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Artigos de revistas sobre o assunto "Popular music – social aspects – california"
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Handayani, Diah. "Political Identity, Popular Culture, and Ideological Coercion: The Discourses of Feminist Movement in the Report of Ummi Magazine". Jurnal Pemberdayaan Masyarakat: Media Pemikiran dan Dakwah Pembangunan 5, n.º 1 (18 de junho de 2021): 185–210. http://dx.doi.org/10.14421/jpm.2021.051-08.
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This research examines the rise of Islamic populism in Indonesia and understands it as an instrument to clear a new pathway for populism movement into popular culture. Ummi magazine is one of the religious media used to be political vehicles of stablishing constituencies, especially for the Tarbiyah movement in the Soeharto era to the current tendency to popularize the Tarbiyah identity as a new lifestyle. Historically, The Tarbiyah movement in Indonesia is a social and political movement among Indonesian Muslimah students, especially activists in the Suharto period. Muslim middle class entrepreneurs launched a campaign of ‘economic jihad. This research uses a qualitative approach by interpreting and studying the data contained in Ummi Magazine. Media studies were carried out in the January 2017 to 2018 editions. The data obtained were described and associated with the magazine's transformation as an ideological medium and Muslim women's lifestyle today. The result shows that the magazine's transformation from ideology magazine to lifestyle magazine can influence readers because there are more new readers. Whether Ummi as a media for da'wah and a women's magazine, it is still perceived by the readers to apply ideological coercion or simply provide an alternative lifestyle or consumption where religious independence is the main characteristic of the magazine. We argue that Islamic populism is mainly a medium for coercion ideology to gain tracks to power, while the poor remain as ‘floating mass’, and entrapped in many so-called 'empowerment' projects. Populism can be interpreted as a communication style in which a group of politicians considers themselves to represent the people’s interests contrasted with elite interests. Nevertheless, the populism approach is gaining momentum. Abdullah, I. (1996). Tubuh, Kesehatan, dan Struktur yang Melemahkan Wanita. Kumpulan Makalah Seminar Bulanan. Pusat Penelitian Kependudukan UGM.Al-Abani, S. M. N. (1999). Jilbab Wanita Muslimah. Pustaka At-Tibyan.Ahmed, L. (1992). Women and Gender in Islam: Historical Roots of Modern Debate. Yale University Press.Al-Ghifari, A. (2005). Kerudung Gaul, Berjilbab Tapi Telanjang. Mujahid Press.Armbrust, W. (2000). ‘Introduction’, Mass Mediation: New Approaches to Popular Culture In The Middle East and Beyond. University California Press.Askew, K. (2002). ‘Introduction’, The Anthropology of Media: A Reader.Blackwell.Astuti, S. N. A. . (2005). Membaca Kelompok Berjilbab Sebagai Komunitas Sub Kultur. Universitas Gadjah Mada.BPS. (2017). Statistika Pendapatan. BPS Publication. Banet-Weiser, S. (2006). “I just want to be me again!”: Beauty pageants, reality television and post-feminism. Feminist Theory, 7(2), 255–272. https://doi.org/10.1177/1464700106064423Banna, H. (2011). Majmu’ah Rasail Al Iman As Syahid (Risalah Pergerakan Ikhawanul Muslimin. Era Intermedia. Barthel, D. (1976) . The Impact of Colonialism on Women’s Status in Senegal.Ph.D Dissertation, Harvard University.Barthes, R. (1977). Image, Music, Text. Fortana Press.Bertrand, I., & Hughes, P. (2005). Media Research Methods: Audiences, Institutions, Texts. Palgrave Mecmillan.Bordo, S. (1995). Unbearable Weight : Feminism, Western Culture, and The Body. University of California Press.Branner, S. (1995). Why Women Rule the Roost: Rethiking Javanese Ideologies of Gender and Self-Control. In Bewitching Women, Pioner Men. University of California Press.______. (1996). ‘Reconstructing Self and Society, Javannese Muslim Women and The Veil’. American Ethnologist.Bruneinessen, M. v. (2002). ‘Genealogies of Islamic Radicalism in Post-Suharto Indonesia’. South East Asian Research. Champagne, J. (2004). Jilbab Gaul. Bali. Latitudes, 46, 114-123.Damanik, A. S. (2000). Fenomena Partai Keadilan: Transformasi 20 Tahun Gerakan Tarbiyah di Indonesia. Mizan.Durkin, K. (1985). Television and Sex Role Acquisition I: Content’. British Journal of Social Psycology, 24, 102-113.Effendi, B. (2003). ‘Islam Politik Pasca Suharto’. Refleksi, 5(2).El-Guindi, F. (1991). Veil, Modesty, Privacy, and Resistance. Berg.Frederick, W. H. (1982). Rhoma Irama and The Dangdut Style: Aspects of Contemporary Indonesian Popular Culture. Indonesia, 34, 103-130.Featherstone, M. (2001). The Body in Consumer Culture. In The Body: Social Process and Cultural Theory. SAGE Publication.Foucault, M. (1981). The Order of Discourse. Routledge and Keagon Paul.Fukuyama, F. (2018). Against Identity Politics. Foreign Affairs, Sptember/October, 1-25.Gough, Y. A. (2003). Understanding Women Magazine. Routledge.Gautlett, D. (2002). Media, Gender, and Identity: An Introduction. Routledge.Geetzt, C. (1973). The