1768 (czerwiec 1990): 297. http://dx.doi.org/10.2307/965924.

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Rappaport, Jonathan C. "Popular Music". Music Educators Journal 86, nr 6 (maj 2000): 10. http://dx.doi.org/10.2307/3399613.

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Boyle, Catherine M., Jan Fairley i David Horn. "Popular Music". Bulletin of Latin American Research 8, nr 1 (1989): 151. http://dx.doi.org/10.2307/3338919.

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BUCKLEY, D. "Popular Music". Year's Work in Critical and Cultural Theory 1, nr 1 (1.01.1991): 176–90. http://dx.doi.org/10.1093/ywcct/1.1.176.

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BUCKLEY, D. "Popular Music". Year's Work in Critical and Cultural Theory 2, nr 1 (1.01.1992): 198–217. http://dx.doi.org/10.1093/ywcct/2.1.198.

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Buckley, D. "Popular Music". Year's Work in Critical and Cultural Theory 3, nr 1 (1.01.1993): 317–40. http://dx.doi.org/10.1093/ywcct/3.1.317.

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BUCKLEY, D. "Popular Music". Year's Work in Critical and Cultural Theory 4, nr 1 (1.01.1994): 317–35. http://dx.doi.org/10.1093/ywcct/4.1.317.

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Rozprawy doktorskie na temat "Popular music"

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Nott, James. "Popular music and the popular music industry in interwar Britain". Thesis, University of Oxford, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.324242.

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Ross, Gordon. "Popular music analysis". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp05/MQ65051.pdf.

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Wise, Timothy Elbert. "Yodelling in American popular music". Thesis, University of Liverpool, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.428246.

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This is a study of yodelling as a musical and cultural signifier. A definition of yodelling and a typology useful for the description of the various yodel phenomena heard in English-language popular music are proposed. Yodelling is then considered in a chronological sequence, beginning with abstract yodel signs in European instrumental classical music where these tended to signify pastoralism, idealism, and other ideas relating to romantic conceptions of the self. A discussion of yodelling in light classical and popular music through the nineteenth century follows. The differing ideologies associated with "art" music and "popular" music are discernible in attitudes toward the yodel during this time. The Americanisation of yodelling in terms of both its musical-formal manifestations and the ideas it articulated through these are discussed before considering yodelling's role in both the hillbilly and the cowboy genres. The emphasis throughout is upon the semiotic aspects of yodelling which I characterise as the difference between the" rough" and the" smooth". The yodel seems always to be associated with what is rough: peasants, shepherds, hobos, and hillbillies. This distinction between rough and smooth has a correlative in the very creation of the sound in the sense that the production of yodelling is a rejection of the orthodox classical singing styles with their cultivation of the "smooth" transition between vocal registers. The result for the yodel has been its thorough ironisation over the middle years of the twentieth century, as an emerging cool aesthetic could no longer countenance it.
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Man, Oi-kuen Ivy. "Cantonese popular song in Hong Kong in the 1970s : an examination of musical content and social context in selected case studies /". Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B20566013.

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Wong, Chi-chung Elvin. "Making and using pop music in Hong Kong /". Hong Kong : University of Hong Kong, 1997. http://sunzi.lib.hku.hk/hkuto/record.jsp?B18736439.

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Huang, Chun-Ming. "Mediated music, mediated nations : Taiwanese popular music in China". Thesis, University of Edinburgh, 2018. http://hdl.handle.net/1842/28985.

