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Journal articles on the topic 'Music bands'
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O'Loughlin, Niall. "Wind Bands." Musical Times 129, no. 1739 (January 1988): 29. http://dx.doi.org/10.2307/964987.
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Dordzro, John-Doe. "BRASS BAND MUSIC IN GHANA: THE INDIGENISATION OF EUROPEAN MILITARY MUSIC." African Music: Journal of the International Library of African Music 11, no. 2 (November 22, 2020): 141–63. http://dx.doi.org/10.21504/amj.v11i2.2318.
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Local brass bands have become an indispensable factor in weddings, processions, rituals of birth or death, at Christmas and New Year festivities in many parts of the globe. Remains of European brass bands are widely distributed throughout Africa, India, Indonesia, Latin America, and the Caribbean. )ese bands are of both military and missionary origin. They are an important component of the nineteenth and early twentieth-century colonial expressive culture. Despite their uniqueness and widespread presence across the world, brass bands have received limited attention in Ghana. )is paper aims to address this lack by offering a comprehensive account of the contemporary situation of brass band music in Ghana. I trace the history of this musical world and explore the diverse ways military and missionary activities have shaped amateur brass band musical activities in Ghana. I discuss the distribution and band formations across Ghana, viewing it in five sections that detail different types of brass bands; church, town, service, school and “sharbo” bands. I continue by looking at the beginning, development, workings and indigenisation of European military music in local popular culture and provide an account of brass band music as observed in Ghana today. I argue that indigenisation is not a straightforward process of adaptation, rather, indigenisation is a process of ongoing aesthetic tensions and differences resulting in new musical forms and new forms of socialisation organised around musical performance.
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Radócz, Miklós. "Wind Bands for Hungarian Community Music." Central European Journal of Educational Research 3, no. 1 (April 30, 2021): 90–97. http://dx.doi.org/10.37441/cejer/2021/3/1/9355.
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The scholarly study of community bands as music communities can be considered a relatively young trend even on an international level. Despite this fact, there is more and more research done on the potential effects they may have on society and music education. Our national literary records on wind bands, however, are mainly focused on their historical background and their legacy in the military. Thus, there is an insufficient amount of information provided on the aspects of sociology and pedagogy. Besides the literary comparison done in our research, we also study the resupply of our national bands in music schools, using available data from the the 2016/2017 Statistical Yearbook of Public Education. This paper serves mainly as a tool of problem identification, laying the groundwork for further researches done in this area.
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Bayoumy, Tarneem. "Music Bands in the Old Kingdom." Journal of Tourism, Hotels and Heritage 1, no. 1 (November 1, 2020): 40–54. http://dx.doi.org/10.21608/sis.2020.40171.1000.
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Wang, Shuang. "Music, social media and public pedagogy: indie music in the post-Cantopop epoch." Asian Education and Development Studies 7, no. 1 (January 2, 2018): 42–52. http://dx.doi.org/10.1108/aeds-03-2017-0022.
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Purpose Hong Kong’s musical scene is rapidly changing along with the evolving media landscape. The purpose of this paper is to examine the new way of Cantopop production and dissemination in the new media ecosystem. Furthermore, this study calls for a reconceptualization of the process of Cantopop listening and sharing as a form of public pedagogy within the online public space. Design/methodology/approach Based on the investigation into two of the leading local indie bands Kolor and Supper Moment, this study explores the implications that social media and participatory culture have for these indie bands. In this study, the music content and promotion strategy of the two bands, as well as the role of their online audiences are studied. Findings Social media leads to more democratic cultural production and distribution. The strong online audience engagement serves as the foundation for the popularity of the two Cantopop indie bands. In their music practice, the lyrics appear to be in alignment with the goals and interests of the listeners, which gives rise to greater participation by its audiences through social media. Under the context of interactive internet culture, listening and sharing Cantopop can be seen as an educational force, thus reinforcing the values and attitudes. Originality/value While many important works have examined various aspects of Cantopop, little attention has been paid to the indie bands. This paper attempts to reveal the recent development of local indie bands as a site under the interactive internet culture. It also gives insights to the significant role of Cantopop played in public pedagogy.