Interpretation of Culture. Verso.Gill, R. (2009). Mediated Intimacy and Post Feminism: a Discourse Analytic Examination of Sex and Relationship advice in Woman’s Magazine. Discourse and Communication Journal, 3(4), 345-369. https://doi.org/10.1177/1750481309343870Gramsci, A. (1992). Selection from The Prison on Notebooks. International Publisher.Gorham, B. W. (2004). The Social Psychology of Stereotypes: Implications for Media Audiences. In Race/Gender/Media: Considering Diversity Across Audiences, Content, and Producers. Pearson.Hall, S. (1997). The Work Of Representation. In Representation: Cultural Representations and Signifying Practices. SAGE Publication.Handayani, D. (2014). Performatifitas Muslimah dalam Majalah Ummi. At-Tabsyir. Jurnal Komunikasi Penyiaran Islam, 2(1), 73-98. http://doi.org/10.21043/at-tabsyir.v2i1.461.Hanifah, U. (2011). Konstruksi Ideologi Gender pada Majalah Wanita (Analisis Wacana Kritis Majalah Ummi). KOMUNIKA: Jurnal Dakwah dan Komunkasi, 5(2), 199-220. https://doi.org/10.24090/komunika.v5i2.170Imdadun, R. (2005). Arus Baru Iislam Radikal: Transmisi, Revivalisme Islam Timur Tengah ke Indonesiaan. Erlangga.Itzin, C.(1986). Media Images of Women: The Social Construction of Ageism and Sexism. In Feminist Social Psycology: Developing Theory and Practice. Milton Keynes. Open University Press.Kailani, N. (2008). Budaya Populer Islam di Indonesia: Jaringan Dakwah Foru Lingkar Pena. Jurnal Sosiologi Reflektif, 2(3). Kellner, D. (1995). Cultural Studies, Identities and Politics Between The Modern and Postmodern. Routledge.Machmudi, Y. (2006). Islamizing Indonesia: The Rise of Jamaah Tarbiyah and The Presperous Justice Party (PKS). PhD Dissertation, Australia National University.Maulidiyah, L. (2014). Wacana Relasi Gender Suami Istri dalam Keluarga Muslim di Majalah Wanita Muslim Indonesia. Universitas Airlangga.Parihatin, A. (2004). Ideologi Revivalisme Islam dalam Majalah Perempuan Islam (Analisis Wacana pada Majalah Ummi). Universitas Indonesia. Qadarawi, Y. (2004). Al Islamu wal Fannu. Islam Bicara Seni. Era Intermedia. Qutb, S. (1980). Ma’alim fi Al Tariq (Petunjuk Jalan-Milestone). Media Dakwah.Rozak, A. (2008). Citra Perempuan dalam Majalah Wanita Islam UMMI. Jurnal Penelitian Agama. VXII(2), 332-354.Storey, J. (2010). Culture and Power in Cultural Studies: The Politics of Signification. Edinburg University Press.Ulfa, N. M. (2016). Dakwah Melalui Media Cetak (Analisis Isi Rubrik Mutiara Islam Majalah Ummi). Islamic Communication Journal, 1(1), 73-89.
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Junko, Kitagawa. "Some aspects of Japanese popular music". Popular Music 10, n.º 3 (outubro de 1991): 305–15. http://dx.doi.org/10.1017/s0261143000004669.
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In 1959, the Conlon report, a presentation of United States government policies in relation to Asian cultures, stated the following about Japanese culture (in a section titled ‘Social change’):Developments within and among the various Japanese social classes suggest the dynamic, changing quality of modern Japan … No area of Japan, moreover, is beyond the range of the national publications, radio, and even TV. New ideas can be quickly and thoroughly disseminated; it is in this sense that Japanese culture can become more standardised even as it is changing. Many of the changes look in the direction of the United States; in such diverse fields as gadgets, popular music, and fashions. American influence is widespread. And this is but one evidence of the general desire to move away from the spartan, austere past toward a more comfortable, convenient future.
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Yasiuk, Tamara. "Ritualism in Ethnic and Popular Culture: Social and Historical Aspects". Folk art and ethnology, n.º 4 (30 de dezembro de 2022): 89–94. http://dx.doi.org/10.15407/nte2022.04.089.
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The symbiosis of popular and ethnic culture from the point of view of ritualism is considered in the article. The regularities of spread of various influences of ritualism on modern Ukrainian popular culture are pointed out. The system-functional method is used in the work to analyze the balance of ritualism in modern popular music. The peculiarities of its implementation are followed. The purpose of the article is to consider the symbiosis of popular and ethnic culture from the point of view of ritualism, to analyze the stylization of musical archaism in modern variety art, which is the origin of new forms and their integration in the modern art system. The regularities of spread of various influences of ritualism on modern Ukrainian popular culture are studied. Song samples and creative projects of popular culture are systematized according to folk ritualism. The main trends in the use of the ritualistic factor in modern variety music are described.
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FAIRCHILD, CHARLES. "The medium and materials of popular music: ‘Hound Dog’, turntablism and muzak as situated musical practices". Popular Music 27, n.º 1 (13 de dezembro de 2007): 99–116. http://dx.doi.org/10.1017/s0261143008001499.
