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Journal articles on the topic 'Global music traditions'

Author: Grafiati

Published: 5 June 2025

Last updated: 2 August 2025

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1

Mueller, Katharina. "Secondary Musical Languages: Modeling Multicultural Music Curricula after Foreign Language Education." Nota Bene: Canadian Undergraduate Journal of Musicology 18, no. 1 (2025): 28–54. https://doi.org/10.5206/notabene.v18i1.22231.

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Music conservatories and university music departments around the world have recently begun to introduce additional musics outside the Western art music traditions into their required curricula, including non-Western traditions and Western vernacular traditions. While preprofessional training in Western art music remains the primary objective, these institutions are modifying curricula in order to expose their students to a broader scope of musics and cultivate an awareness of global musical diversity. However, many newly developed programs and course models that integrate additional musics fai

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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 (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 temper

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Bo, Yang Bo. "Review of the 48th World Conference of the International Council for Traditions of Music and Dance." ASIAN-EUROPEAN MUSIC RESEARCH JOURNAL 15 (May 30, 2025): 97–101. https://doi.org/10.30819/aemr.15-9.

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The International Council for Traditions of Music and Dance (ICTMD) is a global scholarly organization dedicated to the study, documentation, and promotion of music and dance traditions worldwide. Originally founded in 1947 as the International Council for Traditional Music (ICTM), it was renamed in 2023 to reflect its commitment to both music and dance research. ICTMD fosters interdisciplinary collaboration among ethnomusicologists, dance scholars, and practitioners through conferences, study groups, and publications, supporting the study, practice, documentation, preservation, and disseminat

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Tairjanovna, Masharipova Gulbahor. "Globalization and music integration." International Journal of Pedagogics 5, no. 2 (2025): 164–66. https://doi.org/10.37547/ijp/volume05issue02-44.

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This article is devoted to the study of the processes and consequences of musical integration in the context of globalization. The study analyzes how international socio-economic changes and digital technologies have affected musical culture, the interaction of regional musical traditions and modern styles. The article discusses musical innovations resulting from global trends, the widespread dissemination of music through new platforms, and the role of traditional music in this process. It also examines the positive and negative consequences of globalization on musical integration, the issues

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Yang, Menghao. "From Grasslands to Global Beats: A Study of Mongolian Ethnic Music Integration in Chinese Pop." Pacific International Journal 7, no. 2 (2024): 109–13. http://dx.doi.org/10.55014/pij.v7i2.583.

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This study goes into the integration of Mongolian Ethnic Music into Chinese pop culture, exploring its historical roots, musical characteristics, and contemporary manifestations. Mongolian Ethnic Music, rooted in millennia of tradition and nomadic heritage, reflects the spiritual essence and cultural richness of the Mongolian people. Through an examination of ancient origins, influences of shamanism and Buddhism, and modern developments, the evolution of Mongolian music is traced, showcasing its diverse melodic, rhythmic, and tonal qualities. The classification of Mongolian music genres and st

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PEI, LONG, RAHMATTULLAH KHAN ABDUL WAHAB KHAN, and LIM SEONG PEK. "HARMONIZING HERITAGE: A FRAMEWORK FOR INCORPORATING TRADITIONAL CHINESE MUSIC INTO MODERN EDUCATION." Quantum Journal of Social Sciences and Humanities 5, no. 5 (2024): 318–25. https://doi.org/10.55197/qjssh.v5i5.469.

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This paper examines the integration of traditional Chinese music into contemporary educational settings, emphasizing its historical, cultural, and pedagogical significance. Traditional Chinese music, with origins dating back to 2697 BCE, has played a pivotal role in China’s cultural evolution and global music traditions. However, it has been marginalized by Western musical traditions in modern educational curricula, leading to a lack of appreciation and awareness among students. The paper discusses the theoretical foundations, including Social Learning Theory and the Theory of Communities, to

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Pergram, Aaron. "Using Cohorts and Podcasts for Learning Global Music." International Journal on Engineering, Science and Technology 5, no. 1 (2023): 15–29. http://dx.doi.org/10.46328/ijonest.125.