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Kang, Yeon Hee. "A Music · sociological Study of the Performances of Immigrants’ Bands: Centering on the Multinational Earthian Music Bands." Journal of Migration & Society 8, no. 2 (August 31, 2015): 69. http://dx.doi.org/10.15685/jms.2015.08.8.2.69.
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Saputra, Pardian. "EKSISTENSI DAN ADAPTASI GRUP BAND THRASH METAL DAN ROCK DI NEGERI SYARIAT." Aceh Anthropological Journal 2, no. 2 (October 30, 2018): 114. http://dx.doi.org/10.29103/aaj.v2i2.1161.
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Fatwa ulama no. 12 of 2013 on Art and Culture of Other Arts in Islamic Syariat in Banda Aceh, should the band with the rock music genre not be able tosurvive for long periods in ‘Aceh. But in reality bands of music genre Thrash Metal and Rock is still survive and present with real in public space in Aceh. This study looks at how the development, existence, and adaptation of the bands Inverno and Cronic in Banda Aceh. The Cronic band was formed in 1999, while Inverno was formed in 2011 in Banda Aceh. From interviews with the band Cronic and personnel about the existence and adaptation Inverno they found that the factors that affect their existence among other ways, through their consistency in the work and the support they received from various parties. he adaptations performed by Cronic and Inverno bands are through the adjustment of lyrics and the meaning of the song lyrics on the albums and singles that they release and make adjustments in terms of the outfit used when they concert as well as the theme song selection of each of their works
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Sheldon, Deborah A. "Selecting Music for Beginning and Developing Bands." Journal of Music Teacher Education 6, no. 1 (September 1996): 6–15. http://dx.doi.org/10.1177/105708379600600103.
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O'Donnell, Patrick, and Steven McClung. "MP3 Music Blogs: Their Efficacy in Selling Music and Marketing Bands." Atlantic Journal of Communication 16, no. 2 (June 5, 2008): 71–87. http://dx.doi.org/10.1080/15456870701840004.
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Taylor, Steve. "Channelling the darkness: Group flow and environmental expression in the music of Black Sabbath and Joy Division." Metal Music Studies 7, no. 1 (March 1, 2021): 85–102. http://dx.doi.org/10.1386/mms_00033_1.
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Although they superficially belong to different genres of music, Black Sabbath and Joy Division share a fundamental commonality in that their music was shaped by – and powerfully depicted – bleak urban industrial environments. This article highlights a number of specific ways in which both bands’ music depicted (and was influenced by) this environment, including an unusually bass-heavy sound, the repetitive and continuous quality of their music, an austerity of sound, the rigid structure of songs and performances and lyrical content. Both bands attained such a high – or pure – degree of environmental expression because they were examples of the phenomenon of ‘group flow’. I examine the aspects of group flow identified by psychologists and show how both bands exhibited these, including a highly cooperative creative process, a lack of conscious deliberation and a prolific and spontaneous output. It was their group flow that enabled the two bands to ‘channel’ their environment directly and powerfully.
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Huron, David, and Peter Sellmer. "Critical Bands and the Spelling of Vertical Sonorities." Music Perception 10, no. 2 (1992): 129–49. http://dx.doi.org/10.2307/40285604.
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In the notation of vertical sonorities, it is well-known that composers space chordal tones using wider interval sizes in the bass region. A classic study by Plomp and Levelt (1965) argued that the organization of vertical sonorities in music is related to the phenomenon of critical bands. A replication of Plomp and Levelt's work shows that their demonstration was confounded by an unfortunate artifact and that their results did not support the conclusions drawn. Using a different method, a comparison of actual music with a control sample of "random" music shows that musical practice is consistent with the compositional pursuit of a greater uniformity of spelling with respect to critical bands. Although these results are consistent with conclusions given in Plomp and Levelt, the methods used here avoid the difficulties evident in the earlier study.
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Safani, Muhammad, Nur'aeni Marta, and Djunaidi Djunaidi. "Eksistensi Musik Death Metal Di Jakarta (1989-2000)." JURNAL PATTINGALLOANG 9, no. 2 (August 31, 2022): 102. http://dx.doi.org/10.26858/jp.v9i2.35480.