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AbstractPopular music studies has rarely exhibited the kinds of disciplinary coherence found in closely related disciplines mostly due to the field’s adoption and adaptation of methodological and theoretical innovations from a variety of disciplines, notably sociology, cultural studies, anthropology, media studies and musicology. However, many commentators continue to seek disciplinary coherence without making any critical aesthetic distinctions between the medium and materials of popular music. Distinctions and interrelationships between the literal or material aspects of popular music and the social or cultural processes of making meaning from popular music are central to the definition of a particular but not exclusive field of analysis. Through such distinctions, the very category ‘popular music’ can be understood as a more flexible and supple distinction based on an understanding of methods of construction, production and mediation in specific relation to the technical, contextual and sociological aspects of music. I use different performances of ‘Hound Dog’, the practices of ‘turntablism’, and the exigencies of Muzak as examples for analysis offering ways in which the aesthetic, material and contextual aspects of popular music can be understood in order to incorporate the actual sound of music into the analysis of its social, cultural and musical construction.
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Powell, Bryan. "Community music interventions, popular music education and eudaimonia". International Journal of Community Music 00, n.º 00 (24 de fevereiro de 2021): 1–23. http://dx.doi.org/10.1386/ijcm_00031_1.
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The fields of community music and popular music education have expanded rapidly over the past few decades. While there are many similarities between these two fields, there are aspects that set these two areas of practice apart. This article seeks to explore the intersections of community music interventions and popular music education to explain how they are similar and in which ways they are unique. This discussion centres on examinations of facilitation, ownership of music, training and certification, inclusivity, life-long music making, amateur engagement, informal learning and non-formal education, and social concerns. The Greek philosophy of eudaimonism, understood as ‘human flourishing’ is then used to explore the opportunities for human fulfilment through popular music education and community music approaches.
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Junior, Jeder. "Música popular massiva e gêneros musicais: produção e consumo da canção na mídia". Comunicação Mídia e Consumo 3, n.º 7 (23 de setembro de 2008): 31–47. http://dx.doi.org/10.18568/cmc.v3i7.69.
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Este artigo parte do pressuposto de que a análise midiática da música popular massiva é uma contribuição importante para a compreensão do papel que as canções ocupam na cultura e comunicação contemporâneas. Nesse sentido, acredita-se que as dimensões plásticas e materiais da música massiva, como a performance, a voz, o corpo e o ritmo, estão diretamente ligadas às definições de canção popular massiva e gêneros musicais, bem como às estratégias de produção de sentido desses formatos. Desse modo, a canção é considerada ponto de partida para a abordagem dos aspectos sociais e culturais inscritos nas condições de consumo da música popular massiva como fenômeno comunicacional.
Palavras-chave: Música popular massiva; gêneros musicais; canção popular massiva.
ABSTRACT
This article presents the idea that analytical methods developed within the notion of popular music within mass culture are an important contribution for the comprehension of the role that popular music pays in our dayly lives. The proposed methodology seeks to valorize plastic aspects of popular music, as well its media aspects. Our work will draw upon notions of performance, voice, body and rhythm and their links with the notions of popular music and musical genres. Then, popular music is a starting point for the comprehension of social and cultural aspects present in the realms of production and consumption of popular music.
Keywords: Popular music within mass culture; musical genres; popular song within mass culture.
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Zmudzińska, Kamila, e Roman Matykowski. "Spatial and social aspects of the impact of Pol’and’Rock Festival and Jarocin Festival in Poland". Journal of Geography, Politics and Society 13, n.º 2 (29 de setembro de 2023): 46–66. http://dx.doi.org/10.26881/jpgs.2023.2.05.
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Among the popular music festivals operating in Poland in the last forty years, two of them played a special role, especially for their young recipients of amplified music. The first of them was the Rock Festival in Jarocin (it had different names) functioning in the years 1980–1994, so still in the period of communist authorities. Reactivated in 2005, it recently operates under the name Jarocin Festival and uses the legend of the event from the 1980s. In the new socio-political conditions, the second important event, the Pol’and’Rock Festival (called Woodstock Station in 1995–2017), began to function in 1995, which in the late 1990s exceeded 100,000 participants and became the largest popular music event in Poland. The aim of the study is to characterise the impact of these two important popular music festivals in Poland at the turn of the second and third decade of the 21st century in the spatial and socio-cultural dimensions on the community of its participants. Referring to the traditional chorological paradigm of human geography, an analysis of the differentiation of the territorial impact of festivals was made, and using patterns immersed in social geography-oriented music research, factors motivating to participate in festivals were determined.
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Alvarenga, Claudia Helena Azevedo, e Tarso Bonilha Mazzotti. "Samba as Representation of Brazilianness in the Popular Songs Rhetoric". Per Musi, n.º 39 (12 de setembro de 2019): 1–12. http://dx.doi.org/10.35699/2317-6377.2019.15152.
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This article aims to examine the hegemonic representations of what is said “to be Brazilian”. It proposes the rhetorical analysis of the lyrics of a couple of Brazilian popular songs in order to present the psychosocial aspects that bring to light the representations of social identity. The statement of identity and symbolic bonds through musicality exposes the desirable of the groups who share their value. The construct of social identity linked to nationality is a belief reinforced by social practices which relies on the metaphor that defines Music as the “people’s soul”.
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Temperley, David. "Syncopation in rock: a perceptual perspective". Popular Music 18, n.º 1 (janeiro de 1999): 19–40. http://dx.doi.org/10.1017/s0261143000008710.
