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Journal articles on the topic 'Brazilian contemporary music'

Author: Grafiati

Published: 4 June 2021

Last updated: 6 February 2022

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1

Barbosa, Lívia, Letícia Veloso, and Veranise Dubeux. "Music and Youth in Brazilian Contemporary Society." International Review of Social Research 2, no. 1 (2012): 29–46. http://dx.doi.org/10.1515/irsr-2012-0003.

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Abstract: Based on qualitative and quantitative research with 1,080 youth in the Brazilian cities of Rio de Janeiro, São Paulo, and Porto Alegre, this article analyzes the role of music in the constitution of young people's everyday lives. Focusing on how youth obtain, store, and listen to music, as well as on how they describe the presence of music in their lives, we argue that music – facilitated by digital technology – permeates and gives meaning to young people's lives in a way more pervasive than ever before, to the extent that, in their words, it constitutes the ‘soundtrack’ of each indi

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Araujo, Samuel, and Charles A. Perrone. "Masters of Contemporary Brazilian Song." Ethnomusicology 35, no. 2 (1991): 277. http://dx.doi.org/10.2307/924740.

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Saull, Jordan P. "Contemporary Carioca: Technologies of mixing in a Brazilian Music Scene." IASPM@Journal 4 (February 18, 2014): 137–39. http://dx.doi.org/10.5429/2079-3871(2014)v4i1.17en.

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Fairley, Jan. "Masters of Contemporary Brazilian Song MPB 1965–1985." Popular Music 10, no. 2 (1991): 231–37. http://dx.doi.org/10.1017/s0261143000004530.

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Menezes, Flo. "La voie du syncrétisme : sur la musique électroacoustique au Brésil." Circuit 17, no. 2 (2007): 55–64. http://dx.doi.org/10.7202/016839ar.

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This text deals with certain aspects of the birth of electroacoustic music in Brazil, by making links between Brazilian contemporary music and economic, political and social circumstances of the country’s history. After describing the emergence of a cannibalistic movement in Brazilian culture, i.e., of musical nationalism, the author seeks to situate the first attempts in the genre and to shed light on the circumstances surrounding the establishment of the first centre of research and production of electroacoustic music in Brazil: Studio panaroma in São Paulo.

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Olsen, Dale A. "The Music of BrazilMasters of Contemporary Brazilian Song: MPB 1965-1985." Hispanic American Historical Review 70, no. 4 (1990): 679–80. http://dx.doi.org/10.1215/00182168-70.4.679.

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Magaldi, Cristina. "Adopting imports: new images and alliances in Brazilian popular music of the 1990s." Popular Music 18, no. 3 (1999): 309–29. http://dx.doi.org/10.1017/s0261143000008898.

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Anyone visiting Brazil today in search of an idealised ‘Brazilian Sound’ might, at first, be disappointed with the popular music scene. The visitor will soon realise that established musical styles such as bossa nova and MPB (Música Popular Brazileira (Brazilian Popular Music)), with their well-defined roles within the Brazilian social and political scene of the 1960s, 1970s, and early 1980s, have lost their immediate appeal with some contemporary audiences, and especially with Brazilian urban youth. In the 1990s, Brazilian radio and TV are saturated with a variety of new local genres that bor

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Dromey, Christopher. "NEW HORIZONS IN BRAZILIAN CONTEMPORARY MUSIC: GRUPO NOVO HORIZONTE DE SÃO PAULO, 1988–99." Tempo 72, no. 284 (2018): 52–67. http://dx.doi.org/10.1017/s0040298217001267.