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The aim of this autoethnographic account follows the journey of an instructor’s pedagogical shifts to illustrate the importance of engaged learning. Even for music majors, examining and understanding cultural concepts outside of Western traditions is challenging. Studying global music-cultures requires, at minimum, a patchwork of basic knowledge of a culture’s musical practice, geography, political structure, history, and religion or belief systems. These challenges can stalemate learning resulting in either a teacher who teaches with an ethnomusicological approach beyond students’ abilities o

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Hakim, Uswatul, Alrizka Hairi Dilfa, Riri Trinanda, and Hengki Armez Hidayat. "Integrasi Platform Media Sosial Instagram dalam Pertunjukan dan Pembelajaran Musik Gamad di Sendratasik FBS UNP." Resital: Jurnal Seni Pertunjukan 25, no. 2 (2024): 338–56. https://doi.org/10.24821/resital.v25i2.13783.

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Penelitian ini bertujuan untuk mendeskripsikan dan menganalisis integrasi pertunjukan musik Gamad ke dalam platform media sosial dan dampaknya terhadap pembelajaran musik Gamad di Jurusan Pendidikan Drama, Tari, dan Musik (Sendratasik), Fakultas Bahasa dan Seni (FBS), Universitas Negeri Padang (UNP). Penelitian ini berfokus pada bagaimana Instagram, sebuah platform digital populer, dimanfaatkan untuk mengajarkan dan menampilkan musik Gamad, mengeksplorasi perannya dalam mentransformasikan pedagogi musik tradisional. Dengan menggunakan pendekatan studi kasus kualitatif, penelitian ini mengkaji

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Suan, Chong Lee. "Why the Ancient Musical Essence is Still Retained in Dusun Tindal's Instrumental Music within its Modern Community?" GATR Global Journal of Business Social Sciences Review 3, no. 3 (2015): 24–31. http://dx.doi.org/10.35609/gjbssr.2015.3.3(3).

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Objective - This paper examines Dusun Tindal's instrumental music practice within the context of modernity of the society in Tenghilan, a town that is located on northwest Sabah. The study looks into the driving modish musical styles and forms in the root of the ancient traditions especially in the aspects of musical natures, music compositions, musical functions, and philosophies. Methodology/Technique - The contemporary musical ensemble is a newly developed tradition combining a mixture of traditional and western musical instruments and styles. Due to the new mindsets and tastes of their you

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Ergashevna, Tursunova Laylo. "The Impac Of The Global Environment And Its Spiritual Factors On The Musical Culture Of Youth." American Journal of Social Science and Education Innovations 03, no. 01 (2021): 244–48. http://dx.doi.org/10.37547/tajssei/volume03issue01-47.

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Continuing the traditions of our great ancestors, programs and plans aimed at the development of music in our country are being implementedduring the years of independence. In particular, in order to preserve and study our musical heritage, to pass it on to the younger generation, many competitions and prestigious international music conferences are held regularly.

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Yang, Yue. "Resonance of Tradition: A Comprehensive Exploration of the Historical and Cultural Dimensions of Mongolian Ethnic Music in China." Pacific International Journal 7, no. 2 (2024): 28–32. http://dx.doi.org/10.55014/pij.v7i2.559.

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This paper studies the historical evolution and cultural inheritance of Mongolian ethnic music within China, particularly focusing on the nomadic traditions entrenched in Inner Mongolia. Tracing its roots from ancient times to the contemporary era, the research illuminates the profound connection between the musical heritage of the Mongolian people and their nomadic lifestyle. Through a meticulous historical analysis and literature review, the study unfolds the intricate layers of Mongolian ethnic music, showcasing the significance of traditional instruments and vocal techniques. The paper exp

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Zhivitsa, A. R. "MODERN TRENDS OF ETHNIC MUSIC." Arts education and science 1, no. 30 (2022): 172–79. http://dx.doi.org/10.36871/hon.202201020.

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Modern ethnic music, represented by a wide palette of styles and trends, is an interesting global musical phenomenon, based on the actualization of national musical traditions and building intercultural dialogue. In this article, we clarify the terminological apparatus and conceptual environment of ethnic music, which in Russian realities is understood as a part of contemporary culture that combines traditional music and folk music, as well as consider the socio-cultural prerequisites for the emergence of this phenomenon and the main tendencies of ethnic music. Born as a youth folklore movemen

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Raimkulova, A. "KAZAKH MUSIC CULTURE ON THE GLOBALIZATION CROSSROADS: ETHNIC TRADITIONS VERSUS COMPOSER SCHOOL IN INTERCULTURAL INTERACTION." BULLETIN 384, no. 2 (2020): 185–93. http://dx.doi.org/10.32014/10.32014/2020.2518-1467.58.