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While study of the social and cultural aspects of popular music has been flourishing for some time, it is only in the last few years that serious efforts have been made to analyse the music itself: what Allan Moore has called ‘the primary text’ (1993, p. 1). These efforts include general studies of styles and genres (Moore, 1993; Bowman, 1995); studies of specific aspects of popular styles such as harmony and improvisation (Winkler 1978; Moore 1992, 1995; Walser 1992), as well as more intensive analyses of individual songs (Tagg 1982; Hawkins 1992). In this paper I will investigate syncopation, a phenomenon of great importance in many genres of popular music and particularly in rock.
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Anantia, Alviana Aslama, Yolanda Masnita e Kurniawati Kurniawati. "Effectiveness of Digital Music Platforms’ Social Media Interaction on Advertising Trust Using Cognitive Aspects". Manajemen dan Bisnis 22, n.º 1 (20 de março de 2023): 1. http://dx.doi.org/10.24123/jmb.v22i1.624.
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The COVID-19 pandemic-related economic crisis made many firms to switch their advertising strategy to digital media, with social media being one of the most popular choices due to its lower cost. As a business with rapid growth and being the most popular form of entertainment among internet users, digital music platforms is no exception. Regarding the current phenomenon, it is unknown at this time whether social media marketing is one of the numerous crucial variables causing this service's expansion. Therefore, this research seek to reveal the impact of social media interaction towards advertising trust of digital music platform through knowledge and affection as the cognitive aspects used. This research conducted on a quantitative method with data collection using questionnaires (Google Form), collected from 190 respondents in Jabodetabek whose having subscriptions for at least on one of digital music platform available in Indonesia. The data is analyzed using Partial Least Squares (PLS). The result shows that social media interaction has a significant impact towards advertising trust, both directly and indirectly through knowledge and affection. Among variables tested, the perception of affection is the lowest. It is desired that digital music platform services companies will look into this matter more.
Teses / dissertações sobre o assunto "Popular music – social aspects – california"
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Gautier, Alba. "Producing a popular music : the emergence and development of rap as an industry". Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79768.
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In this thesis, I trace the evolution of the rap market from its emergence in 1979 in New York City to its development into a national industry in 1990. I analyze the motivations of the producers of rap and the mechanisms that led to their current organization. Independent labels were the primary producers of rap records until they made distribution deals with major record companies in the second half of the eighties. I argue that the division of labor between production and distribution, which became the most common context for the production of the music, is both the result of an organizational strategy initiated by the majors and of the negative perception their executives had of rap artists.
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Wong, Chi-chung Elvin, e 黃志淙. "Making and using pop music in Hong Kong". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1997. http://hub.hku.hk/bib/B29872583.
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Polychronakis, Ioannis. "Song odyssey : negotiating identities in Greek popular music". Thesis, University of Oxford, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.669839.
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Straw, Will 1954. "Popular music as cultural commodity : the American recorded music industries 1976-1985". Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=39241.
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This dissertation is an analysis of historical change within those cultural industries involved in the production and dissemination of popular music. Through an analysis of the relationship between the recording and radio industries within the United States, during the period 1976-1985, the manner in which crises within these industries arise and are resolved is traced. The emergence of such musical forms as "disco" and "New Wave", and the manner in which these forms have been integrated within the functioning of the music-related industries, are central concerns of the dissertation. At the same time, more general theoretical hypotheses concerning the role played by taste in the creation of audiences for different categories of popular music are elaborated and employed within the study of specific musical genres.
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Moore, Christopher Lee. "Music in France and the Popular front (1934-1938) : politics, aesthetics and reception". Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=102813.
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The French Popular Front was a coalition of left-wing political parties (Communists, Socialists, and Radicals) united through a common desire to combat fascism and improve the living conditions of France's workers. Between 1935 and 1938, the ideology of the Popular Front, largely informed by that of the Parti Communiste Francais (PCF), exerted tremendous influence on the cultural life of the French nation. Many cultural and musical organizations heeded the Popular Front's call for broad-based anti-fascist solidarity among intellectuals, artists, and the working class. In the realm of culture, this translated into multiple initiatives designed to bring art to the masses and to encourage the proletariat to become more active in the cultural life of the nation.Sympathetic to the Popular Front's larger political aims, a number of French musicians and composers became affiliated with the Communist-sponsored Maison de 1a Culture and its affiliated musical organizations, the most prominent of which was the Federation Musicale Populaire (FMP). They participated in the administrative, cultural and intellectual life of the FMP; they took part in conferences, wrote articles on the theme of "music for the people," and were advocates for the organization within French musical life at large. Furthermore, these composers wrote works for government-commissioned events, for amateur groups, and for spectacles designed for mass audiences.
Some of the FMP's most prominent proponents (Darius Milhaud, Georges Auric, and Arthur Honegger) were former members of Les Six, a group that had been particularly interested in borrowing music derived from "popular" sources like the music hall and the circus following World War I. This study argues that the aesthetic approach of Les Six, which found support in FMP presidents Albert Roussel and Charles Koechlin, was reinvigorated during the Popular Front for a much more clearly defined political purpose. While the general interest in "popular" sources was still maintained, composers at the FMP now sought to integrate folklore and revolutionary music into their works "for the people" in an attempt to create and underline cultural links between workers and intellectuals---a compositional approach for which this dissertation coins the expression "populist modernism."