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Penelitian dengan judul Eksistensi Musik Death Metal Di Jakarta 1989-2000 bertujuan untuk mengetahui mengenai perkembangan aliran musik death metal di Jakarta. Dalam penelitian ini digunakan metode historis dengan tahapan heuristik, kritik sumber, interpretasi, dan historiografi. Hasil penelitian ini menginformasikan bahwa eksistensi musik death metal di Jakarta dimulai sejak berdirinya band Grausig pada tahun 1989. Kemudian dari tahun 1991-1998 terbentuk sebanyak 23 band beraliran death metal. Pada awal berdirinya band-band tersebut masih memainkan lagu-lagu milik band death metal mancanegara. Pada tahun 1993 berdiri tempat bersejarah bernama Poster Café yang menjadi venue rutin diselenggarakannya penampilan band-band death metal di Jakarta. Selama periode tersebut juga banyak sekali event-event perguruan tinggi dan sekolah yang menghadirkan band-band beraliran death metal. Kelahiran fanzine di Jakarta ditandai oleh beredarnya fanzine bernama Brainwashed Zine sejak September 1996. Pada tahun 1999 terjadi perubahan arah penulisan lirik lagu-lagu death metal, yang sebelumnya membahas “setan”, menjadi lagu-lagu bertemakan kritik sosial-politik. Perubahan tersebut terjadi akibat pemerintah otoriter Orde Baru. Pada tahun 2000 terbentuk label rekaman Rottrevore Records. Label tersebut melahirkan standard baru bagi eksistensi musik death metal di Jakarta. Standard baru tersebut adalah label rekaman harus menjadi wadah yang profesional bagi band-band death metal yang dinaunginya. Dapat disimpulkan bahwa lirik-lirik lagu death metal di Jakarta tidak hanya bertemakan “setan”, tetapi ada juga lirik-lirik lagu yang bertemakan kritik sosial-politik.Kata kunci : Eksistensi, Musik, Death Metal di Jakarta Abtract The research entitled The Existence of Death Metal Music in Jakarta 1989-2000 aims to find out about the development of death metal music in Jakarta. In this research, the historical method is used with heuristic stages, source criticism, interpretation, and historiography. The results of this study inform that the existence of death metal music in Jakarta began with the founding of the band Grausig in 1989. Then from 1991-1998 formed as many as 23 death metal bands. At the beginning of their establishment, these bands still played songs belonging to foreign death metal bands. In 1993, a historic place called Poster Café was established, which is a regular venue for performances by death metal bands in Jakarta. During this period, there were also many college and school events that featured death metal bands. The birth of a fanzine in Jakarta was marked by the circulation of a fanzine called Brainwashed Zine since September 1996. In 1999 there was a change in the direction of writing lyrics for death metal songs, which previously discussed “devil”, into songs with the theme of socio-political criticism. These changes occurred as a result of the authoritarian New Order government. In 2000 the record label Rottrevore Records was formed. The label gave birth to a new standard for the existence of death metal music in Jakarta. The new standard is that record labels must become a professional forum for death metal bands under their umbrella. It can be concluded that the lyrics of death metal songs in Jakarta are not only themed "devil", but there are also song lyrics with the theme of socio-political criticism.Keywords : death metal, poster café, rottrevore records
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Gusāns, Ingars. "CULTURAL SIGNS IN TEXTS OF LATGALIAN BANDS." Via Latgalica, no. 8 (March 2, 2017): 139. http://dx.doi.org/10.17770/latg2016.8.2236.
