Relevant bibliographies by topics / Global Music

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Global Music'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Global Music"

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van der Linden, Bob. "Non-Western national music and empire in global history: interactions, uniformities, and comparisons." Journal of Global History 10, no. 3 (October 5, 2015): 431–56. http://dx.doi.org/10.1017/s1740022815000212.

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AbstractInspired by C. A. Bayly’s notion of global uniformities, this article investigates the different ways in which elitist non-Western music reformers, often with state support, canonized and institutionalized modern national music traditions during the age of liberalism and empire. As these non-Western music reformers reinterpreted liberal and earlier Enlightenment ideas, they envisaged their own musics hierarchically in comparison with Western music. In the context of comparative musicological thinking, they became particularly preoccupied with the systematization of scales, equal temperament tuning, and the origins of their own music. In the process, they often incorporated claims about authenticity and spirituality in music to give strength to burgeoning national, if not anti-imperial, identities. However, beneath the appearance of formal similarity and mutual translatability of non-Western national musics, significant sonic and cultural differences remained. As a contribution to global history scholarship, the article principally attempts to establish these global parallels and comparisons.
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Dura, Marian T. "The Global Music Series." Music Educators Journal 91, no. 2 (November 2004): 52. http://dx.doi.org/10.2307/3400050.

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Greer, David. "Music of Global Interest." Notes and Queries 52, no. 2 (June 1, 2005): 216–19. http://dx.doi.org/10.1093/notesj/gji231.

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Hu, Xiao, and Jin Ha Lee. "Towards global music digital libraries." Journal of Documentation 72, no. 5 (September 12, 2016): 858–77. http://dx.doi.org/10.1108/jd-01-2016-0005.

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Purpose The purpose of this paper is to compare music mood perceptions of people with diverse cultural backgrounds when they interact with Chinese music. It also discusses how the results can inform the design of global music digital libraries (MDL). Design/methodology/approach An online survey was designed based on the Music Information Retrieval Evaluation eXchange (MIREX) five-cluster mood model, to solicit mood perceptions of listeners in Hong Kong and the USA on a diverse set of Chinese music. Statistical analysis was applied to compare responses from the two user groups, with consideration of different music types and characteristics of listeners. Listeners’ textual responses were also analyzed with content coding. Findings Listeners from the two cultural groups made different mood judgments on all but one type of Chinese music. Hong Kong listeners reached higher levels of agreement on mood judgments than their US counterparts. Gender, age and familiarity with the songs were related to listeners’ mood judgment to some extent. Practical implications The MIREX five-cluster model may not be sufficient for representing the mood of Chinese music. Refinements are suggested. MDL are recommended to differentiate tags given by users from different cultural groups, and to differentiate music types when classifying or recommending Chinese music by mood. Originality/value It is the first study on cross-cultural access to Chinese music in MDL. Methods and the refined mood model can be applied to cross-cultural access to other music types and information objects.
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Stokes, Martin. "Music and the Global Order." Annual Review of Anthropology 33, no. 1 (October 2004): 47–72. http://dx.doi.org/10.1146/annurev.anthro.33.070203.143916.

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Tucker, Joshua. "MUSIC RADIO AND GLOBAL MEDIATION." Cultural Studies 24, no. 4 (July 2010): 553–79. http://dx.doi.org/10.1080/09502386.2010.488409.

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Sorensen, Vibeke. "Global Visual Music Jam Project." Leonardo 38, no. 4 (August 2005): 316. http://dx.doi.org/10.1162/leon.2005.38.4.316.

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Chua, Daniel. "Global musicology." New Sound, no. 50-2 (2017): 12–16. http://dx.doi.org/10.5937/newso1750012c.

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How do we think globally as musicologists? Recent attempts to write global histories of music raise various issues about how we should relate as scholars in a global community, and question whether as scholars we truly understand the nature of music given the new global perspective. Thinking globally is a key challenge. There is a strong possibility that we may fail, but taking up the challenge is like to spur our discipline forward in unexpected ways.
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Orzolek, Douglas C. "Music in Bulgaria, part of the Global Music Series." Music Educators Journal 91, no. 2 (November 2004): 53–54. http://dx.doi.org/10.2307/3400052.

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Truax, Barry. "Soundscape Composition as Global Music: Electroacoustic music as soundscape." Organised Sound 13, no. 2 (June 25, 2008): 103–9. http://dx.doi.org/10.1017/s1355771808000149.

