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Journal articles on the topic 'Music and the conflict'

Author: Grafiati

Published: 4 June 2021

Last updated: 4 March 2023

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1

Jähnichen, Gisa. "Book Review of ‘Kirsten Seidlitz. 2020. Musik & Politischer Konflikt aus der Türkei – kurdische, alevitische und linke Musik in Deutschland’ [Music and Political Conflict from Turkey – Kurdish, Alevi, and Leftist Music In Germany]. Bielefeld: Transcript." ASIAN-EUROPEAN MUSIC RESEARCH JOURNAL 7 (June 21, 2021): 97–99. http://dx.doi.org/10.30819/aemr.7-8.

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This short review essay refers to the book of Kirsten Seidlitz ‘Musik XXABSTRACT Politischer Konflikt aus der Türkei – Kurdische, alevitische und linke Musik in Deutschland [Music and Political Conflict from Turkey – Kurdish, Alevi, and Leftist Music in Germany], which was published in 2020 by the German Transcript Verlag in Bielefeld. It is written in German and addresses many important questions regarding political conflicts and their impact on music among various different Turkish people living in Germany. Migration and political participation are heatedly debated in recent times and also a part of cultural exchange.

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2

Frydman, Jason. "Death in the Arena." Small Axe: A Caribbean Journal of Criticism 23, no. 3 (November 1, 2019): 34–49. http://dx.doi.org/10.1215/07990537-7912310.

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This essay decodes how Marlon James’s A Brief History of Seven Killings uses the history of Jamaican music, culminating in the conflict between roots reggae and dancehall, to chart the Cold War’s temporality, futurity, and ideological conflicts over time, temporality, and futurity. A Brief History of Seven Killings points readers to a jaded, subaltern temporality encoded in a dancehall music that rejects the revolutionary utopianism woven into postindependence Jamaican music. The novel stages this temporal conflict at the center of Jamaican popular music through the status of revolutionary Cuba and the riddim-based technique of dancehall song composition, both of which converge in the itinerary of the “Death in the Arena” riddim. The novel thus invites readers to process the Cold War’s conflict over time and space through the lens of Jamaican music, attuned both to how geopolitics inflected that music and to how that music inflected geopolitics. Reading the evolution of Jamaican music since independence, this essay reveals how the form of James’s novel replicates the spectral and shattered assemblages of dancehall music in order to borrow some of its fugitive, subaltern autonomy.

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McConnell, Bonnie. "To bring peace that stays: Music, conflict and conciliation in the Gambia." International Journal of Community Music 12, no. 3 (December 1, 2019): 349–66. http://dx.doi.org/10.1386/ijcm_00005_1.

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In the Senegambia Region of West Africa, performers have long played a central role in conflict mediation. Historically, this has included both small-scale conflicts, such as those between neighbours, and larger-scale conflicts between groups. This article draws on evidence from ethnographic research with Gambian performers to explore contemporary perspectives on conflict and conciliation. I use analysis of three Mandinka-language songs relating to conflict within the family to show that performers work to promote conciliation through appeals to shared values of oneness, positive relationships and empathy. Examples include songs by hereditary professional musicians (jaloolu), a hip hop artist and female fertility society performers (kanyeleng). These songs are rooted in cultural frameworks of morality and goodness, while also reflecting gendered dynamics of risk and inequality.

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Grant, M. J., Rebecca Möllemann, Ingvill Morlandstö, Simone Christine Münz, and Cornelia Nuxoll. "Music and Conflict: Interdisciplinary Perspectives." Interdisciplinary Science Reviews 35, no. 2 (June 2010): 183–98. http://dx.doi.org/10.1179/030801810x12723585301237.

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5

Tucker, Karen Westerfield. "Music Wars: A New Conflict?" Liturgy 24, no. 4 (July 2009): 3–9. http://dx.doi.org/10.1080/04580630903022139.

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6

Scheib, John W. "Role Stress in the Professional Life of the School Music Teacher: A Collective Case Study." Journal of Research in Music Education 51, no. 2 (July 2003): 124–36. http://dx.doi.org/10.2307/3345846.

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The theoretical framework of this article is based on the description of occupational role stress by Kahn, Wolfe, Quinn, and Snoek (1964) and Beehr (1987). The present study is an examination of six role stressors: role conflict, role ambiguity, role overload, underutilization of skills, resource inadequacy, and nonparticipation. One midwestern high school's music department in the United States, consisting of four music teachers, served as the study s focus. Data were collected as field notes from observations, transcripts from interviews, and document analysis. While role ambiguity and nonparticipation issues were not of great concern among the participants, issues related to role conflicts, role overloads, underutilization of skills, and resource inadequacy were substantial. The burden of tedious administrative responsibilities (underutilization of skills), the constant need for music education advocacy (role overload), conflicts between personal and professional roles (role conflict), and tension created by scheduling conflicts due to the increasingly busy schedules of students (resource inadequacy) were among the most significant stressors.