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During ten years, since Latgalian popular music has returned to the mainstream Latvian music stage, 44 Latgalian music albums have been released. The lyrics of these songs are written by musicians, Latgalian and Latvian poets and as a result of teamwork of poets and music authors. The subject of the present research is represented by cultural signs in the song texts of Latgalian bands; the research object is song lyrics of Latgalian bands. Sources selected for the research are the song texts of Latgalian bands and performers: "Borowa MC", "Bez PVN", "Dabasu Durovys", "Green Novice", Laura Bicāne, "Kapļi". Some musicians and bands use Latvian and Latgalian folk songs in their music, yet they are not discussed in the present research. Other musicians use works of Latgalian poets, which are mentioned here only for comparison. Therefore, the key focus is on texts written by musicians themselves, collected from the released music album brochures and from correspondence with band members. The texts of schlager music bands are not examined here either, as they are worth making a separate research.It must be admitted that cultural signs in the examined texts do not occur particularly often, although the feature of the post-modernist culture is related to reassessment and mock of previous culture, the song lyrics are still rather romantic, traditional and compliant with the requirements of mass culture. The use of cultural signs is not characteristic of bands "Green Novice", "Bez PVN" and performer Laura Bicāne, therefore, the song texts of bands "Borowa MC", "Dabasu Durovys" and "Kapļi" are analysed the most. The research has been carried out based on the method of structural semiotics (J. Lotmans, R. Veidemane) by analysing cultural signs found in the selected texts.The signs related to cultural history are rather traditional: Latgale, Latgalians, rarely, some specific natural or geographical objects relevant to cultural historical events or associated exactly with the Latgale region. However, the search for territorial and ethnic identity and its construction for oneself and others (mostly, neighbours of other regions) is one of the main questions in the lyrics. As the mentioned bands "Borowa Mc", "Dabasu Durovys" and "Bez PVN" play popular, mass-oriented music, their texts are mostly intended for broad public, therefore, the first features that characterize the song lyrics of Latgalian bands are the cultivation and preservation of stereotypes. These stereotypes are divided into two groups:1) favourable, emotionally uplifting, sometimes even rousing self-confidence; 2) critical, prejudiced, causing negative atmosphere and emotions.The poetical rock band "Kapļi", which belongs to an alternative direction of Latgalian music and has ironic, sarcastic texts, sing about cultural signs related to Latgale in a completely different way. Their lyrics show a different view of things that are holy, inviolable, and indisputable to many Latgalians.Regarding cultural signs representing the folkloristic level, it must be noted that in this research ‘folkloristic’ is meant in the broadest sense of this word (not only folk compositions, but also events, objects, things that have become a part of folklore over time, often becoming subjects of literary tales), for instance, Pinocchio, the main character combines several characters: a fool, a body-builder, and even a lyrical ego seeking for its own identity. All character appearances, which are reflected in other songs about the modern hero, suggest that the character avoids activity or makes the new world unstable by drawing, making it from plasticine, using the phone, and consequently, creates a virtual world which is modern and transitory. "Dabasu Durovys" reveals their life philosophy and search for meaning with the help of historical cultural signs, for instance, the river Rubicon, known from ancient times, meaning the breaking of links to the past and not returning to previous situation, or the royal court of the Sun King, that symbolizes absolute monarchy, or Napoleon, etc.“Little man” and his daily life are related to another group of cultural signs. Depiction of daily life in poetry shows on the one hand that the author values the place and time of his life; on the other hand it demonstrates an artistic approach to everyday reality. These texts usually convey tragically ironical feeling and show modern typical dramas right beside us. Such characters most frequently appear in the texts of the bands "Kapļi" and "Dabasu Durovys".Even though cultural signs do not appear in the texts of Latgalian bands frequently, they are diverse. Cultural historical signs, which appear in patriotic and ironic lyrics, reveal authors’ homeland Latgale and Latgalians with their typical positive and negative stereotypes. Cultural signs related to Latvia and Europe highlight ironically sharp reality of emigration and infrequent visits to Latvia and are bound to several historical periods, which are mostly related to domestic, rarely social political situations.
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Jackson, Travis A., Alan Lomax, John A. Lomax, Harold Spivacke, Robert Stuart Jamieson, Margot Mayo, Freyda Simon, and Stephen Wade. "Black Appalachia. String Bands, Songsters and Hoedowns." Yearbook for Traditional Music 32 (2000): 230. http://dx.doi.org/10.2307/3185282.
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Kreitner, K. "The repertory of the Spanish cathedral bands." Early Music 37, no. 2 (May 1, 2009): 267–86. http://dx.doi.org/10.1093/em/cap015.
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Godfrey, John. "London, Queen Elizabeth Hall and Brighton Dome: Big Noise Tour." Tempo 58, no. 228 (April 2004): 61–62. http://dx.doi.org/10.1017/s0040298204240153.