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At the present stage, Kazakh musical culture is heterogeneous. It represents traditions coexisting at the same time and interacting with each other: Kazakh ethnic and newly established composer school (tradition). Examining changes in cultural landscapes of the 20th century I reveal the peculiarities of interaction and dialogue between two kinds of culture: ethnic and global (endogenous and exogenous). The procedures include the complex study of the history of Kazakh culture in the 20th century, stylistic analysis of traditional and composer’s music, semiotic approach to intercultural interact

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Sanfratello, Giuseppe. "The 2nd Symposium of the ICTM Study Group on ‘Global Music History’ in Palermo, Sicily." ASIAN-EUROPEAN MUSIC RESEARCH JOURNAL 12 (December 13, 2023): 115–16. http://dx.doi.org/10.30819/aemr.12-11.

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The second Official Symposium of the ICTM Study Group on Global History of Music was held in Palermo, Sicily, from 7 to 9 June 2023, under the title ‘An entire ocean in a drop of water’: Island Musics, Performance Identities, and Sound Archives. More than fifty scholars and researchers from all over the world came together in eleven sessions and three panels to discuss some of the most relevant topics of our time in the field of ethnomusicological studies, such as the function and value of archives, the musical traditions of the diasporas, and the historical dimension of music in prevalent ora

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Bouziane, Ikbale. "Engaged Amazigh Poetry in Meteor Airlines' "Agdal": Reviving Tradition while Addressing Global Environmental Issues." Journal of Gender, Culture and Society 4, no. 2 (2024): 119–25. http://dx.doi.org/10.32996/jgcs.2024.4.2.10.

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This paper analyzes Meteor Airlines' 2024 album Agdal, which revitalizes traditional Amazigh poetry through the emerging genre of Amazigh Rock. The study aims to explore how Agdal integrates the cultural heritage of pre-Saharan Amazigh oasis communities into global environmental discussions, with an emphasis on preserving nomadic and pastoral traditions. Using a qualitative analysis of the album’s lyrics, music style, and its reception, this research examines how the album marks a shift in Morocco's cultural industry from commercialized music production to efforts centered on cultural preserva

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Pati, R. N., Shaik B. Yousuf, and Abebaw Kiros. "Cultural Rights of Traditional Musicians in Ethiopia: Threats and Challenges of Globalisation of Music Culture." International Journal of Social Sciences and Management 2, no. 4 (2015): 315–26. http://dx.doi.org/10.3126/ijssm.v2i4.13620.

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Ethiopia upholds unique cultural heritage and diverse music history in entire African continent. The traditional music heritage of Ethiopia has been globally recognized with its distinct music culture and symbolic manifestation. The traditional songs and music of the country revolves around core chord of their life and culture. The modern music of Ethiopia has been blended with combination of elements from traditional Ethiopian music and western music which has created a new trend in the music world. The music tradition of the country not only maintains the cultural identity but also maintains

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Ibekwe, Eunice U. "Re-positioning traditional music in contemporary Nigeria: <i>Egwu Umu-Obiligbo</i> (Afric-sound) of Igbo culture as a paradigm." Journal of the Association of Nigerian Musicologists 19, no. 1 (2025): 25–47. https://doi.org/10.4314/janm.v19i1.2.

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Nigeria's musical tradition encompasses a spectrum of genres ranging from pure traditional / folk music to the fusion of indigenous sounds with global textures. The thrust of this study is an investigation into the innovative and progressive engagement by Umu Obiligbo, in re-positioning traditional music in Nigeria contemporary space. Premised on ethnomusicological ideology which focuses on studying people’s social and cultural traditions, the work anchors on the theory of cultural nationalism that hinges on musicians’ strive to preserve nation’s cultural heritage. Being a qualitative research

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Xiao, Mei. "Sanubar Tursun and Her “Global Moments”." ASIAN-EUROPEAN MUSIC RESEARCH JOURNAL 15 (May 30, 2025): 1–12. https://doi.org/10.30819/aemr.15-1.

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It is often said that those prominent personalities in the recent history of music and dance heritage contribute significantly to the cultural landscape of a nation or community. These peaks are not isolated cultural entities but leave unique and irreplaceable “global moments” on the map of music history. Unlike the “global moments” highlighted in European music historiography, exemplified by figures such as Bach, Mozart, and Beethoven, these individuals gain global significance through transcending local experiences, crossing cultural boundaries, and connecting to the global network via their

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Shamilli, Giultekin B. "Azerbaijan in the Map of Global History of Art: Discourse Through Boundaries of Music and Dance." ASIAN-EUROPEAN MUSIC RESEARCH JOURNAL 14 (December 19, 2024): 1–12. https://doi.org/10.30819/aemr.14-1.