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7

Skyllstad, Kjell. "Music in conflict management: Fostering interracial understanding through music." European Journal of Intercultural studies 7, no. 2 (January 1996): 46–56. http://dx.doi.org/10.1080/0952391960070206.

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8

Scott, Derek. "Music Hall: Regulations and behaviour in a British cultural institution." Muzikologija, no. 26 (2019): 61–74. http://dx.doi.org/10.2298/muz1926061s.

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The music hall in late nineteenth-century Britain offers an example of a cultural institution in which legal measures, in-house regulations, and unscripted codes of behaviour all come into play. At times, the performers or audience were under coercion to act in a certain way, but at other times constraints on behaviour were more indirect, because the music hall created common understanding of what was acceptable or respectable. There is, however, a further complication to consider: sometimes insider notions of what is normative or appropriate come into conflict with outsider concerns about music-hall behaviour. These various pressures are examined in the context of rowdiness, drunkenness, obscenity, and prostitution, and conflicts that result when internal institutional notions of what is normative or appropriate come into conflict with external social anxieties.

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9

Gann, Kyle. "Conflict of Interests." Musical Times 137, no. 1845 (November 1996): 2. http://dx.doi.org/10.2307/1004300.

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10

Gimpel, Torrey. "Moral Injury and Music Therapy: Music as a vehicle for access." Music and Medicine 10, no. 3 (July 29, 2018): 146. http://dx.doi.org/10.47513/mmd.v10i3.632.

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Moral Injury as a construct continues to be explored and refined as researchers develop models of treatment and clearer definitions for diagnosis. The complexity of moral injury mirrors the complexity of the combat experience- distinctive situations where required actions (e.g., killing) within war may lead to transgressions of deeply held moral or ethical principles within the individual. These transgressive acts may lead to inner conflicts that are outside the typical purview of traditional PTSD treatment. Music therapy offers unique vehicle for access to the inner conflict of MI and combat-related traumatic experiences while promoting expression, present-moment support, and creating opportunities for new perspectives through the malleable medium of music.Keywords: Moral Injury (MI); Military; Music Therapy; PTSD, Transgressive events

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11

Mutero, Tinashe, and Sylvia Kaye. "Music and Conflict Transformation in Zimbabwe." Peace Review 31, no. 3 (July 3, 2019): 289–96. http://dx.doi.org/10.1080/10402659.2019.1735164.

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12

Douglas, Gavin. "Music and Conflict (review)." Notes 68, no. 1 (2011): 109–12. http://dx.doi.org/10.1353/not.2011.0131.

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13

Thormahlen, W. "'Kleinmeister' music--A conflict of interests?" Early Music 39, no. 4 (November 1, 2011): 655–58. http://dx.doi.org/10.1093/em/car098.

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14

Wood, Michael. "Ancient Worship Wars: An Investigation of Conflict in Church Music History." Musical Offerings 5, no. 2 (November 4, 2014): 119–30. http://dx.doi.org/10.15385/jmo.2014.5.2.3.

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15

Skyllstad, Kjell. "Music in conflict management – a multicultural approach." International Journal of Music Education os-29, no. 1 (May 1997): 73–80. http://dx.doi.org/10.1177/025576149702900111.

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In 1989 the Norwegian Concert Agency (NorConcert) initiated a three-year programme of introducing multicultural music teaching in Norwegian primary schools. Eighteen schools in and around the capital took part in a research project to determine the effects of immigrant musicians introducing the music of their countries of origin to fourth-graders. Remarkable results were found, especially with respect to reduced harassment and ethnic tension. multicultural music is now regularly on the school concert agenda. A total of 3000 such concerts have been presented to an audience of more than a quarter of the total school population in Norway.

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16

Jake Harwood, Jake Harwood. "Music and intergroup relations: Exacerbating conflict and building harmony through music." Review of Communication Research 5 (2017): 1–34. http://dx.doi.org/10.12840/issn.2255-4165.2017.05.01.012.

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This article describes the ways in which music is an important part of identity, and hence serves some similar functions to other forms of identity-related communication (e.g., language). It will describe how music is used to incite intergroup hatred (e.g., among soccer fans, military music) and to support valued identities (anthems, etc.). Relevant literature on stereotyping (including stereotyping of groups related to music) is included. The article also discusses how music is used to reduce intergroup hostility (e.g., via cross-cultural musical collaboration and contact). The article connects the various literatures from communication, social psychology, sociology, and ethnomusicology, providing a broad overview of the many connections between communication, music, and social identity. It closes with a research agenda for those interested in studying intergroup communication and music.