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Taiwan’s pop music is enormously popular in China. This study aims to probe the reasons for this success as it has taken place against a backdrop of hostile political relations between the Taiwanese and the Chinese. The study explores the ways in which Chinese people and the Chinese media have negotiated and practised the work of ‘imagined communities’ through the consumption of Taiwan’s pop. It focuses on the cultural-political struggles of Taiwan’s pop in China, its mediation, and consumption as a cultural practice. The study suggests that deliberative mediation and a sociable mediation are able to coexist through the process of music consumption. The study has used a variety of research methods, including semi-structured interviews of Chinese audience-members; documentary, media and historical analysis; desk research; and a six-month period of observation in Beijing. It examines the experiences of 26 Chinese audience members living in Beijing or Taiwan who are fans of the ‘Little Freshness’ style of music. Four important media texts are discussed: 1) Chinese Central Television’s (CCTV’s) New Year’s Gala (1984–2014); 2) the magazine People’s Music(1980–2007); 3) Li Wan’s book, How Much Time has Gone By, the Forgotten Sorrow: Sixty years of Songs Across Three Places: China’s Mainland, Hong Kong and Taiwan (2012); 4) Zhang Lixian’s edited volume, Archaisms: Luo Dayou (2000). Using the concept of mediation, the study highlights the significance of a ‘structure of feeling’ (Williams, 1961) to identify how the ‘multi-mediated’ process of consumption of Taiwan’s pop is made up of emotion, conflict and negotiation from the interplay of relations between Taiwan and China. This has emerged as a combination of musical mediation and political mediation, a combination which, in turn, moved from the cultural consumption of Taiwan’s pop towards the practice of the political. The study reflects on related approaches to see their limits and problems when applied to the study of Taiwan and China, and proposes that music consumption requires the engagement of the biographies of both the audience-members and the musical work in order to ‘activate’ the social use of music. It draws on Williams’s concept of common culture as well as Mouffe’s idea of agonistic pluralism to suggest that participation in, and interpretation of, Taiwan’s pop may further propel both Taiwan and China towards commonly held, yet contested, cultures - in other words, that their citizens may come to possess plural cultural citizenships.
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Williams, Zaneh M. "American Influence on Korean Popular Music". Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/scripps_theses/500.

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South Korea is internationally well known for its ethnic and cultural homogeneity, economic and technical success, and strong sense of nationalism. The peoples of South Korea have flourished economically after a series of colonizations, industrialization and political chaos. Over the past few decades, Korea has gained interest internationally for its entertainment industry through the Korean Wave (or Hallyu in Korean). Korean Wave is a term that refers to the increase in the popularity of South Korean culture since the late 1990’s due to Korean music, television shows and fashion. The Korean Wave first swept and captivated the hearts of citizens in East and Southeast Asia and now has expanded its popularity beyond Asia and has captivated millions of people all over the world. After a steady increase in cultural exports as a result of the Korean Wave since 2005, the Korean Tourism Organization (KTO) has realized the value in the exportation of Korean culture and goods and has now created programs that capitalize on this popularity and increase tourists South Korea. Korean popular music or K-Pop is a large and profitable aspect of the Korean Wave. According to CNBC in Move Over Bieber — Korean Pop Music Goes Global “The [k-pop] industry’s revenues hit about $3.4 billion in 2011, according to the Korea Creative Content Agency (KOCCA), a government group that promotes the country’s cultural initiatives. K-pop’s exports also rose to $180 million last year — jumping 112 percent compared to 2010. Exports have been growing on an average annual rate of nearly 80 percent since 2007.” And that “for every $100 of K-Pop exports, there was an average increase of $395 worth of I.T. goods such as cell phones or electronics that were being exported” (Naidu-Ghelani). The exportation of K-pop music and cultural can be seen as an economic success story. But in fact, for the Black American community it is the exportation of cultural appropriation and the degradation of Black American culture. The Korean Wave is packaging, promoting and exporting a “window into Korean culture, society and language that can be as educational as a trip to Korea. South Korea is using the Korean wave to promote its traditional culture within Korea and abroad” (“Hallyu, the Korean Wave” 1). Despite South Korea’s strong sense of nationalism and cultural homogeneity, its pop music has a distinct Black American musical influence. Rap and hip-hop musical style/culture (which is distinctly affiliated with representative of Black Americans) is an integral, if not necessary, part of Korean popular music. The synchronized dance moves, attractive idols and “rap/hip hop” style draws in millions of fans from every walk of life all over the world. The “hip hop” dance moves, clothing and lyrics that dominate Korean popular music, however crosses the line of cultural appreciation and instead can be defined as cultural appropriation.
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Lakhani, Ali Moneim. "Popular Music and Adolescent Sexual Health". Thesis, Griffith University, 2016. http://hdl.handle.net/10072/366767.