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AbstractThe author covers the background of soundscape composition, as initiated by the World Soundscape Project at Simon Fraser University, and soundscape documentation as an activity that is being increasingly practised worldwide. Today there are two striking manifestations of this work: the increasing globalisation of the electroacoustic community, and the increasing sophistication of digital techniques applied to soundscape composition. In addition, the tradition of listening to environmental soundscapes as if they were music is inverted to suggest listening to electroacoustic music as if it were soundscape. What analytical tools and insights would result? The theoretical concepts introduced in soundscape studies and acoustic communication are summarised and applied first to media and digital gaming environments, noting the extensions of both their sound worlds and the related listening attitudes they provoke in terms of analytical and distracted listening. Traditional approaches to acousmatic and soundscape analysis are compared for their commonalities and differences, the latter being mainly their relative balance of attention towards inner and outer complexity. The types of electroacoustic music most amenable to a soundscape based analysis are suggested, along with brief examples of pieces to which such analysis might be directed.
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Dissertations / Theses on the topic "Global Music"

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Goldschmitt, Kariann Elaine. "Bossa mundo Brazilian popular music's global transformations (1938-2008) /." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1905631301&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Webb, Peter M. "Global cuts : an investigation into localised dance music production." Thesis, University of the West of England, Bristol, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.431158.

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Levy, Claire. "Youth and Popular Music in Bulgaria: Local versus Global." Bärenreiter Verlag, 2000. https://slub.qucosa.de/id/qucosa%3A36646.

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Harris, Keith Daniel. "Transgression and mundanity : the global extreme metal music scene." Thesis, Goldsmiths College (University of London), 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.397110.

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Jönsson, Sara, and Linda Lagerdahl. "Swedish Music and Fashion - a Global Passion? : Swedish Gorn Globals: Where do they go and why?" Thesis, Stockholm University, School of Business, 2005. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-6117.

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This Master Thesis discusses the phenomenon of Born Globals, i.e. companies which internationalise at an early stage and view the whole world as their playing field. Most definitions of Born Globals only regard the international output of a company. We have chosen to consider the international input as well. The definition of Born Globals used in our study is: ´a firm that from its inception derives competitive advantages from the use of resources and the sales of outputs in multiple countries´. These are the research questions: 1. Which countries/markets do the Swedish Born Globals trade in, input and output? 2. Why have the companies entered these countries/markets? 3. Does culture influence the decision of which countries/markets to go into? How? A purpose of this thesis is to contribute new knowledge within this subject. And since most research about Born Globals has been focused on the high-technology sector, we have as an alternative, selected two industries within the Experience Economy; music and fashion. We examined research question number 1 through a quantitative process; a telephone survey including ten Swedish Born Global companies from each industry. Furthermore, we approached research questions 2 and 3 through a qualitative manner using in-depth interviews with two companies from each industry. Theories chosen for this thesis are: the Uppsala School, the Transaction Cost Analysis, the Network, the Born Global, the Social Capital, the Marker Size, the Push and Pull and the Country Cluster theories. In conclusion, the largest output countries for the music business are Germany, the U.S., Japan and England. On the input side, the most common markets are England/UK, the U.S. and Germany. In the fashion business, the most common markets for output are Denmark, Norway, Finland, Germany, England/UK, Greece and Japan. The largest markets for input are Portugal, Italy and China. The music companies put forward a number of reasons for the most common output markets: openness to new music, large market potential, geographical closeness, similar music style, contacts and the use of a country as a “springboard” to enter other markets. The fashion companies gave a number of reasons for the most common output markets: geographical and cultural proximity, networks and similar fashion style. Reasons on the input side are: history in textile manufacturing, flexibility, quality, contacts, networks, coincidence, reputation and low cost. All respondents agreed that culture influences the decisions of which countries to enter as well as which markets to stay away from. In the Final Discussion we have presented an inductive model called the Born Global Four-Fielder. This model considers the international input and output sides equally important.

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Heneghan, Frank. "Ireland's Music Education National Debate rationalization, reconciliation, contextuality and applicability of global philosophies in conflict /." Pretoria : [s.n.], 2004. http://upetd.up.ac.za/thesis/available/etd-11082004-084013/.

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Thesis (D.Mus.)-University of Pretoria, 2004.
Paper copy accompanied by 1 CD-ROM with title: The Music Education National Debate (MEND). Includes bibliographical references. Available on the Internet via the World Wide Web.
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Browning, Joseph. "Cosmopolitan natures : music, materiality and place in the global Shakuhachi scene." Thesis, SOAS, University of London, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.698084.