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17

Hill, Matthew, Barry Hill, and Robert Walsh. "Conflict in collaborative musical composition: A case study." Psychology of Music 46, no. 2 (May 21, 2017): 192–207. http://dx.doi.org/10.1177/0305735617704712.

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In collaborative musical composition, such as those used frequently in popular music styles, conflicts between band members are commonplace. This article seeks to examine how task-based and interpersonal conflicts between band members impact on the creation of collaborative compositions, utilising a case study of a band composing music for an album recording. This paper reports on research that tracks the process of the creation of songs for a fourth album recording by a three-piece ensemble who have worked together since 1999. The composition process is marked by numerous disputes and arguments among the band personnel and the interactions between the band members move fluidly between phases of instruction, cooperation, collaboration and conflict. The authors (also the band’s members) analyse video and audio recordings of rehearsals, making observations based in grounded theory in relation to verbal and nonverbal interactions and offering personal reflections on these interactions. Drawing on theoretical perspectives in relation to communication, conflict and group dynamics such as group flow and empathetic creativity, individual and group behaviour are examined with emphasis on the impact of such behaviour on the collaborative process.

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18

Lamb, Andrew, and David Eden. "G&S Conflict." Musical Times 127, no. 1722 (September 1986): 500. http://dx.doi.org/10.2307/964597.

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19

O’Connell, John Morgan. "Conflict after conflict: music in the memorialisation of the Gallipoli Campaign." Ethnomusicology Forum 30, no. 2 (May 4, 2021): 283–301. http://dx.doi.org/10.1080/17411912.2021.1957700.

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20

Kallio, Alexis Anja. "Popular “problems”: Deviantization and teachers’ curation of popular music." International Journal of Music Education 35, no. 3 (August 2017): 319–32. http://dx.doi.org/10.1177/0255761417725262.

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

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21

Araujo, Samuel M. "Brega: Music and Conflict in Urban Brazil." Latin American Music Review / Revista de Música Latinoamericana 9, no. 1 (1988): 50. http://dx.doi.org/10.2307/779999.

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22

Feizpour, Azadeh, Helena C. Parkington, and Farshad A. Mansouri. "Cognitive sex differences in effects of music in Wisconsin Card Sorting Test." Psychology of Music 48, no. 2 (September 12, 2018): 252–65. http://dx.doi.org/10.1177/0305735618795030.

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Recent studies suggest that females and males show different levels of susceptibility to neuropsychological disorders which might be related to sex differences in executive control of behaviour. Music, as a cognitively salient factor, might influence cognitive functions; however, it is unclear how sex and music interact in influencing executive control of behaviour in a dynamic environment. We tested female and male participants in a computerized analogue of the Wisconsin Card Sorting Test (WCST) while listening to music or in silence. We found that music decreased the percentage of correct trials in both sexes. While music decreased response time in females, it had an opposite effect in males. Response time increased in error trials (error slowing), and music sex-dependently influenced error slowing. Conflict between potential rules adversely influenced performance in the current trial (conflict cost) in both sexes and listening to music increased conflict cost. These findings suggest that music shows both adverse and beneficial effects on various behavioural measures in the WCST, some of which are sex-dependent. Our findings suggest that in using music as an adjunct for rehabilitation of neuropsychological disorders, both adverse and beneficial effects and sex dependency need to be considered.

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23

Djurkovic, Misa. "Ideological and political conflicts about popular music in Serbia." Filozofija i drustvo, no. 25 (2004): 271–84. http://dx.doi.org/10.2298/fid0525271d.

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The paper is focused on ideological and political conflicts about popular music in Serbia, as a good example of wrong and confused searching for identity. Basic conflict that author is analyzing is about oriental elements (such as asymmetric rhythmic patterns and melismatic singing) and the question if they are legitimate parts of Serbian musical heritage or not. Author is making an analysis of three periods in twentieth century, in which absolutely the same arguments were used, and he's paying special attention to contemporary conflicts, trying to explain why all of the theories are ideologically based. Author is insisting on role market played in development and modernization of popular music in Serbia. The article is ending with some recommendations for better understanding of cultural identity in Serbia, and for recognizing popular music as specific field of interest and research.

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24

Karamy, Selma Elfirda, and Arry Bainus. "West-Eastern Divan Orchestra: A Representation of Peace Optimism from the Middle East." Jurnal Ilmiah Hubungan Internasional 16, no. 1 (July 7, 2020): 87–97. http://dx.doi.org/10.26593/jihi.v16i1.3341.87-97.

