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Journal articles on the topic 'Music and youth – Hawaii'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

FIORE, GIACOMO. "Reminiscence, Reflections, and Resonance: The Just Intonation Resophonic Guitar and Lou Harrison's Scenes from Nek Chand." Journal of the Society for American Music 6, no. 2 (May 2012): 211–37. http://dx.doi.org/10.1017/s1752196312000041.

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AbstractUpon accepting a commission for a solo guitar piece from the 2002 Open Minds Music Festival in San Francisco, Lou Harrison decided to write Scenes from Nek Chand for a unique instrument: a resonator guitar refretted in just intonation. Harrison's last completed work draws inspiration from the sound of Hawaiian music that the composer remembered hearing in his youth, as well as from the artwork populating Nek Chand's Rock Garden of Chandigarh, India.Based on archival research, oral histories, and the author's insights as a performer of contemporary music, this article examines the piece's inception, outlining the organological evolution of resophonic guitars and their relationship to Hawaiian music. It addresses the practical and aesthetic implications of the composer's choice of tuning, and examines the work of additional artists, such as Terry Riley and Larry Polansky, who have contributed to the growing repertoire for the just intonation resophonic guitar.

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2

Sutton, R. Anderson. "Korean Music in Hawaii." Asian Music 19, no. 1 (1987): 99. http://dx.doi.org/10.2307/833764.

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3

ROE, KEITH. "SWEDISH YOUTH AND MUSIC." Communication Research 12, no. 3 (July 1985): 353–62. http://dx.doi.org/10.1177/009365085012003007.

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4

Wolf, Angela M., and Christopher Hartney. "A Portrait of Detained Youth in the State of Hawaii." Crime & Delinquency 51, no. 2 (April 2005): 180–91. http://dx.doi.org/10.1177/0011128704273929.

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Until a recently perceived surge in delinquency, Asian or Pacific Islander (API) youth appeared to be relatively protected from negative developmental outcomes such as delinquency, school failure, and teen pregnancy. However, the increasing rate of API youth entering the juvenile justice system has sparked more in-depth consideration of delinquency in the API population. This article describes relevant characteristics of the predominantly API youth detained in Hawaii’s only youth detention facility and examines their recidivism rate after release.

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5

HONDA, Yoshinari. "The Spread of Modern Buddhist Music to Hawaii." JOURNAL OF INDIAN AND BUDDHIST STUDIES (INDOGAKU BUKKYOGAKU KENKYU) 45, no. 2 (1997): 791–97. http://dx.doi.org/10.4259/ibk.45.791.

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6

Gray, Dee Ann. "Equity in Music Education: Cultural Diversity in the Music Classroom—EMBRACE the Challenge." Music Educators Journal 106, no. 2 (November 26, 2019): 66–68. http://dx.doi.org/10.1177/0027432119878704.

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Teaching middle school choral music in a culturally diverse middle school in Hawaii resulted in new knowledge about welcoming the challenges posed by diversity to the benefit of both students and educator. Concise strategies described in this article are applicable to any music program.

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7

Gale, Emily Margot. "Stolen Youth." Journal of Popular Music Studies 33, no. 1 (March 1, 2021): 42–49. http://dx.doi.org/10.1525/jpms.2021.33.1.42.

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In 1847 Atwill of New York published “The Lament of the Blind Orphan Girl.” Composed by William Bradbury, the song is written for voice and piano in a lilting 3/8 meter. Mary, the song’s protagonist, sings of “the silvery moon” and “bright chain of stars” over diatonic harmonies. A dramatic shift to the minor mode supports the climax: “Oh, when shall I see them? I’m blind, oh, I’m blind.” Mary explains that she and her brother have also lost their parents. On the sheet music cover a wreath of flowers encircles an image of a young white woman kneeling beneath a tree, alone at a grave. The title page notes: “As sung with distinguished applause by Abby Hutchinson.” Orphan songs pervade nineteenth-century pop repertory. Scholars have analyzed Latvian, Hmong, Danish, and German orphan songs, but US orphan songs have generated little more than passing references. Other examples include: “The Orphan Nosegay Girl” with words by Mrs. Susanna Rowson from 1805; “The Colored Orphan Boy,” composed by C. D. Abbott and sung by S. C. Campbell of the Campbell Minstrels from 1852; and “The Orphan Ballad Singers Ballad” by Henry Russell from 1866. Orphans were not just a topic; in the latter half of the nineteenth century, actual parentless youth featured in bands such as the Hebrew Orphan Asylum Band of New York City. This paper connects the stolen childhoods in orphan songs to those of enslaved youth. If free children were aware of slavery and the movement to abolish it as historian Wilma King has shown, what did it mean for Abby Hutchinson, who started performing abolitionist songs with her brothers at age twelve, to sing as the sentimental stock character of the orphan? Songs like the one above may have been a way that young abolitionists empathized with enslaved youths robbed of their youths.