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The question of Azerbaijan’s place in the global history of art was publicly raised in 1919 after Uzeyir Hajibeyli (1885–1948) published an article on the music of Azerbaijani Turks (Azərbaycan türkləri) as a multi-ethnic nation (millət) united by the Turkic language (türk dili). Hajibeyli pointed out the lack of direct connection between music and language and highlighted the contrasting musical traditions of the southern (Azerbaijanis, Ottomans) and northern (Volga region and Siberia) Turks. Developing the concept of Hajibeyli, the author suggests considering recontextualization as a method

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Liu, Wanying. "The Localization of Global Music and the Diverse Practices of Modern European Music Festivals." Critical Humanistic Social Theory 1, no. 2 (2024): 54–62. http://dx.doi.org/10.62177/chst.v1i2.79.

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This paper examines the phenomenon of cross-cultural music fusion in modern European music festivals, analyzing the innovation and development of global music within the context of localization. With the advancement of globalization, European music festivals have emerged as vital platforms for musical exchange among diverse cultures. The study demonstrates that global music manifests new forms of expression and creative techniques through its interaction with local traditions. Through case studies of WOMEX and the Salzburg Festival, this paper reveals how global musical elements are localized

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Kidula, Jean Ngoya. "“There is Power”: Contemporizing Old Music Traditions for new Gospel Audiences in Kenya." Yearbook for Traditional Music 42 (2010): 62–80. http://dx.doi.org/10.1017/s0740155800012662.

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The genre commonly labelled “gospel” is probably the most lucrative music business in Kenya. Its popularity is facilitated in part by the propensity of musicians to draw on diverse resources for Christian religious songs. Musicians further invoke indigenous Kenyan and contemporary popular music genres in local and international languages for national distinctiveness and global inclusiveness. Top-of-the-line recording facilities in Kenya enable artists to produce a broad spectrum of music at a pace comparable to anywhere in the world. The diversity of repertoire and a ready access to studios ha

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Guliyeva, Ilaha, and Liubov Kopanitsa. "Folklore in contemporary music: Revival of cultural traditions." Interdisciplinary Cultural and Humanities Review 3, no. 2 (2024): 24–34. https://doi.org/10.59214//cultural/2.2024.24.

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The purpose of the study was to comprehensively analyse and systematise the ways in which contemporary artists and musicians integrate folk motifs into their works. It was found that although modern interpretations of folklore retain the basic melodic structures of traditional compositions, they also introduce significant innovations in arrangement and instrumental design. The study showed that musicians attach new cultural and personal meanings to musical works, reinterpreting folklore narratives in accordance with modern realities. It was also found that thematic motifs and instrumental tech

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Guliyeva, Ilaha, and Liubov Kopanitsa. "Folklore in contemporary music: Revival of cultural traditions." Interdisciplinary Cultural and Humanities Review 3, no. 2 (2024): 24–34. https://doi.org/10.59214/cultural/2.2024.24.

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The purpose of the study was to comprehensively analyse and systematise the ways in which contemporary artists and musicians integrate folk motifs into their works. It was found that although modern interpretations of folklore retain the basic melodic structures of traditional compositions, they also introduce significant innovations in arrangement and instrumental design. The study showed that musicians attach new cultural and personal meanings to musical works, reinterpreting folklore narratives in accordance with modern realities. It was also found that thematic motifs and instrumental tech

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Liu, Jiayi, Yan Chen, and Shu Huang. "Exploring the Sociocultural Influence of Music Traditions Across Different Cultures." SHS Web of Conferences 187 (2024): 02008. http://dx.doi.org/10.1051/shsconf/202418702008.

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Music, often heralded as the universal language, wields an unparalleled power to bridge gaps, transcend borders, and knit together the mosaic of global cultures. It manifests in a kaleidoscope of forms, each echoing the unique cultural heartbeat of its origin, painting a rich tapestry of human society with its melodious strokes. This paper sets out to explore the enthralling diversity of musical traditions that span the globe, delving into the complex relationship between music, culture, and the fabric of society. From the ethe-real strains of classical Indian ragas, steeped in centuries of sp

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Holmes, Sarah C. "Ethnomusicology: Global Field Recordings." Charleston Advisor 21, no. 3 (2020): 31–33. http://dx.doi.org/10.5260/chara.21.3.31.