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The high escalation of conflict that occurred in the Middle East region became a global issue which until now still has not found a solution. This situation is also complicated by the presence of US President Donald Trump's controversial immigration policy, which targets the Middle Eastern countries. Various efforts have been made by each country to reduce tension and maintain social and political stability in each country. In the midst of the many efforts made, emerging non-state actor that are trying to resolve conflicts, one of which is the Divan OrcThe high escalation of conflict that occurred in the Middle East region became a global issue which until now still has not found a solution. This situation is also complicated by the presence of US President Donald Trump's controversial immigration policy, which targets the Middle Eastern countries. Various efforts have been made by each country to reduce tension and maintain social and political stability in each country. In the midst of the many efforts made, emerging non-state actor that are trying to resolve conflicts, one of which is the Divan Orchestra, an international music organization that runs Music Diplomacy in the conflict countries. In this study, researchers will try to discuss The Divan Orchestra diplomatic roles as a representation of the message of peace from its members. The researcher will use the concepts of Music Diplomacy, Soft Power and Non-State Roles as Analysis Tools. While the research method used is a Qualitative Method using Literature Study. https://orcid.org/0000-0002-1953-7663

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25

MacLeod, Brian James. "Tunes of Glory." MUSIC.OLOGY.ECA 1 (September 11, 2020): 78–91. http://dx.doi.org/10.2218/music.2020.5699.

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The late-16th through to the early-17th century was a period of unprecedented upheaval and conflict throughout the British Isles. This article explores the transformative rise in social status of pipers in Highland society during this period of social, political, economic, and cultural change. Bagpipes, traditionally assigned a low-caste role in society in Ireland and Scotland, were transformed into a vehicle for a highly developed form of musical composition, ceòl mòr (‘great music’). The article examines the factors which allowed the families of hereditary pipers to achieve this significant change in fortune, whilst the highlighting the unique compositional form of pipe music which enabled their entry into the upper echelons of Gaelic society in Scotland.

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26

Lena, Jennifer C., and Richard A. Peterson. "Classification as Culture: Types and Trajectories of Music Genres." American Sociological Review 73, no. 5 (October 2008): 697–718. http://dx.doi.org/10.1177/000312240807300501.

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Questions of symbolic classification have been central to sociology since its earliest days, given the relevance of distinctions for both affiliation and conflict. Music and its genres are no exception, organizing people and songs within a system of symbolic classification. Numerous studies chronicle the history of specific genres of music, but none document recurrent processes of development and change across musics. In this article, we analyze 60 musics in the United States, delineating between 12 social, organizational, and symbolic attributes. We find four distinct genre types—Avant-garde, Scene-based, Industry-based, and Traditionalist. We also find that these genre types combine to form three distinct trajectories. Two-thirds originate in an Avant-garde genre, and the rest originate as a scene or, to our surprise, in an Industry-based genre. We conclude by discussing a number of questions raised by our findings, including the implications for understanding symbolic classification in fields other than music.

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27

Holmes, William C. "Righini in Florence: an artistic conflict." Early Music XVII, no. 4 (November 1989): 539–50. http://dx.doi.org/10.1093/earlyj/xvii.4.539.

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28

Einstein, Alfred. "The Conflict of Word and Tone." Musical Quarterly 75, no. 4 (1991): 158–75. http://dx.doi.org/10.1093/mq/75.4.158.

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29

Risal, Susan. "Music for Peacebuilding and Conflict Resolution in Nepal." Peace Review 31, no. 3 (July 3, 2019): 297–301. http://dx.doi.org/10.1080/10402659.2019.1735165.

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30

Vicinus, Martha, Dagmar Kift, and Roy Kift. "The Victorian Music Hall: Culture, Class and Conflict." American Historical Review 104, no. 2 (April 1999): 641. http://dx.doi.org/10.2307/2650505.

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31

Handaruwati, Indah, and Obed Christian Wibowo. "PENGARUH RELATIONSHIP MARKETING TERHADAP CUSTOMER RETENTION PADA STUDIO MUSIK 58 SURAKARTA." Business Innovation and Entrepreneurship Journal 2, no. 3 (August 31, 2020): 153–59. http://dx.doi.org/10.35899/biej.v2i3.152.