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Vogelgesang, Anna Ruye. "An Investigation of Philosophy and Practice: Inclusion of World Musics in General Music Classes." Bowling Green State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1554376600823459.

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Schmidt, Patricia Anne. "Québec Electric: Montreal, Mutek and the global circuit." Thesis, McGill University, 2011. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=103486.

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Montréal-based artists and organizations are significant and deliberate players in the global creation and exchange of electronic music and digital culture. My research will explore the conditions that continue to produce a concentration of future-looking industries, arts and culture. A yearly event in Montréal with branches in South America and global circulations, the Mutek festival provides an opportunity to study the unique and emerging relationship between niche and avant-garde festivals and their cities; new industries, music, art and technology; local/global interactions and networking; policy at all levels of government and new economic opportunities for culture in general. It provides an emerging model/cultural form of a 21st century art and music festival. I intend to show how governmental policy affects the festival and contribute to recent work that casts cities in new socio-cultural and economic roles, and as part of increasingly sophisticated international networks.
Les artistes et organismes de Montréal sont des acteurs importants et impliqués à une échelle globale dans un circuit de création et d'échange des musiques électroniques et de la culture numérique. Mes recherches explorent les facteurs qui permettent de faciliter la mise en place continue d'une concentration d'industries innovantes, d'art et de culture. Le festival Mutek, qui se tient tous les ans à Montréal et est inscrit dans une dynamique globale d'échanges et de diffusion, avec de fortes connexions en en Amérique Latine latine notamment, offre la possibilité d'étudier les relations particulières et nouvelles entre les festivals de niche et d'avant-garde et les villes où ils prennent place, entre les industries innovantes, la musique, l'art et la technologie, les tissus locaux et internationaux de collaborations et interconnexions, les politiques à tous les niveaux de gouvernements et les nouvelles opportunités économiques pour la culture en général. Il incarne un modèle émergent, une forme culturelle nouvelle de festival artistique et musical du 21ème siècle. Mon travail démontrera comment les politiques gouvernementales peuvent affecter mais aussi contribuer à la dynamique récente qui donne aux villes un rôle socio-culturel et économique tout en les inscrivant dans un maillage international de plus en plus sophistiqué.
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Olson, Ted. "Comparing Global Regions: Appalachia and Catalunya." Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/etsu-works/1216.

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Books on the topic "Global Music"

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1947-, Enders Bernd, and Stange-Elbe Joachim 1956-, eds. Global village, global brain, global music: KlangArt-Kongress 1999. [Osnabrück]: Electronic Pub. Osnabrück, 2003.

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C, Shahriari Andrew, ed. World music: A global journey. 3rd ed. New York: Routledge, 2012.

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Foy, Debbie. Simon Cowell: Global music mogul. New York: PowerKids Press, 2011.

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C, Shahriari Andrew, ed. World music: A global journey. New York: Routledge, 2008.

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Foy, Debbie. Simon Cowell: Global music mogul. New York: PowerKids Press, 2011.

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C, Shahriari Andrew, ed. World music: A global journey. New York: Routledge, 2006.

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Brown, Andy. Global Metal Music and Culture. New York; London: Routledge, 2016. | Series: Routledge: Routledge, 2016. http://dx.doi.org/10.4324/9781315742816.

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Chapman, Ian. Global Glam and Popular Music. New York; London: Routledge, 2016.: Routledge, 2016. http://dx.doi.org/10.4324/9781315743127.

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M, Chandy Sugu J., ed. Christian music: A global history. Minneapolis: Fortress Press, 2011.

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Rap global. Rio de Janeiro, RJ: Aeroplano Editora, 2010.

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Book chapters on the topic "Global Music"

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Mazzola, Guerino, Maria Mannone, Yan Pang, Margaret O’Brien, and Nathan Torunsky. "Global Music." In Computational Music Science, 115–24. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-47334-5_13.

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Witulski, Christopher. "Global Popular Music." In 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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Mazzola, Guerino. "Global Compositions." In The Topos of Music, 299–332. Basel: Birkhäuser Basel, 2002. http://dx.doi.org/10.1007/978-3-0348-8141-8_13.

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Mazzola, Guerino. "Global Perspectives." In The Topos of Music, 333–47. Basel: Birkhäuser Basel, 2002. http://dx.doi.org/10.1007/978-3-0348-8141-8_14.