This study, the first book-length examination of French musical culture in light of Popular Front politics, concentrates on some of the period's most significant populist modernist works and draws upon contemporaneous journalistic coverage and archival documents that in many cases have hitherto never been the object of musicological study. The research shows that in 1936, following an initial infatuation with the genres and styles of socialist realist Soviet works, French left-wing composers developed a more inclusive view of what constituted music "for the people." Composers continued to write music indebted to politically resonant popular sources like folklore and revolutionary songs, but they also drew upon these genres in works (like the collaborative incidental music for Romain Rolland's Le 14 Juillet) that employed modernist compositional techniques. Though this approach was most obviously felt in the numerous works composed for organizations like the FMP, populist modernism also emerged in works performed at the Theatre de l'Opera-Comique and the 1937 Paris Exposition. By cutting across musical genres as well as institutional and social contexts, populist modernism emerges as the dominant aesthetic trend in French music during the years of the Popular Front.
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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 inselected case studies". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B31221476.
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Wong, Chi-chung Elvin, e 黃志淙. "The working of pop music culture in the age of digital reproduction". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2010. http://hub.hku.hk/bib/B44140101.
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Jeppie, Shamil. "Aspects of popular culture and class expression in inner Cape Town, circa 1939-1959". Thesis, University of Cape Town, 1990. http://hdl.handle.net/11427/24109.
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CHINCOLI, Veronica. "Black North American and Caribbean music in European metropolises : a transnational perspective of Paris and London music scenes (1920s-1950s)". Doctoral thesis, European University Institute, 2019. http://hdl.handle.net/1814/62230.
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Defence date: 15 April 2019Examining Board: Professor Stéphane Van Damme, European University Institute; Professor Laura Downs, European University Institute; Professor Catherine Tackley, University of Liverpool; Professor Pap Ndiaye, SciencesPo
This thesis examines black music circulation in the urban spaces of London and Paris. It shows the complexity of the evolutionary processes of black musical genres, which occurred during the late imperial period (1920s-1950s) within the urban music scenes of two imperial metropolises, and how they played an important role on the entertainment circuit. Both cities functioned as sites of crossfertilisation for genres of music that were co-produced in a circulation between empires and Europe. Musicians of various origins met in the urban spaces of the two cities. The convergence and intermingling of musical cultures that musicians had brought with them produced new sounds. This process was influenced by a minority group (blacks), but had a significant and lasting influence on the musical world. By creating an historical account of the encounters and exchanges between people of different origins within the music scenes, this thesis examines music development and the complexity of processes of racialisation according to their historical locality and meaning. Using a variety of sources including police reports, government documents, interviews, guidebooks and newspapers, this work contributes to widen the perspective of historical studies on music developments, emphasising their social and spatial dimensions, which are fundamental for the exploration of music scenes, in general, and for the spread of black genres of music in particular. Black music styles spread internationally, but were produced in several specific locations where music industry infrastructure was developing. In the urban spaces of the music scenes of London and Paris social networks were formed by various actors - both blacks and whites - and were crucial for music production and reception; different perceptions of blackness, processes of competition, and debates on authenticity emerged; and processes of regulation and negotiation underpinned the intervention of public authorities.
Chapter 4 'Black Music Styles as Vehicles for Trans-racial Interplay: Practices of Learning, Perceptions of Blackness and Commercialisation of Music' of the PhD thesis draws upon an earlier version published as an article “Black Music Styles as Vehicles for Transnational and Trans-Racial Exchange: Perceptions of Blackness in the Music Scenes of London and Paris (1920s-1950s),” (2017) in the journal 'Zapruder world'
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Gitonga, Priscilla Nyawira. "Music as social discourse : the contribution of popular music to the awareness and prevention of HIV/AIDS in Nairobi, Kenya". Thesis, Nelson Mandela Metropolitan University, 2009. http://hdl.handle.net/10948/962.
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This dissertation is a critical, theoretical study focussing is on the contribution that popular music makes towards raising awareness and promoting the prevention of HIV/Aids in Nairobi, Kenya. Towards this end, an analysis of the lyrics and musical gestures of four Kenyan pop music songs is undertaken in order to highlight their communicative capabilities in this regard. These songs, namely, are Lulumbe by Wasike wa Musungu, Juala by Circute and Jo-el, Vuta Pumz by The Longombas, and Dunia Mbaya Chunguze by Princess Jully. The context in which these musical analyses occur is provided in: - An overview of the Kenya of today, in particular that of the diverse and hybrid ethnic, linguistic, musical and cultural practices of Nairobi, and of the various youth cultures in that city, as well as in an overview of the extent of the HIV/Aids pandemic in Kenya, especially amongst the youth of Nairobi, with some reflection on existing interventions. - An overview of current trends in popular music analysis and an explanation of the author’s own eclectic semiotic analytical methodology within this context. The study concludes that a repeating strategy may be discerned on the part of the composers and performers in question, namely, to first engage audiences through language and music with which they are familiar, and then to encourage audiences to confront the unknown and unfamiliar in music and language, but also ultimately in terms of their social practices. The known and the familiar is highlighted both in the lyrics and in the music itself. It includes use of commonlyspoken languages and dialects, popular musical styles typical of the particular sub-culture, and references to the day-to-day experiences of the ordinary person.