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Abstract– This study aims to analyze the effect of Relationship Marketing on Customer Retention in 58 Surakarta music studios. In connection with this problem, the following hypothesis is proposed, H1: Allegedly there is the influence of Customer Experience on Customer Retention, H2: Allegedly there is an influence of Communication on Customer Retention, H3: Allegedly there is the influence of Conflict Handling on Customer Retention, H4: Allegedly there is the influence of Customer Experience, Communication, Conflict Handling simultaneously for Customer Retention. The population in this study were all customers of Surakarta 58 studio music studio rental services, sampling using purposive sampling and convenience sampling techniques. The samples used in this study were 80 consumers. Data collection using a questionnaire. Data analysis was performed with multiple linear regression analysis test with SPSS 16.00 software. The results showed that Customer Experience had no significant effect on Customer Retention with a significance value of 0.142, Communication had a significant effect on Customer Retention with a significance value of 0.045, Conflict Handling had a significant effect on Customer Retention with a significant value of 0,000, Customer Experience, Communication and Conflict Handling had a significant effect Simultaneous to Customer Retention of 27,691. Abstrak– Penelitian ini bertujuan untuk menganalisis pengaruh Relationship Marketing terhadap Customer Retention pada studio musik 58 Surakarta. Sehubungan dengan masalah tersebut, diajukan hipotesis sebagai berikut, H1 : Diduga ada pengaruh Customer Experience terhadap Customer Retention, H2: Diduga ada pengaruh Communication terhadap Customer Retention, H3: Diduga ada pengaruh Conflict Handling terhadap Customer Retention, H4: Diduga ada pengaruh Customer Experience, Communication, Conflict Handling secara simultan terhadap Customer Retention. Populasi dalam penelitian ini adalah semua pelanggan pengguna jasa sewa studio musik 58 Surakarta, pengambilan sampel menggunakan teknik purposive sampling dan convenience sampling.Sampel yang digunakan dalam penelitian ini sebanyak 80 responden.Pengumpulan data menggunakan kuesioner.Analisis data dilakukan dengan uji analisis regresi linear berganda dengan software SPSS 16.00. Hasil penelitian menunjukan bahwa Customer Experience tidak berpengaruh secara signifikan terhadap Customer Retention dengan nilai signifikansi 0.142, Communication berpengaruh signifikan terhadap Customer Retention dengan nilai signifikansi 0.045, Conflict Handling berpengaruh signifikan terhadap Customer Retention dengan nilai signifikan 0.000, Customer Experience, Communication dan Conflict Handling berpengaruh secara simultan terhadap Customer Retention sebesar 27.691.

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32

Nagy, Zoltán. "Conflict and Fieldwork." Acta Ethnographica Hungarica 63, no. 2 (December 2018): 345–60. http://dx.doi.org/10.1556/022.2018.63.2.5.

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33

EVANS, JOHN. "Death in Venice The Apollonian/Dionysian Conflict." Opera Quarterly 4, no. 3 (1986): 102–15. http://dx.doi.org/10.1093/oq/4.3.102.

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34

Barbosa Caro, Eduar, and Johanna Ramírez Suavita. "Paramilitarism and music in Colombia." Politics of Sound 18, no. 4 (June 28, 2019): 541–59. http://dx.doi.org/10.1075/jlp.19019.bar.

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Abstract Colombia has experienced violence at the hands of both guerrillas and paramilitaries fighting to control territories, drug trafficking, and gain political influence. Though in recent years armed activities by both groups has subsided, their conflicting ideologies are visible in several contexts in today’s polarized Colombia. We tend to think about conflict in terms of bullets and people in military uniforms, but discourses of conflict are also evident in popular culture, such as music. In this paper, we analyse 19 corridos paracos, videos produced by sympathisers of Right-wing guerrilla groups, to demonstrate how this is done. Here, we find songs present a messianic portrayal of the paramilitary along with sexist ideas as the representation of manliness. Moreover, there is an almost total absence of peaceful actions in the lyrics, and an exaltation of brutality and terrorism. In a political context which cries out for reconciliation, these do little to this end.

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35

Hefer, Michal, and Claudia Gluschankof. "Building a future through multicultural early childhood music classes in a conflict-affected city." International Journal of Music in Early Childhood 16, no. 1 (June 1, 2021): 71–87. http://dx.doi.org/10.1386/ijmec_00028_1.

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The aim of this exploratory study was to understand the experience of several Palestinian and Jewish parents participating in a culturally mixed early childhood music class, held in a conflict-affected city. Collective music-making is considered to be a powerful way for people to connect and socialize, regardless of their backgrounds, and for them to get to know each other through music. It also has the potential of reducing stereotypes, which is especially needed in a conflict-affected area. Data sources included records of the classes (videos and a field diary), parents’ sharing of audio and video recordings of musical episodes at home through the music class WhatsApp group and semi-structured interviews with three parents. Data were analysed inductively through open coding and three themes emerged: why music and music classes?; the music class experience; and music at home. These themes reflect the reasons for participating in the programme and the contexts in which the children and their parents experience music. Findings show that those families who chose to participate in this programme hold positive attitudes towards the Other and reported neither observable nor vocally expressed prejudice of their children against the Other. The toddlers who participated in the classes have the potential to not develop negative stereotypes towards the Other (Arab or Jewish), since their families do not expose them to such stereotypes. Nevertheless, they are members of societies (East and West Jerusalem) holding systemic ethnic biases, and therefore joint music classes may strengthen positive attitudes.