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Big Noise – heard in London on 21 November and repeated at the Dome (Corn Exchange) in Brighton on the 22nd – was a collaboration between the highly idiosyncratic New Music ensembles Orkest de Volharding (Holland) and Icebreaker (UK). The former was established by the amazingly influential Dutch composer Louis Andriessen: reacting against the elitist music of his youth, he saw the need for a new type of Art-music ensemble which could travel into the streets and play music with a broad appeal. Borrowing from the model of Dutch street bands (the equivalent, perhaps, of the UK's brass bands), jazz of the 1920s, Minimal music coming out of America and the European avant-garde, Andriessen created an ensemble and a language with an overt non-elitist agenda.
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Baďurová, Barbora. "Philosophical Poetry in Metal Music (with Focus on Bands From Central Slovakia)." Studia Polensia 10, no. 1 (January 19, 2022): 23–42. http://dx.doi.org/10.32728/studpol/2021.10.01.02.
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Metal music is a quite popular subculture in Slovakia. Although heavy metal music simply noise for some, it is not so shallow and there are deeper meanings. There have been many metal bands that have addressed social concerns, as well as ethical and philosophical questions. Metal music uses various metaphors and other tropes to express philosophical ideas; not only in lyrics, but also in its use of melody. The focus here will be on several influential contemporary metal bands from Central Slovakia, and the philosophical and ethical aspects of their metal poetry.
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Baďurová, Barbora. "Philosophical Poetry in Metal Music (with Focus on Bands From Central Slovakia)." Studia Polensia 10, no. 1 (January 19, 2022): 23–42. http://dx.doi.org/10.32728/studpol/2021.10.01.02.
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Metal music is a quite popular subculture in Slovakia. Although heavy metal music simply noise for some, it is not so shallow and there are deeper meanings. There have been many metal bands that have addressed social concerns, as well as ethical and philosophical questions. Metal music uses various metaphors and other tropes to express philosophical ideas; not only in lyrics, but also in its use of melody. The focus here will be on several influential contemporary metal bands from Central Slovakia, and the philosophical and ethical aspects of their metal poetry.
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James, Kieran, and Rex Walsh. "Religion and heavy metal music in Indonesia." Popular Music 38, no. 2 (May 2019): 276–97. http://dx.doi.org/10.1017/s0261143019000102.
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AbstractWe trace the history of Indonesian Islamic metal bands, including Purgatory, Tengkorak and Kodusa, and the One Finger Movement that revolved around these bands (centred mainly on Jakarta). We look at the differences in symbols, heroes, rituals and values between One Finger Movement bands and the Bandung (Indonesia) secular Death Metal scene. We also study Bandung Death Metal band Saffar, which was known for its Islamic lyrics on its debut album but which has been for a few years in something of a limbo owing to the departure of vocalist and lyricist Parjo. We also look at Saffar's positioning of itself as a ‘secular’ band with Islamic and Anti-Zionist lyrical themes rather than as an Islamic bandper se. This dichotomy can be best explained by the phrase ‘a band of Muslims rather than a Muslim band’. The secular Bandung scene context is a significant explanatory factor here.
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Beskov, Andrey. "Russian rock music: “Orthodox art”, new religion or “lovely paganism”?" Культура и искусство, no. 6 (June 2020): 10–28. http://dx.doi.org/10.7256/2454-0625.2020.6.31675.
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This article is dedicated to examination of the art of several famous Russian rock bands, which leaders have repeatedly declared their religiosity and to some extent are engaged in missionary activity of the Russian Orthodox Church. The author covers the questions whether it is appropriate to attribute the art of such rock bands to the genre of “Christian rock”, and do the rock musicians contribute to popularization of Orthodox doctrine and churching of their fans, or rather to desecration of religious values and ideals. For solution of the set tasks, the author analyzed song lyrics of the prominent Russian rock bands, as well as interviews of their leaders and other publications in mass media and scientific periodicals that touch upon a religious aspect in rock music. The art of various Russian rock bands often attracted the attention of researchers, who noticed religious (primarily Christian) symbolism in the song lyrics. However, there has not been previously raised a question of whether it is possible to define the art of such rock bands as “Christian rock” or “Orthodox art” based on existence of references to Christian symbolism. It is demonstrated that leaning on the comprehensive analysis of the art of several Russian rock bands that use religious symbols and allusions in their lyrics, there are no grounds to attribute them to the genre of “Christian rock”. Despite the fact that the majority of leaders of these bands and the authors of texts are Orthodox, the lyrics, visual arrangements and videos often have the elements of Neo-Paganism.