Livros sobre o assunto "Popular music – social aspects – california"
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Yang, Mina. California polyphony: Ethnic voices, musical crossroads. Urbana: University of Illinois Press, 2008.
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Yang, Mina. California polyphony: Ethnic voices, musical crossroads. Urbana: University of Illinois Press, 2008.
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Yang, Mina. California polyphony: Ethnic voices, musical crossroads. Urbana: University of Illinois Press, 2008.
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Michael, Ochs, ed. Waiting for the sun: The story of the Los Angeles music scene. London: Viking, 1996.
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Kortaba, Joseph. Popular music and society. New York: Routledge, 2009.
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Council, Scottish Arts. Contemporary popular music. Edinburgh: Scottish Arts Council, 2001.
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International Conference on Popular Music Studies (7th 1993 Stockton, California). Popular music--style and identity: International Association for the Study of Popular Music Seventh International Conference on Popular Music Studies. Montreal: Centre for Research on Canadian Cultural Industries and Institutions, 1995.
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Bennett, Andy. Popular music and youth culture: Music, identity, and place. Basingstoke: Palgrave, 2002.
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James, Lull, ed. Popular music and communication. 2a ed. Newbury Park, Calif: Sage Publications, 1992.
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Hamm, Charles. Putting popular music in its place. Cambridge: Cambridge University Press, 1995.
Encontre o texto completo da fonteCapítulos de livros sobre o assunto "Popular music – social aspects – california"
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Chow, Yiu Fai, Jeroen de Kloet e Leonie Schmidt. "Documenting the Past, Sustaining the Present, Making the Future". In Contemporary East Asian Visual Cultures, Societies and Politics, 1–34. Singapore: Springer Nature Singapore, 2024. http://dx.doi.org/10.1007/978-981-99-6710-0_1.
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AbstractThis introductory chapter positions Hong Kong as a unique case to rethink the intricate relationships between politics and popular music in the wider context of the globalised times where collective collection and creative practices are increasingly connected and mutually constitutive. It does so by first presenting to the readers Tat Ming Pair, an electronic duo formed in 1980s, during the so-called Golden Era of Cantopop in colonial Hong Kong. Commercially successful and critically acclaimed—thus regularly and currently censored in mainland China—for their engagements with social and political issues, Tat Ming Pair remains active and relevant especially through their live concerts in the last decade. Chapter 1 will elucidate why an inquiry taking the duo as its lynchpin serves to address the central question: How (far) does music impact on politics, and how (far) does politics impact on music? We will then expand our ideas of writing pop and politics in tandem with writing the past, the present and the future—interlaced with a colonial and post-colonial account of Hong Kong, a rally to resilience and activism, and a dialogue with hope and future, all very makeshift. After outlining the theoretical underpinning, this introduction continues to align our inquiry to the growing body of scholarship that seeks to de-Westernise popular music studies, a field of knowledge production persistently dominated by Anglo-Saxon experience and publications. Finally, this unusual attempt to tease out the empirical and theoretical potentials of one single popular music formation in a book-length study, covering not only its creative output (music) but also the production and reception aspects, will be put forward as a methodological intervention, a possible alternative approach to study popular music. The introduction ends with presenting the organisation logic of the book and the gist of the subsequent chapters.
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Brackett, David. "The Newness of Old-Time Music". In Categorizing Sound. University of California Press, 2016. http://dx.doi.org/10.1525/california/9780520248717.003.0004.
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The early history of what would eventually be called “country music” drew on many of the same ideas about genre and audience that had been developed in the marketing of foreign music and race music. The idea that rural, white people from the South constituted a distinct audience led to a rapid formation of the category some three years after the initial interest in “race” music. The ambiguous social position of southern, rural white people led to difficulties in finding a convenient label for the category, although “Old-Time Music” came closest to achieving official status, and “Hillbilly Music” was used informally in the press. Old-Time Music increasingly pursued connections to mainstream popular music even while continuing to refer to an imagined rural past. One of the most successful recording artists of the 1920s, Vernon Dalhart, is used to exemplify the trajectory of Old-Time Music during the mid-1920s.
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Lelwica, Michelle M. "Losing Their Way to Salvation". In Religion and Popular Culture in America, Third Edition. University of California Press, 2017. http://dx.doi.org/10.1525/california/9780520291447.003.0014.
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This chapter considers the ways in which religion can be a form of social control. In particular, it looks at the societal pressures which encourage women to embrace a so-called religion of thinness. This concept is not meant to suggest that the pursuit of slenderness is, in fact, a religion. Rather, it aims to illuminate how this pursuit has become a profound source of meaning for many people today—especially women. The idea of the religion of thinness brings into focus aspects of our culture's devotion to slenderness that functionally resemble certain features of traditional religion, especially Christianity, which has had the most power to influence Western norms and attitudes regarding appetite and body size.
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North, Adrian C., e David J. Hargreaves. "Experimental aesthetics and everyday music listening". In The Social Psychology of Music, 84–104. Oxford University PressOxford, 1997. http://dx.doi.org/10.1093/oso/9780198523840.003.0005.
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Abstract We suggested in Chapter 1 that one important feature of the social psychology of music should be the reciprocity of the individual and the social world. The present chapter addresses this reciprocity directly by describing a small but growing number of studies which concern how theories of musical preference might be applied to and be mediated by the everyday environments in which people usually listen to music. Whilst the majority of research on the music-situation relationship has concerned various aspects of consumer behaviour (see Chapter 14), several studies conducted mainly by Vladimir Koneěni in California and ourselves and colleagues in Leicester have approached the issue from the perspective of traditional laboratory research on experimental aesthetics. This chapter reviews these studies.