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Background There is public concern about the impact that exposure to sexual content in music is having on the sexual health of adolescents. In particular, exposure to sexual content in music has been identified as adversely impacting young people’s behaviour, and attitudes towards gender. In contrast, popular music has also been identified as a culturally appropriate tool to engage young people in sexual health education and promotion programs. By taking a broad definition of sexual health, this dissertation addresses knowledge gaps especially in regards to gender and body image. Consequently, this dissertation includes three studies focusing on the relationship between exposure to sexual content in popular music and adolescent sexual health, as well as the use of music in adolescent sexual health promotion. Method This dissertation includes three studies. The first study is a systematic literature review guided by the PRISMA (Moher, Liberati, Tetzlaff, & Altman, 2009) approach. The review involved three systematic searches for literature and aimed to synthesise: (i) research that investigated the association between exposure to music with sexual content and adolescents’ sexual behaviour, body image satisfaction, and attitudes towards gender, and (ii) research that explored the use of popular music for adolescent sexual health education and promotion initiatives. The second study involved the administration of a cross-sectional survey (n=565) and investigated the association between exposure to sexual content in music audio and video on adolescents’ attitudes towards women and their perception of their body image. Finally, the third study included group interview discussions and interviews with adolescents’ (n=7) to ascertain the messages that they receive from the music they listen to, how they thought exposure to these messages impacted their sexual health and how they thought popular music could be used in their sexual health education.
Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Human Services and Social Work
Griffith Health
Full Text
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Stephan-Robinson, Anna. "Form in Paul Simon's music /". Digitized version, 2009. http://hdl.handle.net/1802/11554.

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Thesis (Ph. D)--University of Rochester, 2009.
Includes abstract and vita. Includes bibliographical references. Digitized version available online via the Sibley Music Library, Eastman School of Music http://hdl.handle.net/1802/11554
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Gaydos, Thomas Joseph Odo. "Popular Music in the Paterson, New Jersey General Music Classroom". Thesis, The William Paterson University of New Jersey, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10827718.

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This project seeks to discover ways to effectively use popular music in the general music classroom in order to have lessons be more culturally relevant, give students a better understanding of musical concepts, and increase engagement. The research methods for this thesis included review of various articles, a survey (see appendix C), and personal experience as a general music teacher. My research suggested ways for music teachers to use popular music in the general music classroom in order to keep lessons culturally relevant, give students a better understanding of musical concepts, and increase engagement. A one unit curriculum centered on popular music in the general music classroom was created using the Understanding by Design curriculum template (see appendix D). This research is important to the field of music education because effective use of popular music can help music educators in their goal of having their students understand musical concepts and be engaged throughout lessons.

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Książki na temat "Popular music"

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Rojek, Chris. Popular Music. 1 Oliver's Yard, 55 City Road, London EC1Y 1SP United Kingdom: SAGE Publications Ltd, 2011. http://dx.doi.org/10.4135/9781446262917.

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Shuker, Roy. Popular Music. London: Taylor & Francis Inc, 2004.

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Simon, Frith, i Horn David 1942-, red. Popular music. Cambridge: Cambridge University Press, 1995.

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1945-, Middleton Richard, i Joseph Norman, red. Popular music. Cambridge: Cambridge University Press, 1989.

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1942-, Horn David, i Laing Dave 1947-, red. Popular music. Cambridge: Cambridge University Press, 1990.

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1945-, Middleton Richard, i Fairley Jan, red. Popular music. Cambridge: Cambridge University Press, 1991.

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David, Horn, i Laing Dave 1947-, red. Popular music. Cambridge: Cambridge University Press, 1991.

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1945-, Middleton Richard, i Frith Simon, red. Popular music. Cambridge: Cambridge University Press, 1987.

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Horn, D. Popular music. Cambridge: Cambridge University Press, 1985.

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John, Baily, i Oliver Paul 1927-, red. Popular music. Cambridge: Cambridge University Press, 1988.

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Części książek na temat "Popular music"

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Linden, Paul. "Popular Music". W The Routledge Companion to Media and Race, 96–106. London ; New York : Routledge, Taylor & Francis Group, 2017.: Routledge, 2016. http://dx.doi.org/10.4324/9781315778228-9.

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Parham, John. "Popular Music". W The Routledge Handbook of Ecomedia Studies, 278–85. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003176497-34.

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Montiel, Marco Katz. "Popular Music Genres". W A Companion to Popular Culture, 123–43. Chichester, UK: John Wiley & Sons, Ltd, 2016. http://dx.doi.org/10.1002/9781118883341.ch8.