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AbstractBrazil's foremost ensemble of the late twentieth century, Grupo Novo Horizonte de São Paulo, transformed Brazilian contemporary music by cultivating a new mixed-chamber repertory and giving sustained support to a generation of emerging composers. That this cosmopolitan group took, then outgrew, the Pierrot ensemble as its cornerstone signals the medium it forged: a localized, evolving spectacle with a richly internationalist heritage. This article offers a panoramic view of the musical, intercultural and historical contexts that underpin Grupo Novo Horizonte's practices and legacy. Ana

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Perrone, Charles A. "From Noigandres to "Milagre da Alegria": The Concrete Poets and Contemporary Brazilian Popular Music." Latin American Music Review / Revista de Música Latinoamericana 6, no. 1 (1985): 58. http://dx.doi.org/10.2307/779965.

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Moore, Tom. "Contemporary Carioca: Technologies of Mixing in a Brazilian Music Scene (review)." Notes 69, no. 2 (2012): 317–19. http://dx.doi.org/10.1353/not.2012.0166.

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Perrone, Charles A. "Contemporary Carioca: Technologies of Mixing in a Brazilian Music Scene - by Moehn, Frederick." Bulletin of Latin American Research 33, no. 3 (2014): 384–85. http://dx.doi.org/10.1111/blar.12200.

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Wainer, Daniel Ferreira. "Between music and technology: existence and functioning conditions of the Brazilian phonographic industry in the 21st century." Comunicação e Sociedade 31 (June 29, 2017): 327–42. http://dx.doi.org/10.17231/comsoc.31(2017).2621.

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This paper discusses the digitalization process of the Brazilian music industry through bibliographical, documental and empirical sources – the latter based on fieldwork and personal interviews conducted from July 2014 to June 2015. To achieve this goal, I intend to: highlight the conditions that lead to the emergence of the digital age; analyze the development of medias, devices and equipment which may have led to this turning point; investigate the possibilities of music production and distribution in the Brazilian context; cross the local circuits of piracy and the independent ways of comme

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Villela, Lucinéa Marcelino, and Gonzalo Iturregui-Gallardo. "AUDIO DESCRIPTION AND DIVERSITY AWARENESS: FLUTUA MUSIC VIDEO." Trabalhos em Linguística Aplicada 59, no. 2 (2020): 1513–30. http://dx.doi.org/10.1590/010318137470211520200702.

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ABSTRACT Brazil has the highest murder rate of transgender people in the world. The paper will focus on a debate of how audio description of some audiovisual products should be used to call the attention to the discrimination and violence suffered by homosexual couples. We have chosen a Brazilian music video called Flutua produced and performed by Johnny Hooker with special participation of the Brazilian singer Liniker, a black trans woman. The clip presents an outstanding visual narrative involving contemporary themes such as gays with disability, gender-fluid and homophobia. During the video

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Furquim Werneck Lima, Evelyn. "Old structures for contemporary theatrical productions: a warehouse, an arena and a thrust stage." ARJ – Art Research Journal / Revista de Pesquisa em Artes 4, no. 1 (2017): 76–95. http://dx.doi.org/10.36025/arj.v4i1.10142.

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In this article we seek to understand the role of architecture in the theatrical process and the uses of old structures to house three contemporary productions: Zé Celso staged Os Sertões (The Hinterlands) in 2007 in a huge warehouse near the wharfs of Rio de Janeiro’s Docklands where he arranged the building as if it was his own Oficina Theatre in São Paulo; Miguel Vellinho staged Peer Gynt (2006) at the readapted SESC Copacabana Arena, and the Brazilian performance of Romeo and Juliet directed by Gabriel Villela was staged in 2000 at the reconstructed Globe Theatre not far from the real spot

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Dutra, Paulo. "“The Ultimate Drive by”: Racionais MC’s, Ice Cube, and the Pursuit of Blackness." Revista Brasileira de Literatura Comparada 23, no. 43 (2021): 42–55. http://dx.doi.org/10.1590/2596-304x20212343pd.