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Núñez, María de la Luz. "The stones sing: The mestizo metal music of Kay Pacha and Yana Raymi." Metal Music Studies 7, no. 1 (March 1, 2021): 129–38. http://dx.doi.org/10.1386/mms_00037_1.
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This article addresses the music of Kay Pacha and Yana Raymi, two bands from the city of Huancayo, Perú, that mix metal music with the world-view and instrumentation of the Andes, in an effort to reclaim Wanka culture and identity. To understand why both bands choose metal music to express what they understand as their own ancestral identity, I explore the history of the city of Huancayo, examining how the unique conditions in which its formation and development took place allowed local people to preserve native customs and, at the same time, integrate foreign elements that were gradually assimilated and conceived as their own. This phenomenon of integration has been termed mestizaje by José María Arguedas, who also sees it as a means to preserve and expand native culture. That particular way of understanding mestizaje can be examined by paying attention to the development of local popular music, including metal; particularly by reviewing the music, narratives and aesthetics of Kay Pacha’s black metal and Yana Raymi’s folk metal. I supplement the presented analysis via interviews with Jhon ‘Yachaq’ Limaymanta and Jhonn Castro, founding members of the respective bands.
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Fajaraditya Setiawan, I. Nyoman Anom. "Kajian Rancangan Promo Album Faito 61 Tahun 2008." Jurnal Bahasa Rupa 1, no. 1 (October 28, 2017): 1–10. http://dx.doi.org/10.31598/bahasarupa.v1i1.134.
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Music has many lovers, especially in Bali there are many bands from various musical genres. In the development of indie music labels required hard work in creativity as supporting the popularity and success in the field of music. Faito 61, the band that existed from many hardcore bands of Bali maintained its existence with it so it is known among hardcore music fans from 2004-2010. Efforts to improve creativity and quality, Faito 61 released its first album as proof of maturity to fans and the community in addition to the creations of musicians that can generate and increase the band's popularity. It utilizes visual communication media as a supporting tool to maximize the album promo and this can also increase the popularity and sales of Faito 61 album. The existing media is so diverse that it needs to be selective and in accordance with theories, concepts and field conditions. For such provision it must begin with research and theoretical review. The hardcore concept is lifted according to the flow of the band. The design of Faito 61 album promo media, applied hardcore elements ranging from illustrations, typography and colors. Data obtained from direct interviews with direct observation media that has been owned so far then compared with design theory. Further analyzed qualitatively so that it can be concluded as the basic design.
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Barber, Llorenç. "A Music out of Doors." Leonardo Music Journal 23 (December 2013): 3–5. http://dx.doi.org/10.1162/lmj_a_00135.
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The author describes the inspiration and influences behind his compositions, installations and performances, from solo work with voice and bells to performances in city centers with bells, horns, ship-alarms, sirens, groups of drummers, symphonic bands and cannons.
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Puchovský, Michal. "Czech Pagan Metal: A Short Introduction to Major Local Trends." Annales Universitatis Paedagogicae Cracoviensis | Studia de Cultura 14, no. 3 (September 30, 2022): 72–90. http://dx.doi.org/10.24917/20837275.14.3.6.
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This article offers a short introduction to Czech pagan metal. I offer a brief summary of the main trends within the local scene and analyze how Paganism is discursively constructed in the music and lyrics of three bands representing different metal sub-genres: Inferno, Silent Stream of Godless Elegy, and Žrec. I seek answers for some important questions. How do Czech bands approach Paganism? In what ways, if any, is Czech pagan metal unique? Or do Czech pagan metal bands simply copy global trends? How important is spiritual identity in the personal lives of Pagan metal band members? The main theoretical inspirations for thearticle are Robert Walser’s discursive study of heavy metal and Keith Kahn-Harris’s concept of scene. The analysis of lyrics and music is enhanced by data from ethnological and quantitative research among listeners of Czech Pagan metal music.
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Gaggioli, Andrea, Alice Chirico, Elvis Mazzoni, Luca Milani, and Giuseppe Riva. "Networked Flow in musical bands." Psychology of Music 45, no. 2 (September 21, 2016): 283–97. http://dx.doi.org/10.1177/0305735616665003.