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Cohen, Annabel J. "Music As A Source Of Emotion In Film". In Music And Emotion, 249–72. Oxford University PressNew York, NY, 2001. http://dx.doi.org/10.1093/oso/9780192631886.003.0011.
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Abstract Emotion characterizes the experience of film, as it does the experience of music. Because music almost always accompanies film, we may well ask what contributionmusic makes to the emotional aspects of film. The present chapter addresses this question. It should be said at the outset that in spite of the integral role of music for film, film music has been largely neglected by the disciplines of both musicology and music psychology until the last decade (e.g. Cohen 1994;Marks 1998; Prendergast 1991). The reasons for the neglect are complex, arising from social, technological, economic, historical, and cultural factors. Some of these factors also account for a parallel neglect by psychology of the study of film perception (Hochberg & Brooks 1996a, 1996b). Moreover, unlike other types of popular or art music, much music for film has been composed with the understanding that it will not be consciously attended to. Countering this neglect, the present chapter takes a psychological perspective on the sublime and remarkable emotional phenomena produced by music in the context of film. This chapter has the joint intent of supporting the argument that music is one of the strongest sources of emotion in film and of opening doors to further empirical work that explains why this is so.
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Geoffroy-Schwinden, Rebecca Dowd. "Social Privilège and Musician-Masons". In From Servant to Savant, 51–76. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780197511510.003.0003.
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Drawing on the archives of Parisian masonic lodges, this chapter tracks the elevation of professional musicians’ social status during the last two decades of the Old Regime and demonstrates the varied ways in which musicians participated in lodge sociability even as chasms widened in the world of professional musical production. In some lodges musicians acted as servants while in others they earned prestige as virtuosos and fellow men of letters. Instrumental music became a popular form of entertainment in lodges, placing composers and performers at center stage. As masons, musicians gained opportunities to fraternize among one another and among other professionals outside of formal royal or religious organizations, an activity which granted them access to social aspects of privilèges. Lodges moreover exposed musicians to rhetoric about social utility. This chapter therefore provides evidence for a key facet of musicians’ professionalization before the Revolution—social acceptance among other professionals and peers.
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Agawu, Kofi. "Rethinking Music Theory, with African Aid". In On African Music, 105—C5N48. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780197664063.003.0005.
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Abstract While research into music theory and analysis in the Western academy has traditionally focused on Western “Classical” music, recent globalizing and post-globalizing trends have engendered a broadening of repertories to include non-canonical music (including popular music), non-Western music (from Southeast Asia, India, China, and Africa), and miscellaneous sound sources (including ringtones, protest songs, and urban soundscapes). Welcoming these new developments, this chapter suggests that the quotidian practices of music theory stand to be enriched by greater contact with Black African music as well. At the core of the chapter are eight platforms upon which such engagement might proceed. They include aspects of harmony, melody, form, rhythm, music and language, music and social structure, musical instruments, and the appropriation of African music. In rehearsing music theory’s previous encounters with non-Western music, it emerges that the non-West has played variable roles at different points in history, fostering a range of attitudes from downright dismissal of the music of others through exoticization to acknowledgment and genuine appreciation. To “rethink music theory with African aid,” therefore, is to retrieve from the margins of theory’s own history the sorts of engagement that have become ethical imperatives in our time. The chapter ends on a pedagogical note by advocating two practices: transcription (of African musics into various standard notations to facilitate analysis) and contrapuntal reading (after Edward Said), with its potential to unveil unsuspected parallels between compositions and performances of diverse, perhaps even far-flung origins, and in the process, expose deep-lying convergences in the ways in which human beings imagine and make music.
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Fletcher, Stella. "Religion". In The Oxford History of the Renaissance, 87–122. Oxford University PressOxford, 2023. http://dx.doi.org/10.1093/oso/9780192886699.003.0003.
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Abstract This chapter begins with those aspects of religious experience which were shared by the inhabitants of Christian Europe and ends with minority interests and experiences, whether in the elite or popular ranges of the social and cultural spectrum. The spirituality of the period is explored with reference to concepts of holiness and sanctity, including cults such as that of Mary, the choice of candidates for canonisation, and the understanding of contemporary events through the prism of religious belief. Liturgy was part of the lives of all Christians, so patterns of changes and continuity in worship are explored, which leads to a consideration of texts (including biblical scholarship), music, and architectural settings.
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Hansen, Kai Arne. "A Different Country?" In Pop Masculinities, 66–99. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190938796.003.0004.
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The chapter focuses on Lil Nas X and his record-breaking hit “Old Town Road” (2018), which combines stylistic elements from country and trap music. The song received immense attention in early 2019 after Billboard discreetly removed it from its Hot Country Songs chart, a decision that was interpreted by some as racially motivated. The chapter investigates how Lil Nas X’s musical eclecticism and queer cowboy iconography raises questions pertaining to the boundaries of inclusion and exclusion in the country and hip hop genres. First, it critiques the popular narrative that his widespread success following the Billboard incident is indicative of the declining authority of the music industry in the face of the democratizing effects of digital technologies. Then, it turns its attention to the official movie, Old Town Road, in which Lil Nas X is joined by guest artist Billy Ray Cyrus. Particular focus is devoted to the intersectional aspects of masculinity, which are elucidated through a discussion of how certain sounds and vocal characteristics become constructed and experienced as racially coded. Finally, drawing on perspectives from queer of color critique, the chapter explores the idea that Lil Nas X’s queer tactics both stand as a corrective to accounts of the past that bypass the contributions of black musicians in the development of country music (and black cowboys’ participation in the Old West) and introduces new ways of moving past dominant social constraints.