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Abstract: Considering that hip-hop music is the foremost contemporary artistic expression of Black lives I discuss American rapper Ice Cube’s track “I wanna Kill Sam” and Brazilian group Racionais Mc’s’s track “Racistas otários”. The two tracks have in common the fact that they address the experiences of Black people through their relationship with public policies and institutions that claim to promote the emancipation of Black people in Brazil and in the USA. I, then, demonstrate that the Racionais and Ice Cube symbolically (re)dimension contemporary “Blackness” as a result of the constant ph

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Morgado, Marcos. "MEDIATISING RESISTANCE TO CONTEMPORARY FASCISM ON YOUTUBE: VOICING DISSENT IN BRAZILIAN RAP." Trabalhos em Linguística Aplicada 59, no. 3 (2020): 2017–49. http://dx.doi.org/10.1590/010318138362511120201117.

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ABSTRACT In recent years, an on-going shift from more progressive political, social and cultural relations towards a more conservative turn around the world has been under way. A fascist political stance (STANLEY, 2018) has been noted in different parts of the globe and politicians have been able to gather followers dissatisfied with crumbling economies by usually making recourse to an “us versus them” discourse. Such dissatisfaction and bias have found fertile ground in social media platforms, e.g. Facebook and WhatsApp, and elevated the tensions around such issues to a level never before see

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Camati, Anna Stegh. "Intermedial Performance Aesthetics in Patricia Fagundes' A Midsummer Night's Dream." Aletria: Revista de Estudos de Literatura 23, no. 3 (2013): 141–56. http://dx.doi.org/10.17851/2317-2096.23.3.141-156.

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In A Midsummer Night’s Dream (1594-1595), Shakespeare introduces elements borrowed from court masques, mainly music and dance. After a brief exploration of critical arguments claiming that Shakespeare’s play is the model for musical versions produced during and after the Restoration, this essay investigates the negotiations and shifts of meaning in the homonymous Brazilian adaptation (2006), staged by Cia. Rústica and directed by Patrícia Fagundes. The intermedial processes, articulated in the transposition from page to stage, will be analyzed in the light of contemporary theoretical perspecti

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Cury, Maria Zilda Ferreira, and Guilherme Augusto Lopes de Souza. "Entre modulações musicais e literárias: O inverno e depois, de Luiz Antonio de Assis Brasil." Navegações 11, no. 1 (2018): 3. http://dx.doi.org/10.15448/1983-4276.2018.1.33012.

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O inverno e depois, romance de Luiz Antonio de Assis Brasil, exibe uma articulada reflexão acerca da música clássica e da vida de artista, assim como os desafios dos musicistas de traduzir, por meio de sua arte, os sentimentos que as palavras não expressam. À vista disso, pretende-se fazer uma leitura do romance a partir das teorias dos estudos músico-literários, evidenciando as influências do Concerto para violoncelo e orquestra, de Antonín Dvořák – peça chave do romance – na narrativa de Assis Brasil, tanto no plano estrutural, como no plano de seu conteúdo. *** Between literary and musical

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Enriquez, Falina. "Contemporary Carioca: Technologies of Mixing in a Brazilian Music Scene. Frederick Moehn. Durham: Duke University Press, 2012. 320 pp." Journal of Latin American and Caribbean Anthropology 18, no. 2 (2013): 337–39. http://dx.doi.org/10.1111/jlca.12023.

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Brito, Ronaldo. "Neo-concretism, Apex and Rupture of the Brazilian Constructive Project." October 161 (August 2017): 89–142. http://dx.doi.org/10.1162/octo_a_00304.

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Written in 1975 and first published in its entirety in 1985, this essay constitutes the first and most consequential analysis of the Brazilian Neo-concrete movement of the late 1950s and early '60s. It argues that Neo-concretism realized and simultaneously forced into crisis the essential tenets of the constructive traditions of geometric abstraction as they had been inherited by artists in Brazil. According to Brito, Brazilian Concrete art sought to import a Western model of constructive practice that, while utopian in aim, was ultimately complicit with both a capitalist organization of the m

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Nagib, Lúcia. "Orfeu negro em cores: mito e realismo no filme de Cacá Diegues." Aletria: Revista de Estudos de Literatura 8 (March 2, 2018): 15–24. http://dx.doi.org/10.17851/2317-2096.8..15-24.