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8

Harper, John. ""One equal music": the Music of Milton's Youth." Milton Quarterly 31, no. 1 (March 1997): 1–10. http://dx.doi.org/10.1111/j.1094-348x.1997.tb00487.x.

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9

Bennett, Andy. "Youth, Music and DIY Careers." Cultural Sociology 12, no. 2 (April 3, 2018): 133–39. http://dx.doi.org/10.1177/1749975518765858.

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Since the 1970s, the concept of DIY (do-it-yourself) culture has evolved from a bluntly resistant statement of independence from dominant forms of capitalist cultural production and dissemination to a more nuanced expression of creative cultural practice. While such practice remains resistant to more mainstream forms of cultural production and consumption it has at the same time evolved a level of professionalism aimed towards ensuring cultural and, where possible, economic sustainability. In a time where the concept of the cultural industries has become commonplace across many regions of the world and where various attempts are being made to co-opt or suppress forms of cultural production based on their perceived value or threat to the status quo, DIY careers become viable ways in which to mark out and maintain DIY cultural spaces as both ethical and aesthetically meaningful. The articles that make up this special issue consider the contemporary significance of DIY careers with specific reference to young people and music-making practices in a global context.

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10

WINTER, JAMES P. "AMERICAN MUSIC AND CANADIAN YOUTH." Communication Research 12, no. 3 (July 1985): 345–52. http://dx.doi.org/10.1177/009365085012003006.

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11

Reed, S. Alexander. "Order, Joy, Youth." Journal of Popular Music Studies 33, no. 1 (March 1, 2021): 31–35. http://dx.doi.org/10.1525/jpms.2021.33.1.31.

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This talk identifies in popular music a common but largely untheorized phenomenon. Parade aesthetics are marked by an implied permeability between performers and audience, and the jubilant instrumentalization of individuals toward collective identity for its own sake. As a connoted medium (per Marshall McLuhan) the parade extends the body, rendering its participants larger, louder, and more opulently visible. It simultaneously miniaturizes the world, reducing it to the status of model, token, and toy. Such aesthetics then invite young pop audiences to step into roles with grownup attributes of instrumentalization, bigness, and access. These attributes are structural within parade aesthetics and largely independent of specific content. The talk concludes with an insight into the parade-like nature of first-wave hip-hop.

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12

Venkatesh, Sudhir, and Andy Bennett. "Popular Music and Youth Culture: Music, Identity, and Place." Contemporary Sociology 30, no. 4 (July 2001): 374. http://dx.doi.org/10.2307/3089767.

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13

Eckstrom, Erika. "Ukrainian youth development: music and creativity, a route to youth betterment." International Journal of Community Music 1, no. 1 (August 24, 2007): 105–15. http://dx.doi.org/10.1386/ijcm.1.1.105_0.

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14

Wooden, Wayne S., Joseph J. Leon, and Michelle T. Toshima. "Ethnic Identity among Sansei and Yonsei Church-Affiliated Youth in Los Angeles and Honolulu." Psychological Reports 62, no. 1 (February 1988): 268–70. http://dx.doi.org/10.2466/pr0.1988.62.1.268.

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A comparative study of 112 Japanese-American Sansei and Yonsei youth in Los Angeles, California, and Honolulu, Hawaii—drawn from the rosters of youth active in Japanese-American church organizations—found no over-all differences by location, generation, or sex. Some significant differences, however, were noted for specific items. Of particular note are the shared (and continued) traditional values of these Los Angeles and Honolulu church-going Japanese-American youth.