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Ethnomusicology Global Field Recordings is a new venture from Adam Mathew Digital: A SAGE Publishing Company. The database furnishes primary resource materials from a variety of audio field recordings, field notebooks, film footage, correspondence, educational recordings, and ephemera from over 60 ethnomusicologist field collections spanning over 70 years. Musical traditions, interviews with musicians, and assorted primary documents demonstrate how music influences and interacts with a variety of cultures. The geographic range is expansive and includes all continents. This resource is broadly

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Berehova, Olena. "Ukrainian piano competitions in the space of global intercultural dialogue." Culturology Ideas, no. 20 (2'2021) (2021): 78–89. http://dx.doi.org/10.37627/2311-9489-20-2021-2.78-89.

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The article clarifies the influence of globalization on the musical culture of Ukraine, in particular, on international piano competitions. It emphases the role of global music organizations, which play an important integrative role in the processes of international artistic exchange and at the same time are a communication field for the demonstration of the best national artistic creative practices. In the field of international music competitions, the most influential organizations, in particular, are the World Federation of International Music Competitions, European Union of Music Competiti

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Long, Siyu, and Won-Ho Choi. "A Comparative Study on the Cultural Transmission of Music Narration in Chinese and Korean Animated Films." Highlights in Art and Design 6, no. 3 (2024): 31–36. http://dx.doi.org/10.54097/5ew2pw32.

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By comparing Chinese and Korean animated films, this study expounds the cultural transmission of music narration in Chinese and Korean animated films, and reveals how music, as an important medium, expresses and transmits the cultural characteristics of each country in animation production. The study found that the music of Chinese animated films usually pays attention to the reproduction of historical depth and tradition, emphasizing the classical and emotional depth of the story, and the musical style is often closely connected with Chinese literary and philosophical traditions, showing poet

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Appert, Catherine M. "LOCATING HIP HOP ORIGINS: POPULAR MUSIC AND TRADITION IN SENEGAL." Africa 86, no. 2 (2016): 237–62. http://dx.doi.org/10.1017/s0001972016000036.

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ABSTRACTThis article complicates internationally circulating origin myths that alternately link hip hop to West African griot traditions or highlight the global resonance of its roots in the US inner city. I argue that such generalizing narratives potentially obscure how complex understandings of traditional cultural production inform local engagements with hip hop in Africa, and advocate instead for ethnographically generated interpretive frameworks that enable alternative, locally grounded analyses of hip hop cultures. In doing so, I examine the particularity of Senegalese invocations of ori

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Bogoliubov, Oleksii. "Ukrainian jazz projects of the early 21st century in global integration processes." Culturology Ideas, no. 26 (2'2024) (2024): 71–80. https://doi.org/10.37627/2311-9489-26-2024-2.71-80.

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The purpose of the article is to explore the conditions and approaches for creating Ukrainian jazz projects that integrate national musical traditions into contemporary jazz music. The article examines various approaches to synthesizing Ukrainian musical heritage with jazz styles and analyzes examples of successful jazz projects that contribute to the preservation and development of national musical heritage in the context of globalization. Studying these aspects aims to demonstrate how jazz music can become an effective means of integrating Ukrainian culture into the global music process. The

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Bi, Huifeng, and Natthapong Prathumchan. "Musical Composition Literacy and Arrangement Techniques in Chinese Pop Music." International Journal of Education and Literacy Studies 12, no. 4 (2024): 175–84. https://doi.org/10.7575/aiac.ijels.v.12n.4p.175.

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This study explores the musical composition literacy and arrangement techniques in Chinese pop music. The research investigates how traditional Chinese musical elements and modern global influences are synthesized in contemporary Chinese pop music. The objective is to investigate and analyze the musical composition literacy and arrangement techniques in Chinese pop music, specifically focusing on the song “Qi Mei Di” by Guo Ding. The study was conducted through a qualitative research design involving an instrumental case study, which focused on a detailed examination of a single song and invol

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Jiang, Min. "The Optimization of Curriculum System for Music Education Professionals in the Inheritance and Transmission of Intangible Cultural Heritage Music." Pacific International Journal 8, no. 2 (2025): 139–46. https://doi.org/10.55014/pij.v8i2.801.

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This study examines the optimization of music education curricula for the preservation and transmission of intangible cultural heritage (ICH) music in China, with a focus on Jiangsu Province’s rich musical traditions. Using XX University as a case study, the research explores how higher education institutions can integrate regional ICH music into formal music education programs. Through a mixed-methods approach, the study analyzes curriculum reforms, extracurricular initiatives, and community partnerships that bridge academic training with cultural preservation. Key findings highlight the effe

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Xiao, Xiao. "Genre and Style Dimensions of Ukrainian Piano Music of the 20th — Early 21st Century." ARTISTIC CULTURE. TOPICAL ISSUES, no. 20(1) (April 22, 2024): 133–38. http://dx.doi.org/10.31500/1992-5514.20(1).2024.306922.