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36

Hefer, Michal, and Claudia Gluschankof. "Building a future through multicultural early childhood music classes in a conflict-affected city." International Journal of Music in Early Childhood 16, no. 1 (June 1, 2021): 71–87. http://dx.doi.org/10.1386/ijmec_00028_1.

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The aim of this exploratory study was to understand the experience of several Palestinian and Jewish parents participating in a culturally mixed early childhood music class, held in a conflict-affected city. Collective music-making is considered to be a powerful way for people to connect and socialize, regardless of their backgrounds, and for them to get to know each other through music. It also has the potential of reducing stereotypes, which is especially needed in a conflict-affected area. Data sources included records of the classes (videos and a field diary), parents’ sharing of audio and video recordings of musical episodes at home through the music class WhatsApp group and semi-structured interviews with three parents. Data were analysed inductively through open coding and three themes emerged: why music and music classes?; the music class experience; and music at home. These themes reflect the reasons for participating in the programme and the contexts in which the children and their parents experience music. Findings show that those families who chose to participate in this programme hold positive attitudes towards the Other and reported neither observable nor vocally expressed prejudice of their children against the Other. The toddlers who participated in the classes have the potential to not develop negative stereotypes towards the Other (Arab or Jewish), since their families do not expose them to such stereotypes. Nevertheless, they are members of societies (East and West Jerusalem) holding systemic ethnic biases, and therefore joint music classes may strengthen positive attitudes.

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37

Kunitomo, Mariko. "Art Music as Universal Language: Youth Orchestras' Reactions to Social Conflict." Interdependent: Journal of Undergraduate Research in Global Studies 2 (2021): 71. http://dx.doi.org/10.33682/vaee-xnr0.

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This article identifies the role art music plays in orchestra projects that deal with social conflicts of youth populations. I argue that art music serves well in this context because it is a universal language that allows for an alternative method of communication and expression between the young musicians themselves and with others. I apply metaphysical explanations, studies from cognitive neuroscience, and philosophy of language in three specific youth orchestra contexts: the Retiro Youth Orchestra, El Sistema, and the West-Eastern Divan Orchestra. These different lenses help uncover why and how art music positively impacts the development, both socially and personally, of young musicians in a healthier or alternative manner.

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38

Macenka, Svitlana. "Music as Metaphor and Music Metaphors in Belles-Lettres and Scientific Music-Literary Discourse." Pitannâ lìteraturoznavstva, no. 101 (July 9, 2020): 88–108. http://dx.doi.org/10.31861/pytlit2020.101.088.

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In view of the importance of music as metaphor in the famous works of German literature (Thomas Mann's Doctor Faustus, Hermann Hesse's The Bead Game) and with reference to numerous statements made by the authors about music as an important element of their creativity, the article offers insight into the advantages of metaphorical approach to the analysis of music in literature as one that is productive and compatible with intermediality. As some Germanic literary studies papers attest, the proponents of metaphorical understanding of the interaction between literature and music (e.g. English modernist literature researcher Sarah Fekadu, Hermann Hesse's scholar Julia Moritz, theoretician of literature and jazz relations Erik Redling) rely on leading concepts about metaphor (those by Wilhelm Köller, Hans Blumenberg, George Lakoff and Mark Johnson) to substantiate the specific idea of musicality behind literary text. In particular, J. Moritz suggests that the musicality of a literary text should be perceived as metaphor which enables different ideas, depending on context or literary phenomena. Music and literature in this case form a completely different link, in which not the forms of art themselves but the perceptions of them are transformed in such a way as to create a new image which reveals a specific quality of literary text. It is emphasized that the metaphorical model helps solve the dilemma of whether “real” music can be found in literature as we no longer speak of such medium as “music” but of musicality as a specific quality of literature. That is why, literature which possesses musicality does not need to give up its essence to imitate music. The interdisciplinary character of the metaphorical understanding of music is also discussed and exemplified by current music studies papers which study literature. Music studies scholars do not deny the interaction between the two sign systems – music and literature. Thus, Christian Thorau claims that metaphorical calling is the calling of “contrastive exemplification”, figurative and sensual calling of common and different qualities. Semiotic prospect maintains sensibility where heterogeneous sign constellations (for instance, painting and music but also music and verbalized text) produce the moment of conflict through different sign forms regardless of the strength of semantic compatibility or difference. Within the semiotic mode this conflict may be studied as cross-modal metaphorism.

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Hatten, Robert S. "A Surfeit of Musics: What Goethe's Lyrics Concede When Set to Schubert's Music." Nineteenth-Century Music Review 5, no. 2 (November 2008): 7–18. http://dx.doi.org/10.1017/s1479409800003347.