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15

Roberts, Vaughan S. "Popular Music in Evangelical Youth Culture." Journal of Contemporary Religion 28, no. 2 (May 2013): 320–22. http://dx.doi.org/10.1080/13537903.2013.783319.

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16

Shapiro, R. Benjamin, Annie Kelly, Matthew Ahrens, Ben Johnson, Heather Politi, and Rebecca Fiebrink. "Tangible Distributed Computer Music for Youth." Computer Music Journal 41, no. 2 (June 2017): 52–68. http://dx.doi.org/10.1162/comj_a_00420.

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Computer music research realizes a vision of performance by means of computational expression, linking body and space to sound and imagery through eclectic forms of sensing and interaction. This vision could dramatically influence computer science education, simultaneously modernizing the field and drawing in diverse new participants. In this article, we describe our work creating an interactive computer music toolkit for youth called BlockyTalky. This toolkit enables users to create networks of sensing devices and synthesizers, and to program the musical and interactive behaviors of these devices. We also describe our work with two middle-school teachers to codesign and deploy a curriculum for 11- to 13-year-old students. We draw on work with these students to evidence how computer music can support learning about computer science concepts and change students' perceptions of computing. We conclude by outlining some remaining questions around how computer music and computer science may best be linked to provide transformative educational experiences.

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17

DE CAMARGO, NELLY. "THE BRAZILIAN MUSIC INDUSTRY AND YOUTH." Communication Research 12, no. 3 (July 1985): 395–400. http://dx.doi.org/10.1177/009365085012003011.

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18

Johansson, Thomas. "Music video, youth culture and postmodernism." Popular Music and Society 16, no. 3 (September 1992): 9–22. http://dx.doi.org/10.1080/03007769208591483.

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19

Onanuga, Paul Ayodele, and Ayobami O. Onanuga. "Violence, Sexuality and Youth Linguistic Behaviour: An Exploration of Contemporary Nigerian Youth Music." Contemporary Music Review 39, no. 1 (January 2, 2020): 137–66. http://dx.doi.org/10.1080/07494467.2020.1753478.

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20

M. Christop, Nkechi. "An assessment of Nigeria urban youth music." Khazar Journal of Humanities and Social Sciences 15, no. 1 (May 4, 2012): 65–79. http://dx.doi.org/10.5782/2223-2621.2012.15.1.65.

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21

GREESON, LARRY E., and ROSE ANN WILLIAMS. "Social Implications of Music Videos for Youth." Youth & Society 18, no. 2 (December 1986): 177–89. http://dx.doi.org/10.1177/0044118x86018002005.

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22

Silverman, Marissa. "Music and homeschooled youth: A case study." Research Studies in Music Education 33, no. 2 (October 27, 2011): 179–95. http://dx.doi.org/10.1177/1321103x11422004.

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23

Pruitt, Lesley J. "Music, youth, and peacebuilding in Northern Ireland." Global Change, Peace & Security 23, no. 2 (June 2011): 207–22. http://dx.doi.org/10.1080/14781158.2011.580961.

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24

Blair, M. Elizabeth. "Commercialization of the Rap Music Youth Subculture." Journal of Popular Culture 27, no. 3 (December 1993): 21–33. http://dx.doi.org/10.1111/j.0022-3840.1993.00021.x.

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25

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

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Abstract: Based on qualitative and quantitative research with 1,080 youth in the Brazilian cities of Rio de Janeiro, São Paulo, and Porto Alegre, this article analyzes the role of music in the constitution of young people's everyday lives. Focusing on how youth obtain, store, and listen to music, as well as on how they describe the presence of music in their lives, we argue that music – facilitated by digital technology – permeates and gives meaning to young people's lives in a way more pervasive than ever before, to the extent that, in their words, it constitutes the ‘soundtrack’ of each individual life. We propose to understand this puzzling statement through a material culture framework, and to do so we ask: how do youth currently give meaning to music as a key feature of life, and how do music and the objects through which it is experienced constitute life as such?

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26

Kahn-Harris, Keith. "Book Reviews: D.Laughey Music and Youth Culture." Sociology 41, no. 2 (April 2007): 379–81. http://dx.doi.org/10.1177/00380385070410021402.