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The article explores the evolution of Ukrainian piano music from the 20th to the early 21st century, which is a significant component of Ukraine’s cultural and artistic heritage. It analyzes the process of changes in genre and stylistic parameters of piano music and their impact on the process of forming national identity, encompassing both the revival of folk traditions and the introduction of avant-garde techniques. Particular focus is put on the interaction of Ukrainian composers with global musical processes, which has enriched the musical language by integrating new compositional techniqu

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Huseynova, S. "THE VOCAL ART OF YASHAR GURBANOV." Slovak international scientific journal, no. 86 (August 12, 2024): 33–35. https://doi.org/10.5281/zenodo.13299422.

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Azerbaijani vocal art stands, as a testament to the country's profound cultural heritage, intertwining centuries of tradition, emotion, and artistic expression. Central to this rich vocal tradition is <strong>Mugham </strong>- a sophisticated and emotive form of music that integrates poetry, instrumental mastery, and vocal improvisation. Alongside Mugham, <strong>Ashiq</strong> music, performed by the storytelling musicians known as Ashiq, adds another layer of depth with its narrative songs and rich folklore. These vocal forms are not only pivotal to Azerbaijan’s cultural identity but h

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Enyi, Dan. "HARMONIZING TRADITIONS: CULTURAL SYNTHESIS THROUGH PIANO ADAPTATIONS OF CHINESE FOLK SONGS." Baltic Journal of Legal and Social Sciences, no. 1 (April 18, 2024): 149–55. http://dx.doi.org/10.30525/2592-8813-2024-1-17.

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Abstract. The field of processing and arrangement of folk songs has been notably captivating for composers, as it unveils unexplored possibilities through piano, introducing new tonal expressions for well-known folk tunes. This research synthesizes methods from philosophy, cultural studies, history, and musicology. The dominant creative trend among Chinese composers is the adaptation and arrangement of their national art, diversifying the portrayal of musical content and promoting the global popularity of beloved national melodies. The works in arrangements, orchestrations, and transcriptions

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SIEGFRIED, DETLEF. "Alternative Music Geographies: A Commentary." Contemporary European History 26, no. 2 (2017): 379–83. http://dx.doi.org/10.1017/s0960777317000157.

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Spaces have always had a central role in the formation and impact of youth cultures, beginning with the near spaces of everyday life – school, workplace, village, neighbourhood – where peers come together and cobble together their own styles out of the traditions of their elders and media information about the new. National space was an important element as well, as a container for traditions, but also as a communication space for negotiating the boundaries of the new. Finally, in the years after 1945, global space has gained enormous importance with national debates affected by events and tre

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Gaitens, T. Andrew. "Temporal Shifts and Gendered Dimensions." Contemporary Arab Affairs 18, no. 1 (2025): 92–109. https://doi.org/10.1163/17550920-bja00061.

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Abstract This content analysis examines the prevalence of three types of harmful content—violence, substance use, and sexual objectification—within popular music videos released by Lebanese artists and directors between 1990 and 2020. The study examines temporal changes in the representation of these elements, paying particular attention to their gendered dimensions. The findings indicate that Lebanese music videos have been increasingly adopting a hyper-sexualized aesthetic reminiscent of the visual style popularized by the American cable network Music Television (MTV). The findings engender

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Putiatytska, Olha, Oksana Ryndenko, Olena Osoka, Liudmyla Putiatytska, and Dmytro Shchyrytsia. "EXPLORING GLOBAL MUSICAL DIVERSITY: ANALYSING THE FUSION OF STYLES, GENRES, AND TRADITIONS IN MODERN MUSIC." AD ALTA: Journal of Interdisciplinary Research 14, no. 1, Special Issue XLII (2024): 77–83. https://doi.org/10.5281/zenodo.11874481.

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Sinaga, Fajry Subhaan Syah, Sunarto, Udi Utomo, Syahrul Syah Sinaga, Suparjo, and Agus Cahyono. "Achieving Sustainable Development Goals Through Trunthung Music: From Rural Heritage to Urban Innovation in Indonesia." Journal of Lifestyle and SDGs Review 5, no. 3 (2025): e04724. https://doi.org/10.47172/2965-730x.sdgsreview.v5.n03.pe04724.