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Of the many possible relationships between music and poetry, which are but a small subset of the possible relationships between music and text, I have chosen a still narrower focus for inquiry. I will investigate two independent, lyric poems whose musically poetic language and form was fully conceived without any expectation that a composer might use their texts as structural scaffolding and expressive inspiration for related, and emergent, musical and artistic ends. Two lyric poems by Goethe, each set by Schubert, will serve to illustrate the conflict between poetic and instrumental/vocal musics, in which the lyric poems inevitably concede something of their music to an appropriation by, and not merely a translation into, another artistic medium. Even when Schubert succeeds in exemplifying, or expanding upon, the symbolic richness of meaning embodied in the poem, we should consider the fate of overwritten meaning embodied in the musical language and form of the poem by itself.

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Chabalala, Dunisani, and Lara Allen. "Negotiating Conflict through Music: The Case of the TsongaTingomaRitual." Social Dynamics 30, no. 2 (June 2004): 64–81. http://dx.doi.org/10.1080/02533950408628685.

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Lestari, Dewi Tika, and Yohanes Parihala. "Teologi, Musik, dan Perdamaian: Visi Teologi Lukas 12: 51-53 dan Analisis Musik Ode Buat Maluku." DUNAMIS: Jurnal Teologi dan Pendidikan Kristiani 5, no. 1 (September 29, 2020): 37–56. http://dx.doi.org/10.30648/dun.v5i1.318.

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Abstract. The reality of religion plurality such as in Indonesian could be an opportunity in weaving harmony to build the nation, but it could also threat the unity of the nation. The threath is when controversial religious doctrines are understood literally. Religious teachings can easily be used as instruments of conflict. This article aimed to interpret one of Jesus' controversial teachings that Jesus did not come to bring peace as found in Luke 12: 51-53. The fact of the religion that was used as conflict instrument was also criticize by music ode buat Maluku. Thus, through the interpretative analysis method in qualitative research, this article aimed to interpret and find the theological vision of Luke 12: 51-53 and to weave it with an analysis of ode buat Maluku music. The results of the analysis showed that theology and music have the same nature in speaking for peace.Abstrak. Realitas kemajemukan agama seperti yang dimiliki oleh bangsa Indonesia dapat menjadi peluang merajut kebersamaan untuk membangun kehidupan bangsa, tetapi juga dapat menjadi tantangan yang mengancam keutuhan bangsa. Tantangannya adalah ketika ajaran-ajaran agama yang kontroversial dipahami secara harfiah. Ajaran agama dengan mudah dapat dijadikan sebagai instrumen konflik. Artikel ini bertujuan untuk menafsirkan salah satu ajaran Yesus yang tampak kontroversial bahwa Yesus datang bukan untuk membawa damai melainkan pertentangan seperti yang terdapat dalam Lukas 12:51-53. Kritik terhadap realitas agama yang dijadikan instrumen konflik juga terdapat di dalam karya musik ode buat Maluku. Dengan demikian, melalui metode analisis interpretatif dalam penelitian kualitatif, artikel ini bertujuan untuk menafsirkan dan menemukan visi teologis Lukas 12:51-53 dan merajutnya dengan analisis karya musik ode buat Maluku. Hasil analisis menunjukkan bahwa teologi dan musik memiliki hakekat yang sama untuk menyuarakan perdamaian.

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BRENNAN, MATT. "The rough guide to critics: musicians discuss the role of the music press." Popular Music 25, no. 2 (May 2006): 221–34. http://dx.doi.org/10.1017/s0261143006000870.

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This article explores the relationship between musicians and the music press from the musicians' point of view, based on a collection of recent interviews with musicians working in the pop and jazz fields. It will expose some of the concrete effects of the music press using examples from the everyday experiences of musicians, which include the influence of the press in record retail, genre labelling, and creating industry buzz. But while musicians may have a pragmatic understanding of the role of music criticism, their perspectives are emotionally heated in direct proportion to the influence the press holds over their own livelihoods. The interests of the working music critic often conflict with the interests of the working musician, and this article will conclude with a discussion of how the practical conflict of interests between musicians and critics is reflected in ideological differences between the two groups.

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Sanders, J. "Musicking Shakespeare: A Conflict of Theatres. By Daniel Albright." Music and Letters 89, no. 3 (August 1, 2008): 484–87. http://dx.doi.org/10.1093/ml/gcm125.

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Flolu, E. James. "A Dilemma for Music Education in Ghana." British Journal of Music Education 10, no. 2 (July 1993): 111–21. http://dx.doi.org/10.1017/s0265051700001571.

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Ghana, a former British colony, has, since 1987, embarked on a massive programme of educational reform. With regard to music education, there seems to be a conflict of opinions and objectives; between those of the curriculum planners on one hand, and the music teachers on the other. This paper examines recent literature on this topic, together with current debates about how music is to function at the basic level in the new system.