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Resumo: Orfeu, de 1999, dirigido por Carlos Diegues, um dos raros filmes atuais a falar do negro, retoma a tradicional apologia do afro-descendente por seus dotes musicais. Vinicius de Moraes, com sua peça Orfeu da Conceição, que deu base ao filme Orfeu negro (1959) e ao Orfeu de Diegues, pretendeu universalizar a música negra (e, portanto, a música brasileira), ampliando-a de seu reduto de classe baixa, ligada às orgias do carnaval e aos transes de terreiro, para a experiência sublime do amor absoluto. Para tanto, recorreu ao mito órfico do poder encantatório da música, recurso claramente ant

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Leite, Rui Moreira. "Flávio de Carvalho: Media Artist Avant la Lettre." Leonardo 37, no. 2 (2004): 150–58. http://dx.doi.org/10.1162/0024094041139175.

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This paper examines the work of Brazilian artist Flávio de Carvalho (1899-1973) from the perspective of contemporary media art, highlighting his practical and theoretical legacy. Initially associated with the Anthropophagy art movement, Carvalho used mass media creatively and incorporated insights from psychology, sociology and anthropology into his art. He realized events that went beyond “performance art,” including a pioneering presentation on television in 1957. This article offers a brief overview of Carvalho's trajectory.

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Hertzman, Marc A. "Contemporary Carioca: Technologies of Mixing in a Brazilian Music Scene. By Frederick Moehn. Durham, N.C.: Duke University Press, 2012. Pp. 320. $24.95 paper." Americas 70, no. 02 (2013): 314–15. http://dx.doi.org/10.1017/s0003161500003345.

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Hertzman, Marc A. "Contemporary Carioca: Technologies of Mixing in a Brazilian Music Scene. By Frederick Moehn. Durham, N.C.: Duke University Press, 2012. Pp. 320. $24.95 paper." Americas 70, no. 2 (2013): 314–15. http://dx.doi.org/10.1353/tam.2013.0104.

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Fabricio, Branca Falabella, and Luiz Paulo da Moita-Lopes. "Transidiomaticity and transperformances in Brazilian queer rap: toward an abject aesthetics." Gragoatá 24, no. 48 (2019): 136–59. http://dx.doi.org/10.22409/gragoata.v24i48.33623.

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Queer rap has been shining in the homophobic world of hip-hop lately, especially in the contemporary New York music scene. Considered by many as the new kids on the block, queer rappers have been breaking down mainstream ways of composing, delivering and enacting rap tunes by working on more outwardly feminine performances characterized by ambivalence, hybridity and defiance. In this paper, we focus on how Rico Dalasam, a contemporary Brazilian rap performer, radicalizes this type of rupture, engaging in what we have termed ‘abject aesthetics’. The latter constitutes a spectacular semiotic lan

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Pardue, D. "Moehn, Frederick. Contemporary Carioca: Technologies of Mixing in a Brazilian Music Scene. Durham and London: Duke UP, 2012. 320 pp. Appendix 1. Appendix 2. Notes. References. Discography. Index." Luso-Brazilian Review 50, no. 2 (2013): 160–63. http://dx.doi.org/10.1353/lbr.2013.0044.

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Hernandez, Deborah Pacini. "Cantando la cama vacía: love, sexuality and gender relationships in Dominican bachata." Popular Music 9, no. 3 (1990): 351–67. http://dx.doi.org/10.1017/s026114300000413x.

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Several patterns emerge in bachata's discussions of love, sex and relationships with women. There is little sense of place in the songs – rarely is a specific place name mentioned or invoked, in marked contrast to other Caribbean musical genres associated with listeners of rural origins, in which place names are constantly invoked for affective purposes. The people in bachata songs do not seem to exist anywhere – except the bar, which, I suggest, is a metaphor for the urban shantytown itself. Neither is there a sense of movement, of going anywhere. There is no imagery of journey, or travel, un

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KITLV, Redactie. "Book Reviews." New West Indian Guide / Nieuwe West-Indische Gids 81, no. 3-4 (2008): 271–341. http://dx.doi.org/10.1163/13822373-90002485.