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Mazzola, Guerino. "Global Classification." In The Topos of Music, 349–67. Basel: Birkhäuser Basel, 2002. http://dx.doi.org/10.1007/978-3-0348-8141-8_15.

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Peres da Silva, Glaucia. "Wurde „World Music“ global?" In Wie klingt die globale Ordnung, 209–99. Wiesbaden: Springer Fachmedien Wiesbaden, 2015. http://dx.doi.org/10.1007/978-3-658-11813-6_4.

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Liu, Annie Yen-Ling, and Blake Stevens. "Teaching Global Music History." In Listening Across Borders, 53–64. New York: Routledge, 2021. http://dx.doi.org/10.4324/9780429027215-4.

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Graham, Phil. "Michael Smellie, Global Record Executive." In Music Business Research, 15–32. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-02143-6_2.

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Graham, Phil. "Stuart Rubin, Global Marketing Manager." In Music Business Research, 107–31. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-02143-6_6.

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Mazzola, Guerino. "Global Compositions." In The Topos of Music I: Theory, 245–71. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-64364-9_13.

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Conference papers on the topic "Global Music"

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Jovanovik, Milos, Matej Petrov, Bojan Najdenov, and Dimitar Trajanov. "Linked music data from global music charts." In the 10th International Conference. New York, New York, USA: ACM Press, 2014. http://dx.doi.org/10.1145/2660517.2660536.

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Khaled, Shah Mostafa, Robert Benkoczi, and Yuanzhu Chen. "Mesh Network Deployment to Ensure Global Reachability." In 2012 Third FTRA International Conference on Mobile, Ubiquitous, and Intelligent Computing (MUSIC). IEEE, 2012. http://dx.doi.org/10.1109/music.2012.43.

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Minami, Haruki, Hiroyuki Nishi, and Fumihiro Nishikawa. "S/N ratio evaluation of music in a portable music player." In 2014 IEEE 3rd Global Conference on Consumer Electronics (GCCE). IEEE, 2014. http://dx.doi.org/10.1109/gcce.2014.7031187.

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Govardhanaraj, Kiruthikamani, and Dheerthi Nagaraj. "Intelligent music player with ARM7." In 2015 Global Conference on Communication Technologies (GCCT). IEEE, 2015. http://dx.doi.org/10.1109/gcct.2015.7342676.

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Martins de Sousa, Jefferson, Eanes Torres Pereira, and Luciana Ribeiro Veloso. "A robust music genre classification approach for global and regional music datasets evaluation." In 2016 IEEE International Conference on Digital Signal Processing (DSP). IEEE, 2016. http://dx.doi.org/10.1109/icdsp.2016.7868526.

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Nakamura, Keita, Takako Fujisawa, and Takasaki Kyoudou. "Music recommendation system using lyric network." In 2017 IEEE 6th Global Conference on Consumer Electronics (GCCE). IEEE, 2017. http://dx.doi.org/10.1109/gcce.2017.8229316.

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SAITO, Yasuyuki, Yasuji SAKAI, Yuu IGARASHI, Suguru AGATA, Eita NAKAMURA, and Shigeki SAGAYAMA. "Music Recreation in Nursing Home using Automatic Music Accompaniment System and Score of VLN." In 2020 IEEE 2nd Global Conference on Life Sciences and Technologies (LifeTech). IEEE, 2020. http://dx.doi.org/10.1109/lifetech48969.2020.1570619212.

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Nsoh, Stephen Atambire, and Robert Benkoczi. "Towards Global Connectivity by Joint Routing and Scheduling in Wireless Mesh Networks." In 2012 Third FTRA International Conference on Mobile, Ubiquitous, and Intelligent Computing (MUSIC). IEEE, 2012. http://dx.doi.org/10.1109/music.2012.44.

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Samuel Saragih, Harriman. "Music for the Generation-Z, Quo Vadis." In 2016 Global Conference on Business, Management and Entrepreneurship. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/gcbme-16.2016.157.

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Schlingmann, Dirk R. H. "Teaching Mathematics and Music Using Technology." In 2016 Global Conference on Teaching and Learning with Technology (CTLT 2016). WORLD SCIENTIFIC, 2017. http://dx.doi.org/10.1142/9789813148826_0002.

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Reports on the topic "Global Music"

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Yatsymirska, Mariya. SOCIAL EXPRESSION IN MULTIMEDIA TEXTS. Ivan Franko National University of Lviv, February 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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