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Molina, David Gomiero. "Sisterly Conflict: Music and Text in Richard Strauss' Elektra (1909)." Revista Música 20, no. 2 (December 20, 2020): 99–118. http://dx.doi.org/10.11606/rm.v20i2.169716.

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This paper undertakes a careful musical and lyrical analysis of Chrysothemis’ first interaction with her sister (“Elektra!/Ich kann nicht sitzen und ins Dunkel starren”) in Richard Strauss and Hugo von Hofmannsthal’s 1909 opera Elektra. The paper’s fundamental claim is that Chrysothemis is portrayed differently by Strauss and Hofmannsthal: where the text brings the sisters together by means of a cross-pollination of images that emphasizes their shared heritage as daughters of Klytämnestra, the music – through abrupt shifts in style, melodic development, and harmony – prefers to present the sisters in diametrically opposing poles with respect to the family tragedy. By way of exploring the tensions between music and text in Elektra, the paper also investigates the ontological status of Klytämnestra’s leitmotifs as they come into view and argues that proper classification of their role – as well as an understanding of leitmotivic perspectivism – is essential in diagnosing an imbalance of power between Elektra and Chrysothemis vis-à-vis the orchestra.

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Henley, Jennie, and Jude Parks. "The pedagogy of a prison and community music programme: Spaces for conflict and safety." International Journal of Community Music 13, no. 1 (May 1, 2020): 7–27. http://dx.doi.org/10.1386/ijcm_00008_1.

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Using theoretical concepts taken from the field of human geography to analyse the conflictual elements within music programmes, this paper presents new empirical research that unpacks the complex pedagogy employed by community musicians with the aim of beginning to address two recent criticisms of community music scholarship: a) community musicians only report positive outcomes and b) community musicians are not interested in scholarly analyses of their work.We begin with a review of literature presenting positive findings and discuss the methodological challenges of community music research. We introduce the key geographical concepts used to analyse the empirical data. After a presentation and discussion of facilitation pedagogy, we finish by suggesting that understanding the work of the community musician through geographical concepts provides a new way to analyse and theorize how a community music facilitator works, thus acknowledging the conflictual element of such work that is often tacit in research.

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Grdina, Igor. "Activism, Meditation and Contemplation: Music and the First World War." Musicological Annual 53, no. 2 (November 27, 2017): 5–21. http://dx.doi.org/10.4312/mz.53.2.5-21.

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The paper discusses the turn from activism to contemplation in the works of many music creators during the First World War. It also discusses the reasons why the reception of music during the conflict of 1914–1918 was the most restricted so far, prohibiting the performance of works by creators from enemy countries.

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Grigson, Lionel. "Harmony + Improvisation = Jazz." British Journal of Music Education 2, no. 2 (July 1985): 187–94. http://dx.doi.org/10.1017/s0265051700004800.

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In the past, jazz musicians such as Miles Davis have had negative experiences of ‘straight’ academies and conservatories, and these institutions have been negative towards jazz. This may represent a conflict between creativity and recreativity. But as a teacher of jazz at the Guildhall School of Music the author is finding that this conflict disappears when students from jazz and classical backgrounds learn to improvise by the same approach. This approach works upwards from the harmonic basis of jazz, which in fact is the same as that of classical music. As, at the outset, both jazz and classical students often seem to lack a precise concept of underlying harmonic form, the author concludes that more needs to be done with harmony at an earlier stage in music education, and that jazz may be the best context in which for this to happen.

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Marsh, Kathryn. "Music as dialogic space in the promotion of peace, empathy and social inclusion." International Journal of Community Music 12, no. 3 (December 1, 2019): 301–16. http://dx.doi.org/10.1386/ijcm_00002_1.

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This article considers ways in which music can contribute to the development of social synchrony in situations of social uncertainty generated by global conflict and widespread population movements. Noting Lederach’s view that conflict resolution has an aesthetic and creative dimension, music can be seen to form a dialogic space in which shared meanings can be co-created and through which multiple and sometimes conflictual viewpoints can be expressed in order to facilitate peace-building. At the same time, the dialogic spaces entailed in musical interactions can promote empathy, whether these are initiated by individuals in naturally occurring social settings or on a larger scale by institutions committed to developing social inclusion or promoting conciliation. In exploring these issues, I draw on my current research involving newly arrived forced and voluntary migrant children and young people in Australia, in addition to research from the fields of music education, ethnomusicology, evolutionary musicology, psychology, refugee studies and peace studies.

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Montero-Diaz, Fiorella, and Abigail Wood. "Music and sound in times of violence, displacement and conflict." Ethnomusicology Forum 30, no. 2 (May 4, 2021): 181–84. http://dx.doi.org/10.1080/17411912.2021.1953795.

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