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Sally Price & Richard Price; Romare Bearden: The Caribbean Dimension (J. Michael Dash)J. Lorand Matory; Black Atlantic Religion: Tradition, Transnationalism, and Matriarchy in the Afro-Brazilian Candomblé (Stephan Palmié)Dianne M. Stewart; Three Eyes for the Journey: African Dimensions of the Jamaican Religious Experience (Betty Wood)Toyin Falola & Matt D. Childs (eds.); The Yoruba Diaspora in the Atlantic World (Kim D. Butler)Silvio Torres-Saillant; An Intellectual History of the Caribbean (Anthony P. Maingot)J.H. Elliott; Empires of the Atlantic World: Britain and Spain in America 14

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KITLV, Redactie. "Book Reviews." New West Indian Guide / Nieuwe West-Indische Gids 81, no. 3-4 (2007): 271–341. http://dx.doi.org/10.1163/22134360-90002485.

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Sally Price & Richard Price; Romare Bearden: The Caribbean Dimension (J. Michael Dash)J. Lorand Matory; Black Atlantic Religion: Tradition, Transnationalism, and Matriarchy in the Afro-Brazilian Candomblé (Stephan Palmié)Dianne M. Stewart; Three Eyes for the Journey: African Dimensions of the Jamaican Religious Experience (Betty Wood)Toyin Falola & Matt D. Childs (eds.); The Yoruba Diaspora in the Atlantic World (Kim D. Butler)Silvio Torres-Saillant; An Intellectual History of the Caribbean (Anthony P. Maingot)J.H. Elliott; Empires of the Atlantic World: Britain and Spain in America 14

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Ferraz, Daniel de Mello, and Isabele Vianna Nogarol. "Os multiletramentos na aprendizagem de línguas por estudantes de licenciatura em Letras-Inglês / Multiliteracies in the learning of languages in an English language degree course." Texto Livre: Linguagem e Tecnologia 10, no. 1 (2017): 198–214. http://dx.doi.org/10.17851/1983-3652.10.1.198-214.

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RESUMO:Segundo Rojo (2012, p. 15), o conceito de multiletramentos aponta para “a multiplicidade cultural das populações e a multiplicidade semiótica de constituição dos textos por meio dos quais ela se informa e se comunica”. Nesse sentido, percebemos que a maioria dos estudantes de Letras-Inglês da UFES inicia a graduação com excelente nível linguístico na língua inglesa (LI) e que, muitos deles, aprimoraram suas habilidades linguísticas por meio da multimodalidade presente nas músicas on-line, jogos virtuais, websites e aplicativos. Segundo Zacchi e Wielewicki (2015), essas ferramentas digit

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Cervantes-Ortiz, Leopoldo. "Una Teología de la Alegría Humana: La Teología Liberadora, Lúdica y Poética de Rubem Alves." REFLEXUS - Revista Semestral de Teologia e Ciências das Religiões 8, no. 12 (2015): 45. http://dx.doi.org/10.20890/reflexus.v8i12.237.

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Resumo: Ninguém imaginaria que o mesmo autor que em maio de 1968 escreveu uma tese tão densa e provocadora como Towards a theology of liberation: an exploration of the encounter between the languages of humanistic messianism and messianic humanism escreveria décadas mais tarde poesia, oração, mística e teologia. Em sua obra, Rubem Alves expressa a peregrinação que passou até alcançar o cume de um estilo dominado pela poesia e o aprofundamento completamente anti-dogmático que já havia anunciado, muito veladamente, em seus primeiros escritos. Antes de sua passagem por Princeton, “junto aos rios

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Gomes Jr., Gervásio Hermínio, and Maria Helena Braga e. Vaz da Costa. "INTERTEXTUALIDADE NA PAISAGEM: A CIDADE FÍLMICA DE RECIFE EM FEBRE DO RATO." GEOgraphia 20, no. 44 (2018): 36. http://dx.doi.org/10.22409/geographia2018.v1i44.a14311.