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27

Akinwale, Akeem Ayofe. "Youth Music Production and Consumption in Africa." kult-ur revista interdisciplinària sobre la cultura de la ciutat 5, no. 9 (2018): 105–24. http://dx.doi.org/10.6035/kult-ur.2018.5.9.4.

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28

Lee, H. R., H. E. Lee, K. Cassel, M. Hagiwara, and L. Somera. "Acculturation, Biculturalism and Cancer Risk and Preventive Behaviors Among Pacific Islander Immigrant Youths in Hawaii." Journal of Global Oncology 4, Supplement 2 (October 1, 2018): 15s. http://dx.doi.org/10.1200/jgo.18.56800.

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Background: Culture is an important force which affects health behaviors linked to cancer risks among immigrants. Studies have demonstrated the process of acculturation can produce a form of stress that impact health negatively. On the other hand, research suggests that biculturalism, defined as the combining and practicing of customs from two cultures, may be a healthy approach to acculturation. Biculturalism is especially relevant for youth immigrants as their cultural identities are still developing. Pacific Islanders, a fastest growing populations in the US, often experience discrimination in the society at large and in the health care system. Pacific Islander youth in the US navigate between two cultural identities: their native culture as they live in a close-knit community that still maintains strong cultural norms and values, and the dominant American culture that they face once they step outside their community. This is one of the rare studies that examine the relationship between acculturation and cancer preventive behaviors among Pacific Islander youth. Aim: We aim to study the process through which biculturalism influences cancer risk and preventive behaviors such as smoking, sunscreen applications, physical activity and healthy eating among Pacific Islander youth immigrants in Hawaii. Specifically, we map the process of influence that links biculturalism to self-esteem and to these cancer risk and preventive behaviors. Methods: Using survey data from 284 Pacific Islander youth, we developed and tested a theoretically driven model that specifies the relationship among variables listed above. Results: Results show that self-esteem serves as an important mediator connecting biculturalism to cancer preventive behaviors. While biculturalism did not have a direct influence on behaviors and outcomes, it led to increased self-esteem which, in turn, directly influenced attitudes about sunscreen application, physical activity and healthy eating. However, there was neither direct nor indirect link between biculturalism and smoking. Conclusion: While numerous studies have shown links between biculturalism and health, not many studies focus on the specific process through which the influence is exerted. This study provides an important insight into the process through which biculturalism impacts cancer preventive behaviors among minority youth in America. Data from the study showed a clear relationship between biculturalism, self-esteem, their attitudes and behavior related to cancer prevention among Pacific Islander youth living in Hawaii. This study provides insights into potentially novel methods and interventions designed to increase cancer preventive behaviors among migrant youth by dually promoting adoption of U.S. cultural norms, while concurrently embracing an individual´s historic cultural identity.

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29

Baker, Charlene K., Susana Helm, Kristina Bifulco, and Jane Chung-Do. "The Relationship Between Self-Harm and Teen Dating Violence Among Youth in Hawaii." Qualitative Health Research 25, no. 5 (October 3, 2014): 652–67. http://dx.doi.org/10.1177/1049732314553441.

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30

Affonso, Dyanne D., Linda Mayberry, June Y. Shibuya, Olga G. Archambeau, Mary Correa, Aimee N. Deliramich, and B. Christopher Frueh. "Cultural Context of School Communities in Rural Hawaii to Inform Youth Violence Prevention." Journal of School Health 80, no. 3 (March 2010): 146–52. http://dx.doi.org/10.1111/j.1746-1561.2009.00478.x.

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31

SIEGFRIED, DETLEF. "Alternative Music Geographies: A Commentary." Contemporary European History 26, no. 2 (May 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 trends from other world regions. That they did not displace national specificities, but that these rather perhaps came forward even more prominently than before, is particularly clear in those youth cultures in which transnational influences have been connected with national cultural preferences and formed into unique mixtures. In Germany there is also the fact that the country was divided, so that the already battered construct of a single national culture was dismantled even further while its heterogeneous components stood out, just like the disparate notions of an appropriate economic and political order. In this respect a focus on youth cultures in divided Germany after 1945 reveals unusually diverse manifestations of broader debates concerning the legitimacy of new styles among youth.