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Silvanto, Satu. "How to Flow". In Focus On Festivals. Goodfellow Publishers, 2015. http://dx.doi.org/10.23912/978-1-910158-15-9-2647.
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The Flow Festival, which began in 2004, is a rhythm music festival that takes place every August in Helsinki, the Finnish capital. It started out as a small event organised by a group of friends. Ten years later its audience figures have multiplied, the festival organisation has professionalised and the Flow Festival is now one of the biggest arts festivals in Finland. In this paper, I describe the development of the festival, how it uses/plays with urban space and why it is especially popular with well-educated young and early-middle-aged local audiences. Furthermore, I discuss key factors that have contributed to the success of the Flow Festival: the urban nature of the festival, its strong use of and presence in social media, the role of the festival as an after-holiday meeting point and, last but not least, its artistic quality (Klaić 2007a). Flow is certainly an artistic festival. However, commercial aspects have gained importance as the festival has grown. Without commercial knowhow, such a big event would not be viable, no matter how ambitious it is artistically. The paper is based on several data sources: the festival’s user studies conducted by Cantell in 2005 (Cantell 2007) and by the festival organisers in 2007 and 2010–2012; an internet survey on festival participation conducted among the residents of Helsinki Metropolitan area in 2006 (Linko and Silvanto 2011); articles about the festival published in Helsingin Sanomat (the main newspaper in Helsinki and Finland) since 2004; and interviews with the Managing Director of the festival.
Trabalhos de conferências sobre o assunto "Popular music – social aspects – california"
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Jucu, Ioan Sebastian. "WHEN LIVE PERFORMANCES, SHOWS AND CONCERTS OF LEGENDARY ICONIC ARTISTS MARK THE HISTORY OF THE CITIES". In 9th SWS International Scientific Conferences on SOCIAL SCIENCES - ISCSS 2022. SGEM WORLD SCIENCE, 2022. http://dx.doi.org/10.35603/sws.iscss.2022/s14.126.
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Some cities are frequently important venues for various spectacles, live performances, concerts and residency shows performed by the greatest artists of the world, therefore they contribute to the music tourism development and to the local economic development of the cities themselves through tourism and cultural events. A plenty of cities remain emblematic in this regard, but research on their cultural events are peripheral in the present geographical analysis. This paper discusses about an emblematic residency show of a legendary music icon held in Las Vegas as a major input both in the cultural background of the city as well as in its musical history. The research is based on quantitative and qualitative methods with statistical research, media and discourse analysis. The findings of the paper unveil that concerts, live performances, residency-shows and spectacles of the greatest artists of the world are important features of the cultural backgrounds of the cities that are visible in their cultural landscapes. Furthermore, they provide a large power of attraction of tourists and popular music consumers from the world over marking the cities� cultural background. These aspects largely under-studied from the geographical perspective call for further research and debates in the contexts of geography, music, music tourism and the cultural background of the cities.
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ROMAN, Diana. "The Actor, Between the Self from Theatre and the Other from Music". In The International Conference of Doctoral Schools “George Enescu” National University of Arts Iaşi, Romania. Artes Publishing House UNAGE Iasi, 2023. http://dx.doi.org/10.35218/icds-2023-0021.
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The worlds of music and theatre have been brought together under the sign of scenic creation since the origins of the appearance of the theatre, the interdisciplinary artistic dialogue between the two arts sharing common aesthetic, psychological, psycho-social landmarks. The interactions between these worlds gave birth, finally, going through different forms and long searches, to the most original and popular theatre genre, the Musical. At the same time with technology and the digital revolution, live music, the orchestra, the musicians present on the stage of the theatre, were replaced with recordings, original stage music faces increasingly rare performance in theaters. The amazing intersection of theatre and music must be seen as a matter of course. My research will focus on the analysis of the fragile relationship between identity and alterity in the case of a few artists at the congruence between theatre and music (Ada Milea – A lost letter in concert, The Explorer, Chirița in concert, Răzvan Mazilu – Cabaret, Maria de Buenos Aires, Bobo Burlăcianu – Cats, The City, Metamorphosis, Alexander Hausvater – The Machine. Musical, Ada Lupu-Hausvater – Hamlet, Tibor Càri – The little prince). If a few years ago shows like Rocky Horror Show by Alexander Hausvater were considered original or controversial precisely because they skilfully crossed the boundaries between theatre and music, today we realize that the hybrid genre is also on an upward trend in terms of public taste (proof is The Young Actor`s Gala 2022 theme) and dramaturgy (Eugen Rotaru – Musical Theatre Plays), and of actors with professional training in both fields, tempted by the border between the arts. The cocreation experiences between the actor and the musician also bring with them important pedagogical aspects, resulting in an improvement of the work of each individual artist. The requirement to constantly search for new ways of artistic expression remains important, wich inevitably brings together artists from different art forms.