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Objective: This study aims to analyze the social functions, management, and preservation of Trunthung music as it transitions from rural to urban contexts. It seeks to understand how traditional music reflects cultural identity and strengthens social bonds in different socio-economic environments. Theoretical Framework: The research is grounded in the eco-musicology framework, which examines the interaction between music, culture, and community across diverse ecological and social settings. This perspective provides insights into how traditional music adapts to changing environments while main

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Yang, Xiaoli Li Jia. "Nationalism In Popular Music In Thailand." Multicultural Education 8, no. 6 (2022): 107. https://doi.org/10.5281/zenodo.6619100.

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<em>It is evident that Western traditions have influenced people's behavior in the East. Historically, Western systems have been viewed as modern, and developing countries such as Thailand have had a strategy of adopting and adapting numerous Western methods in order to modernize the country. This is still going on today. It can be argued that through globalization, powerful countries, particularly those in the West, impose their cultures, whether original or transcultural, that are created in the West on the rest of the world; and refusing this global imposition appears to be an act of se

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Whalley, Ian. "Internet2 and Global Electroacoustic Music: Navigating a decision space of production, relationships and languages." Organised Sound 17, no. 1 (2012): 4–15. http://dx.doi.org/10.1017/s135577181100046x.

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Using Internet2 for audio performance, supported by digital video communication between players, provides the opportunity for networked electroacoustic music practitioners to connect with, bridge, amalgamate and lead diverse sound-based music traditions. In combination with intelligent/multi-agent software, this facilitates new hybrid sonic art forms. Extending prior work by the author,Mittsu no Yugo(Whalley 2010a) recently explored this direction. While Internet2 expands production/aesthetic possibilities, accommodating established aesthetics in tandem requires careful consideration. Beginnin

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Wang, Zi. "The Application of Polish Dance Rhythms in Opera Halka by Stanisław Moniuszko." Art and Society 4, no. 2 (2025): 16–21. https://doi.org/10.56397/as.2025.02.03.

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Stanisław Moniuszko’s opera Halka is a quintessential work of Polish national music, renowned for its innovative incorporation of traditional Polish dance rhythms. These rhythms are creatively adapted into special musical melodies, highlighting a distinct Polish national style and earning global acclaim. Moniuszko masterfully integrates the rhythms of dances such as the mazurka, polonaise, and krakowiak, reflecting the personalities of different characters and enhancing the emotional and dramatic depth of the narrative. These dance rhythms not only emphasize the folkloric elements of the story

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Mikheyeva, Yulia Vsevolodovna. "Alfred Schnittke and the End of Russian Classic Music." Journal of Flm Arts and Film Studies 3, no. 4 (2011): 82–93. http://dx.doi.org/10.17816/vgik3482-93.

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The article surveys the ideological and cultural situation in Russian music in the 1970s. It was the period when the most important traits of Alfred Schnittke’s work became apparent, which marked his transition from the images and themes of the Russian “Grand Style” to more complicated sound structures of modern music. Having inherited the intellectual and ethical traditions from Shostakovich, Schnittke brought to music a new perception of reality including a different understanding of a person’s state of mind. Thus, Schnittke’s film scores did not only reflect the shift of modern artistic par

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Sihui, Wen, and Tee Xiaoxi. "Cultural Resonances and Stylistic Divergences: A Conceptual Study of Shi Guangnan’s 'Regret for the Past' and Rossini’s 'William Tell'." Journal of Digitainability, Realism & Mastery (DREAM) 3, no. 10 (2024): 32–55. http://dx.doi.org/10.56982/dream.v3i10.267.

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This paper explores the cultural resonances and stylistic divergences in the works of two influential composers, Shi Guangnan and Gioachino Rossini, focusing on Guangnan’s Regret for the Past and Rossini’s William Tell. By examining the cultural and historical contexts in which these pieces were composed, this study analyzes how both works reflect their respective national identities, emotional themes, and broader societal narratives. The paper delves into the structural and stylistic elements of each piece, comparing Guangnan’s use of traditional Chinese music with modern influences and Rossi

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Gardner, Abigail, Alex De Lacey, and Eric Smialek. "Editorial." IASPM Journal 13, no. 3 (2023): 1–3. http://dx.doi.org/10.5429/2079-3871(2023)v13i3.1en.