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Hughes, Diane, Mark Evans, Guy Morrow i Sarah Keith. "Popular Music Education". W The New Music Industries, 97–116. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-40364-9_6.

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Valenti, Chloe. "Vocal Music (Popular)". W The Palgrave Encyclopedia of Victorian Women’s Writing, 1665–70. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-78318-1_171.

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Campbell, Nigel A., Wilfried Raussert, Meagan Sylvester i Lisa Tomlinson. "Popular music flows". W The Routledge Handbook to the Culture and Media of the Americas, 182–92. Abingdon, Oxon ; New York, NY : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9781351064705-16.

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LeVine, Mark, i Jonas Otterbeck. "Muslim Popular Music". W Handbook of Contemporary Islam and Muslim Lives, 1–25. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-319-73653-2_107-1.

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Witulski, Christopher. "Global Popular Music". W Focus: Music and Religion of Morocco, 24–40. Other titles: Music and religion of MoroccoDescription: New York; London: Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9781315106014-3.

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LeVine, Mark, i Jonas Otterbeck. "Muslim Popular Music". W Handbook of Contemporary Islam and Muslim Lives, 797–821. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-32626-5_107.

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Levine, Mark, i Jonas Otterbeck. "Muslim Popular Music". W Handbook of Contemporary Islam and Muslim Lives, 1–15. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-319-73653-2_42-2.

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Streszczenia konferencji na temat "Popular music"

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Dalamba, Lindelwa. "Popular music, folk music, African music: King Kong in South Africa and London". W Situating Popular Musics, redaktorzy Ed Montano i Carlo Nardi. International Association for the Study of Popular Music, 2012. http://dx.doi.org/10.5429/2225-0301.2011.13.

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French, Kenneth. ""Topomusica" in rap music: Role of geography in hip-hop music". W Situating Popular Musics, redaktorzy Ed Montano i Carlo Nardi. International Association for the Study of Popular Music, 2012. http://dx.doi.org/10.5429/2225-0301.2011.18.

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Cloonan, Martin. "Live music as ideology". W Situating Popular Musics, redaktorzy Ed Montano i Carlo Nardi. International Association for the Study of Popular Music, 2012. http://dx.doi.org/10.5429/2225-0301.2011.11.

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Thran, Diane. "Performing the archive: The ILAM For Future Generations exhibit, Music Heritage Project SA and Red Location Music". W Situating Popular Musics, redaktorzy Ed Montano i Carlo Nardi. International Association for the Study of Popular Music, 2012. http://dx.doi.org/10.5429/2225-0301.2011.32.

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Appel, Nadav. "Youth-centric discourse and pop-rock music". W Situating Popular Musics, redaktorzy Ed Montano i Carlo Nardi. International Association for the Study of Popular Music, 2012. http://dx.doi.org/10.5429/2225-0301.2011.02.

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Coetzee, Paulette. "Hugh Tracey, authenticity and (African) popular music". W Situating Popular Musics, redaktorzy Ed Montano i Carlo Nardi. International Association for the Study of Popular Music, 2012. http://dx.doi.org/10.5429/2225-0301.2011.12.

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Zahova, Kalina. "Intercultural reception as manifested in popular music". W Situating Popular Musics, redaktorzy Ed Montano i Carlo Nardi. International Association for the Study of Popular Music, 2012. http://dx.doi.org/10.5429/2225-0301.2011.39.

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Braz Dias, Juliana. "Atlantic flows: Brazilian connections to Cape Verdean popular music". W Situating Popular Musics, redaktorzy Ed Montano i Carlo Nardi. International Association for the Study of Popular Music, 2012. http://dx.doi.org/10.5429/2225-0301.2011.09.

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Blom, Diana, i John Encarnacao. "What does jazz group assessment offer the undergraduate music environment?" W Situating Popular Musics, redaktorzy Ed Montano i Carlo Nardi. International Association for the Study of Popular Music, 2012. http://dx.doi.org/10.5429/2225-0301.2011.06.

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Ulhôa, Martha. "Southern currents: Some thoughts on Latin American popular music studies". W Situating Popular Musics, redaktorzy Ed Montano i Carlo Nardi. International Association for the Study of Popular Music, 2012. http://dx.doi.org/10.5429/2225-0301.2011.34.