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32

Fairbanks, Stephen. "El Sistema: orchestrating Venezuela's youth." Music Education Research 18, no. 3 (January 24, 2016): 335–36. http://dx.doi.org/10.1080/14613808.2016.1138661.

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33

Thornton, Linda. "El Sistema: orchestrating Venezuela's youth." Music Education Research 18, no. 3 (January 29, 2016): 331. http://dx.doi.org/10.1080/14613808.2016.1139028.

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34

Walcott, Rinaldo, Tricia Rose, Andrew Ross, and Tricia Rose. "Sounds/Songs of Black Postmodernity: History, Music, Youth." Educational Researcher 26, no. 2 (March 1997): 35. http://dx.doi.org/10.2307/1176038.

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35

Abiogu, G. C., I. N. Mbaji, and A. O. Adeogun. "Music Education and Youth Empowerment: A Conceptual Clarification." Open Journal of Philosophy 05, no. 01 (2015): 117–22. http://dx.doi.org/10.4236/ojpp.2015.51013.

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36

Wanjala, Henry, and Charles Kebaya. "Popular music and identity formation among Kenyan youth." Muziki 13, no. 2 (July 2, 2016): 20–35. http://dx.doi.org/10.1080/18125980.2016.1249159.

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37

Young, Shawn David. "Evangelical Youth Culture: Christian Music and the Political." Religion Compass 6, no. 6 (June 2012): 323–38. http://dx.doi.org/10.1111/j.1749-8171.2012.00354.x.

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38

Evans, Mark. "Review: Youth and Music in Australia — A Review." Media International Australia 86, no. 1 (February 1998): 168–69. http://dx.doi.org/10.1177/1329878x9808600126.

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39

Fornäs, Johan. "Moving Rock: Youth and pop in late modernity." Popular Music 9, no. 3 (October 1990): 291–306. http://dx.doi.org/10.1017/s0261143000004104.

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What is moving in rock and pop? This question concerns both what levels change in the popular music arena, and how music can initiate changes inside and outside itself. Revolution in popular music can mean radical transformations of music itself, as well as the way in which social and psychic changes express themselves in music. Musical forms can go through revolutionary changes, and musical content can thematise revolutions.

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40

Lewis, George H. "Beyond the reef: role conflict and the professional musician in Hawaii." Popular Music 5 (January 1985): 189–98. http://dx.doi.org/10.1017/s0261143000001999.

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There have been, since Becker's pioneering work in the field of jazz (Becker 1951), a small handful of empirical studies that have focused on the popular musician in society – most specifically with respect to the conflicts such musicians can feel between what they want to play and what is demanded of them by their audience and the larger commercial market. Becker pointed out the vast differences between the expectations of the audience, those of the employers and those of the performer. In general, the audience expects the musician to play commercially popular tunes in an orthodox manner. The employer, concerned about money, applies financial sanctions to coerce the musician to fulfil audience expectations. The musicians, on the other hand, prefer to play the more individually expressive and esoteric forms of their music – in this case, jazz.

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41

Starr, Larry. "RECORDING REVIEWS." Journal of the Society for American Music 1, no. 2 (May 2007): 285–89. http://dx.doi.org/10.1017/s175219630707109x.

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Brian Wilson Presents Smile. Our Prayer/Gee, Heroes and Villains, Roll Plymouth Rock, Barnyard, Old Master Painter/You are My Sunshine, Cabin Essence, Wonderful, Song For Children, Child is Father of the Man, Surf's Up, I'm in Great Shape/I Wanna Be Around/Workshop, Vega-Tables, On a Holiday, Wind Chimes, Mrs. O'Leary's Cow, In Blue Hawaii, Good Vibrations. Brian Wilson, vocals and keyboards, with accompanying musicians. Produced and arranged by Brian Wilson. Booklet includes song lyrics and notes by David Leaf. Nonesuch 79846-2, 2004.

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42

Travis, Raphael. "Rap Music and the Empowerment of Today’s Youth: Evidence in Everyday Music Listening, Music Therapy, and Commercial Rap Music." Child and Adolescent Social Work Journal 30, no. 2 (November 16, 2012): 139–67. http://dx.doi.org/10.1007/s10560-012-0285-x.