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This Open Issue showcases the diversity of active scholarship across the International Association for the Study of Popular Music. We have seven contributions from scholars along multiple career stages, covering diverse topics from streaming to composing. They encompass a variety of methodological traditions, notably musicological and ethnographic ways into thinking about the production and consumption of popular music. This richness and variety of scholarship extends across diverse institutions, locations and points of departure, resulting in a dynamic, global academic ecosystem of popular mu

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Eriksson, Karin. "In Search for New and Old Sounds." Puls - musik- och dansetnologisk tidskrift 7 (May 1, 2022): 28–52. http://dx.doi.org/10.62779/puls.v7i.19258.

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Music has the capacity to evoke strong senses of belonging, place and identity. Especially in times of societal change music seems to become an important vehicle for individual and collective action. The new interest in folk music that swept over the Global North in the late 1960s and early 1970s particularly actualises these issues. It was a movement directed towards the revitalisation of local and regional folk music traditions, as well as an interest in folk music from different parts of the world. This article explores the intersections of these approaches. It investigates two musical init

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JUYAL, KANCHAN DHARIYA AND RACHNA. "Tradition at the Crossroads: Globalization and the Cultural Identity of Uttarakhand." JOURNAL OF ENVIRONMENT AND BIO-SCIENCE 39, no. 01 (2025): 143. https://doi.org/10.59467/jebs.2025.39.143.

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As the process of globalization has created new windows of opportunities for economic expansion, especially from the tourism and industrial sectors, it has set huge challenges toward preserving traditional modes and cultural heritage. This discussion investigates the subtle relationship between cultural identity and the process of globalization in the northern Indian state of Uttarakhand. It gives prominence to Uttarakhand's multicultural identity framed by its historical background, physical environment, and religious traditions. Local rituals, craftsmanship, festivals, and folk music are the

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Nyandieka, Brian Bichanga. "Beyond the Studio: Tertiary Music Production Graduates in Kenya Pursuing Non-Production Roles." African Musicology Online 13, no. 2 (2024): 12–21. http://dx.doi.org/10.58721/amo.v13i2.824.

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This study investigates the reasons behind music production graduates in Kenya moving away from production roles, with a focus on gaps in education and challenges in cultural competency. Through a qualitative research design employing semi-structured interviews and focus group discussions with recent graduates in Nairobi County, the study utilizes Kolb's Experiential Learning Theory to analyse how graduates transform their educational experiences into professional capabilities. The findings reveal a significant theory-practice gap characterized by the dominance of Western musical paradigms in

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Et.al, Mohd Azhar Abu Bakar. "The Symbiosis of Singing and Stage Performance in the Malaysian Music Industry." Turkish Journal of Computer and Mathematics Education (TURCOMAT) 12, no. 3 (2021): 1221–29. http://dx.doi.org/10.17762/turcomat.v12i3.870.

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Malaysia is a developing country rich in its culture and traditions dating back for centuries. The evolution of music in Malaysia, unnoticed by many, plays distinctive notes inspiring and transforming the paradigm shift of its people. Malaysian music transcends from melismatic, organum and minimalism, to the current progressive intervals, modulations and eclectic variations of form, structure, rhythm, chords and melodies. Vast social and economic developments change the appreciation of music in its representation by the transportation of musical essences through the delicate sensory motors of

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Patke, Rajeev S. "Music as a Form of Cultural Dialogue: The Case of Ravi Shankar." European Review 23, no. 3 (2015): 439–53. http://dx.doi.org/10.1017/s1062798715000125.

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The paper explores the notion of cultural dialogue in terms of a specific application: the contributions made by the sitar music of the Indian musician Ravi Shankar to the setting up of a conversation between the musical traditions of North India and their reception and partial assimilation by largely Western audiences. A survey of Shankar’s career, contextualized by a more general discussion of the problems and challenges encountered in bringing the musical conventions of one tradition into conversation with the musical expectations and assumptions of another culture leads to the conclusion t

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Hamidreza Nasrollahi. "The History and Evolution of Percussion Instruments in World Music." International Journal of Science and Research Archive 15, no. 3 (2025): 166–69. https://doi.org/10.30574/ijsra.2025.15.3.1681.

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This paper explores the history, cultural significance, and evolution of percussion instruments across diverse global traditions. From primitive rhythmic tools in prehistoric societies to complex orchestral and electronic applications in contemporary music, percussion has played a foundational role in communication, ritual, and musical expression. By examining archaeological records, ethnomusicological literature, and comparative musicology, this study provides an analytical overview of how percussion instruments have adapted and transformed across continents and centuries, reflecting both tec

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