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Raporty organizacyjne na temat "Popular music"

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Stahl, Geoff, i Alex Gyde, red. Popular Music Worlds, Popular Music Histories: Conference Proceedings, Liverpool 2009. International Association for the Study of Popular Music, grudzień 2011. http://dx.doi.org/10.5429/2225-0301/2009.

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Connolly, Marie, i Alan Krueger. Rockonomics: The Economics of Popular Music. Cambridge, MA: National Bureau of Economic Research, kwiecień 2005. http://dx.doi.org/10.3386/w11282.

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Manhiça, Anésio, Alex Shankland, Kátia Taela, Euclides Gonçalves, Catija Maivasse i Mariz Tadros. Alternative Expressions of Citizen Voices: The Protest Song and Popular Engagements with the Mozambican State. Institute of Development Studies (IDS), listopad 2020. http://dx.doi.org/10.19088/ids.2020.001.

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This study examines Mozambican popular music to investigate three questions: Are notions of empowerment and accountability present in popular music in Mozambique? If so, what can these existing notions of empowerment and accountability reveal about relations between citizens and state institutions in general and about citizen-led social and political action in particular? In what ways is popular music used to support citizen mobilisation in Mozambique? The discussion is based on an analysis of 46 protest songs, interviews with musicians, music producers and event promoters as well as field interviews and observations among audiences at selected popular music concerts and public workshops in Maputo city. Secondary data were drawn from radio broadcasts, digital media, and social networks. The songs analysed were widely played in the past two decades (1998–2018), a period in which three different presidents led the country. Our focus is on the protest song, conceived as those musical products that are concerned with public affairs, particularly public policy and how it affects citizens’ social, political and economic life, and the relationship between citizens and the state.
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Galenson, David. From "White Christmas" to Sgt. Pepper: The Conceptual Revolution in Popular Music. Cambridge, MA: National Bureau of Economic Research, sierpień 2007. http://dx.doi.org/10.3386/w13308.

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Templeton, Patricia. Atomic tunes: The intersection of Lab science and popular music from 1945-1962 How American music was influenced by nuclear science. Office of Scientific and Technical Information (OSTI), październik 2021. http://dx.doi.org/10.2172/1826489.

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Berrian, Brenda F. Chestnut Women: French Caribbean Women Writers and Singers. Inter-American Development Bank, lipiec 2001. http://dx.doi.org/10.18235/0007945.

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Buene, Eivind. Intimate Relations. Norges Musikkhøgskole, sierpień 2018. http://dx.doi.org/10.22501/nmh-ar.481274.

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Blue Mountain is a 35-minute work for two actors and orchestra. It was commissioned by the Ultima Festival, and premiered in 2014 by the Danish National Chamber Orchestra. The Ultima festival challenged me – being both a composer and writer – to make something where I wrote both text and music. Interestingly, I hadn’t really thought of that before, writing text to my own music – or music to my own text. This is a very common thing in popular music, the songwriter. But in the lied, the orchestral piece or indeed in opera, there is a strict division of labour between composer and writer. There are exceptions, most famously Wagner, who did libretto, music and staging for his operas. And 20th century composers like Olivier Messiaen, who wrote his own poems for his music – or Luciano Berio, who made a collage of such detail that it the text arguably became his own in Sinfonia. But this relationship is often a convoluted one, not often discussed in the tradition of musical analysis where text tend to be taken as a given, not subjected to the same rigorous scrutiny that is often the case with music. This exposition is an attempt to unfold this process of composing with both words and music. A key challenge has been to make the text an intrinsic part of the performance situation, and the music something more than mere accompaniment to narration. To render the words meaningless without the music and vice versa. So the question that emerged was how music and words can be not only equal partners, but also yield a new species of music/text? A second questions follows en suite, and that is what challenges the conflation of different roles – the writer and the composer – presents? I will try to address these questions through a discussion of the methods applied in Blue Mountain, the results they have yielded, and the challenges this work has posed.
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Nucera, Diana J., i Catalina Vallejo. Media-making Pedagogies for Empowerment & Social Change: An Interview with Diana J. Nucera (AKA Mother Cyborg). Just Tech, Social Science Research Council, luty 2022. http://dx.doi.org/10.35650/jt.3022.d.2022.