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A paisagem urbana é constituída por múltiplas camadas de significados. Considerá-la como um texto nos permite acessar o conteúdo simbólico por meio do qual as culturas, sejam elas dominantes ou alternativas, reproduzem suas normas, seus valores e concepções de mundo. Nessa abordagem, a própria paisagem material, em todas as suas formas de expressão, configura-se como um texto que deve ser detalhadamente lido e interpretado. As evidências do significado das paisagens são encontradas também nos produtos culturais e estéticos produzidos no âmbito da sociedade: na pintura, na literatura, na música

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Anjali, Anjali, and Manisha Sabharwal. "Perceived Barriers of Young Adults for Participation in Physical Activity." Current Research in Nutrition and Food Science Journal 6, no. 2 (2018): 437–49. http://dx.doi.org/10.12944/crnfsj.6.2.18.

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This study aimed to explore the perceived barriers to physical activity among college students Study Design: Qualitative research design Eight focus group discussions on 67 college students aged 18-24 years (48 females, 19 males) was conducted on College premises. Data were analysed using inductive approach. Participants identified a number of obstacles to physical activity. Perceived barriers emerged from the analysis of the data addressed the different dimensions of the socio-ecological framework. The result indicated that the young adults perceived substantial amount of personal, social and

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"Contemporary Carioca: technologies of mixing in a Brazilian music scene." Choice Reviews Online 50, no. 03 (2012): 50–1373. http://dx.doi.org/10.5860/choice.50-1373.

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Palmezano, Ricardo Alex. "Lucas Galon’s Concerto for Violin, Percussion and Strings (2018)." Revista da Tulha 5, no. 1 (2019). http://dx.doi.org/10.11606/issn.2447-7117.rt.2019.156842.

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In this paper, I investigate how the composer searches for his own voice in his violin concerto while using a blend of influences such as Bartok, twelve-tone and Brazilian popular music. Galon argues that composers such as Bartok, Stravinsky and Villa-Lobos followed an independent, more varied compositional style without subscribing to any specific method.[1]On the other hand, the self-proclaimed mainstream of the Second Viennese School established a very structured, particular way of writing music. The composer seems to put into question the mechanization of composition of the dodecaphonic me

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McNALLY, JAMES. "The End of Song: Improvisation as Social Critique in Brazil." Twentieth-Century Music, December 22, 2020, 1–28. http://dx.doi.org/10.1017/s1478572220000560.

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Abstract This article addresses an emerging phenomenon in which Brazilian popular musicians have begun to depart from popular song (canção popular) in favour of free improvisation in response to rising authoritarianism. As a case study, I examine the creative project Carta Branca, which brings together popular and experimental musicians from styles such as MPB and hip-hop to perform freely improvised concerts. Following a consideration of the history of Brazilian canção popular, the article discusses how contemporary popular musicians engage in free improvisation as an alternative means of mus

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Lima, Paulo Costa. "CULTURAL PERSPECTIVES IN CONTEMPORARY MUSIC: THE CASE OF THE COMPOSITION MOVEMENT IN BAHIA-BRAZIL." Orfeu 5, no. 1 (2020). http://dx.doi.org/10.5965/2525530405012020366.

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The focus of interest for this article is the musical composition movement in Bahia, in so far as it enables a reflection on the interweaving of composition and cultural perspectives, not as isolated and autonomous domains, but as something inherent to composition. We will identify and reflect upon strategies to represent distance between distinct cultural poles, showing how they organize the musical form and fabric, in other words, the production of meaning. We start with an exemplary case provided by the piece Uma possível resposta op. 169 (1988) by the Brazilian composer (born in Switzerlan

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Travassos, Elizabeth. "A Colloquium of Sorcerers: Mário de Andrade, Fernando Ortiz, and “the music of sorcery”." Vibrant: Virtual Brazilian Anthropology 14, no. 1 (2017). http://dx.doi.org/10.1590/1809-43412017v14n1p170.