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43

Shepler, Susan. "Youth music and politics in post-war Sierra Leone." Journal of Modern African Studies 48, no. 4 (November 4, 2010): 627–42. http://dx.doi.org/10.1017/s0022278x10000509.

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ABSTRACTThe brutal, eleven-year long civil war in Sierra Leone has been understood by many scholarly observers as ‘a crisis of youth’. The national elections of 2007 were notable for an explosion of popular music by young people directly addressing some of the central issues of the election: corruption of the ruling party and lack of opportunities for youth advancement. Though produced by youth and understood locally as youth music, the sounds were inescapable in public transport, markets, and parties. The musical style is a combination of local idioms and West African hip-hop. The lyrics present a young people's moral universe in stark contrast to that of their elders. This paper addresses the themes of these election-focused songs as well as the emerging subaltern youth identity discernible in supposedly less political songs.

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44

Tosin Gbogi, Michael. "Language, identity, and urban youth subculture." Pragmatics. Quarterly Publication of the International Pragmatics Association (IPrA) 26, no. 2 (June 1, 2016): 171–95. http://dx.doi.org/10.1075/prag.26.2.01tos.

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Towards the turn of the 20th century, a new wave of hip hop music emerged in Nigeria whose sense of popularity activated, and was activated by, the employment of complex linguistic strategies. Indirection, ambiguity, circumlocution, language mixing, pun, double meaning, and inclusive pronominals, among others, are not only used by artists in performing the glocal orientations of their music but also become for them valuable resources in the fashioning of multiple identities. In this paper, I interrogate some of these linguistic markers, using four broad paradigms: “Signifying,” “slangifying,” “double meaning,” and “pronominals and ghetto naming.” Under each of these areas, I show how Nigerian hip hop music is creating–through the mediation of language–sub-identities and a new subculture for a generation of urban youth.

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45

Mantie, Roger. "Getting unstuck: the One World Youth Arts Project, the music education paradigm, and youth without advantage." Music Education Research 10, no. 4 (December 2008): 473–83. http://dx.doi.org/10.1080/14613800802547706.

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46

MUELLER, ADELINE. "Youth, Capitivity and Virtue in the Eighteenth-CenturyKindertruppen." Eighteenth Century Music 10, no. 1 (February 6, 2013): 65–91. http://dx.doi.org/10.1017/s147857061200036x.

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ABSTRACTThis article uses Mozart's unfinished singspielZaide(k336b, 1780) and its source singspielDas Serailto reconsider the eighteenth-centuryKindertruppen: wandering troupes of young singers, actors and dancers who performed in the court and commercial theatres of Europe. These troupes' repertoire often self-consciously addressed the blend of charm and impropriety that lay behind their controversial appeal. I consider the subgenre of seraglio opera – popular with both youth and adult troupes – and in particular the motifs of the audition scene and the captive's lament as metatheatrical commentaries on the cultural politics of operatic spectatorship. When young actors inhabited the fictional seraglio, their display offered compelling corroboration of contemporary discourse about propriety, naturalness and absorption in the theatre, as well as the new sense of urgency regarding the sheltering of youthful virtue.

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47

Maira, Sunaina. "TranceGlobalNation: Orientalism, Cosmopolitanism, and Citizenship in Youth Culture." Journal of Popular Music Studies 15, no. 1 (June 2003): 3–33. http://dx.doi.org/10.1111/j.1533-1598.2003.tb00113.x.

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48

Laurence, Felicity. "El Sistema: Orchestrating Venezuela’s Youth. By Geoffrey Baker." Music and Letters 96, no. 4 (November 2015): 683–86. http://dx.doi.org/10.1093/ml/gcv082.

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49

McWalter, Melissa. "East African Hip Hop: Youth Culture and Globalization." Journal of the Musical Arts in Africa 10, no. 1 (December 2013): 127–29. http://dx.doi.org/10.2989/18121004.2013.846988.

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50

Fanelli, J. "A sweet bird of youth: Caffarelli in Pistoia." Early Music 27, no. 1 (February 1, 1999): 55–63. http://dx.doi.org/10.1093/em/27.1.55.

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