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" As part of our “What Is Just Tech?” series, we invited several social researchers–scholars, practitioners, artists, and activists—to respond to a simple yet fundamental question: “What is just technology?” This interview was conducted by Just Tech program officer Catalina Vallejo, who spoke with Diana J. Nucera, AKA Mother Cyborg, a multimedia artist, educator, and organizer based in Detroit, Michigan. Nucera (she/her) uses music, performance, DIY publishing, community-organizing tactics, and popular education methods to elevate collective technological consciousness and agency. Her art draws from and includes eleven years of community organizing work in Detroit. In their conversation, Vallejo and Nucera spoke about the history of independent media and the internet, the potential of media-making pedagogies for empowerment and social change, and being optimistic about opportunity in the midst of great challenges."
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Yatsymirska, Mariya. SOCIAL EXPRESSION IN MULTIMEDIA TEXTS. Ivan Franko National University of Lviv, luty 2021. http://dx.doi.org/10.30970/vjo.2021.49.11072.

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The article investigates functional techniques of extralinguistic expression in multimedia texts; the effectiveness of figurative expressions as a reaction to modern events in Ukraine and their influence on the formation of public opinion is shown. Publications of journalists, broadcasts of media resonators, experts, public figures, politicians, readers are analyzed. The language of the media plays a key role in shaping the worldview of the young political elite in the first place. The essence of each statement is a focused thought that reacts to events in the world or in one’s own country. The most popular platform for mass information and social interaction is, first of all, network journalism, which is characterized by mobility and unlimited time and space. Authors have complete freedom to express their views in direct language, including their own word formation. Phonetic, lexical, phraseological and stylistic means of speech create expression of the text. A figurative word, a good aphorism or proverb, a paraphrased expression, etc. enhance the effectiveness of a multimedia text. This is especially important for headlines that simultaneously inform and influence the views of millions of readers. Given the wide range of issues raised by the Internet as a medium, research in this area is interdisciplinary. The science of information, combining language and social communication, is at the forefront of global interactions. The Internet is an effective source of knowledge and a forum for free thought. Nonlinear texts (hypertexts) – «branching texts or texts that perform actions on request», multimedia texts change the principles of information collection, storage and dissemination, involving billions of readers in the discussion of global issues. Mastering the word is not an easy task if the author of the publication is not well-read, is not deep in the topic, does not know the psychology of the audience for which he writes. Therefore, the study of media broadcasting is an important component of the professional training of future journalists. The functions of the language of the media require the authors to make the right statements and convincing arguments in the text. Journalism education is not only knowledge of imperative and dispositive norms, but also apodictic ones. In practice, this means that there are rules in media creativity that are based on logical necessity. Apodicticity is the first sign of impressive language on the platform of print or electronic media. Social expression is a combination of creative abilities and linguistic competencies that a journalist realizes in his activity. Creative self-expression is realized in a set of many important factors in the media: the choice of topic, convincing arguments, logical presentation of ideas and deep philological education. Linguistic art, in contrast to painting, music, sculpture, accumulates all visual, auditory, tactile and empathic sensations in a universal sign – the word. The choice of the word for the reproduction of sensory and semantic meanings, its competent use in the appropriate context distinguishes the journalist-intellectual from other participants in forums, round tables, analytical or entertainment programs. Expressive speech in the media is a product of the intellect (ability to think) of all those who write on socio-political or economic topics. In the same plane with him – intelligence (awareness, prudence), the first sign of which (according to Ivan Ogienko) is a good knowledge of the language. Intellectual language is an important means of organizing a journalistic text. It, on the one hand, logically conveys the author’s thoughts, and on the other – encourages the reader to reflect and comprehend what is read. The richness of language is accumulated through continuous self-education and interesting communication. Studies of social expression as an important factor influencing the formation of public consciousness should open up new facets of rational and emotional media broadcasting; to trace physical and psychological reactions to communicative mimicry in the media. Speech mimicry as one of the methods of disguise is increasingly becoming a dangerous factor in manipulating the media. Mimicry is an unprincipled adaptation to the surrounding social conditions; one of the most famous examples of an animal characterized by mimicry (change of protective color and shape) is a chameleon. In a figurative sense, chameleons are called adaptive journalists. Observations show that mimicry in politics is to some extent a kind of game that, like every game, is always conditional and artificial.
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