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Abstract Brazilian writer and musicologist Mário de Andrade (1893-1945) and Cuban writer and anthropologist Fernando Ortiz (1881-1969) are important references in the study of cultures of African origin in their respective countries. The two intellectuals shared an interest in the relations between music and sorcery in Afro-American conceptions and rituals, as suggested by their field observations and bibliographic references. This essay explores common characteristics and contrasts in their approaches to the theme and suggests that the debate should not be limited to the history of ideas, sin

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Bøhler, Kjetil Klette. "Rhythm Politics in a Changing Brazil: A Study of the Musical Mobilization of Voters by Bolsonaro and Haddad in the 2018 Election." Qualitative Studies 6, no. 2 (2021). http://dx.doi.org/10.7146/qs.v6i2.127312.

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   This article investigates the role of music in presidential election campaigns and political movements inspired by theoretical arguments in Henri Lefebvre’s Rhythmanalysis, John Dewey ́s pragmatist rethinking of aesthetics and existing scholarship on the politics of music. Specifically, it explores how musical rhythms and melodies enable new forms of political awareness, participation, and critique in an increasingly polarized Brazil through an ethnomusicological exploration of how left-wing and right-wing movements used music to disseminate politics during the 2018 electi

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Galm, Eric A. "Frederick Moehn. 2012. Contemporary Carioca: Technologies of Mixing in a Brazilian Music Scene. Duke University Press. ISBN 978-0-8223-5155-9 (pbk). 320pp. $24.95." Perfect Beat 14, no. 1 (2013). http://dx.doi.org/10.1558/prbt.v14i1.81.

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Campanioni, Chris, and Giancarlo Lombardi. "A Site of Unsettlement." M/C Journal 23, no. 5 (2020). http://dx.doi.org/10.5204/mcj.1692.

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Anomaly: something different, abnormal, peculiar, not easily classified or classifiable; a deviation; a detour. Something out of time and out of place. No longer can we read the anomaly without considering the larger global crisis of COVID-19. Where were we if not out of time during the temporal disjunction – time out of joint, after Shakespeare – of worldwide lockdowns, which coincided with the time of proposal and submission, the time of reading and editing this issue? Where were we, as scholars in North America, if not out of place when we set out to curate a collection of essays in a journ

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Lyons, Bertram. "Editorial." International Association of Sound and Audiovisual Archives (IASA) Journal, no. 48 (January 21, 2018). http://dx.doi.org/10.35320/ij.v0i48.60.

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Helen Harrison in her opening editorial in issue number 2 of the IASA Journal notes, “...on no account should we be complacent about the Journal or other IASA publications, ideas for change are always welcome and material for inclusion even more so.” She was contemplating the state of the Journal on the heels of its transformation from the Phonographic Bulletin (1971–1993) to the IASA Journal (1993–present). The name had changed, but Harrison took the role of editor with ideas for additional improvements to the structure, content, operation, and aesthetics of the Journal; and she found herself

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Hoad, Catherine, and Samuel Whiting. "True Kvlt? The Cultural Capital of “Nordicness” in Extreme Metal." M/C Journal 20, no. 6 (2017). http://dx.doi.org/10.5204/mcj.1319.

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IntroductionThe “North” is given explicitly “Nordic” value in extreme metal, as a vehicle for narratives of identity, nationalism and ideology. However, we also contend that “Nordicness” is articulated in diverse and contradictory ways in extreme metal contexts. We examine Nordicness in three key iterations: firstly, Nordicness as a brand tied to extremity and “authenticity”; secondly, Nordicness as an expression of exclusory ethnic belonging and ancestry; and thirdly, Nordicness as an imagined community of liberal democracy.In situating Nordicness across these iterations, we call into focus h

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