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This study aimed at using the Networked Flow (NF) model to investigate group collaboration in the context of musical bands. We analyzed the relationship between flow, social presence, structural dynamics and performance as they related to 15 bands in a rehearsal room. Flow was measured using the Flow State Scale; social presence was assessed with the Networked Minds Social Presence scale; and interpersonal communication structure (exchange of gazes and verbal orders) was assessed by means of Social Network Analysis (SNA). In addition, we considered: (a) a subjective measure of performance, rated by each member on an ad-hoc questionnaire; and (b) an expert rating of performance, based on the evaluation of audio-video recordings of each group. Findings showed the multifaceted nature of the relationship between social presence and flow. Group flow score was a significant predictor of self-reported performance, but not of expert-evaluated performance. Moreover, several correlations were found between flow, social presence and patterns of interpersonal coordination (both implicit and explicit). Specifically, SNA reveals that flow was positively related to exchanges of gazes and negatively associated with exchanges of orders. Overall, this study contributes to further elucidating the complex interplay between group flow and intersubjective dynamics in music collaboration.
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RodrÍguez, Eva Moreda. "Why do Orchestral and Band Musicians in Exile Matter? A Case Study from Spain." Music and Letters 101, no. 1 (February 1, 2020): 71–88. http://dx.doi.org/10.1093/ml/gcz080.
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Abstract Even though scholarship on music and exile under Franco has grown steadily for the past three decades, little attention has been paid thus far to exiled performers who were active primarily as members of orchestras and bands. This article makes an initial contribution to this field by focusing on the Banda Madrid as a case study. The Banda Madrid was founded in the spring of 1939 in the internment camp of Le Barcarès (France) by Rafael Oropesa. Its members went into exile in Mexico City and became a fixture of the Spanish exile community until 1947. I discuss how the Banda Madrid and the stories of some of its individual members expand our understanding of politics and modernity in the Spanish Republican exile. In order to do this, I follow the trajectories of Banda Madrid musicians before, during, and after the Civil War, and contrast them with those of left-wing composers in exile.
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Mazzola, Sandy R. "Bands and Orchestras at the World's Columbian Exposition." American Music 4, no. 4 (1986): 407. http://dx.doi.org/10.2307/3052228.
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Barron, Jennifer M., and Sherrie Tucker. "Swing Shift: "All-Girl" Bands of the 1940s." American Music 21, no. 4 (2003): 525. http://dx.doi.org/10.2307/3250579.
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Berezhnyk, Sviatoslav. "MODERN MUSIC BANDS IN THE FESTIVAL MOVEMENT OF UKRAINE." Вісник КНУКіМ. Серія «Мистецтвознавство», no. 34 (June 5, 2016): 5–9. http://dx.doi.org/10.31866/2410-1176.34.2016.158192.
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Wells, Graham, and Harry Woodhouse. "Face the Music, Church and Chapel Bands in Cornwall." Galpin Society Journal 52 (April 1999): 340. http://dx.doi.org/10.2307/842538.
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Leslie, Paul L., and James K. Skipper. "Big bands and big band music: Embedded popular culture." Popular Music and Society 17, no. 1 (March 1993): 23–36. http://dx.doi.org/10.1080/03007769308591503.
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Gusāns, Ingars. "2018. gada latviešu metālmūzikas albumi." Aktuālās problēmas literatūras un kultūras pētniecībā: rakstu krājums, no. 25 (March 4, 2020): 185–200. http://dx.doi.org/10.37384/aplkp.2020.25.185.
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The aim of the study is to describe metal music albums of the year 2018 from the genre, textual and artistic aspects, looking for the common and diverse in the Latvian metal music world. It is recognised that there is still no unified collection of Latvian rock and metal music resources, and that makes the researcher’s work more interesting. Even though only ten metal albums came out in 2018, their metal styles are quite wide-ranging from symphonic metal and through thrash, groove, industrial metal to classic heavy metal, which is also played in an acoustic format. Album designs, in the author’s opinion, are classic but qualitative and do not damage the first impression, especially designs of those albums that were released on physical media. Because physical media is becoming an exclusive case, the trend continues to sell albums only in digital format (at least at first); this has been done by the bands “Revelation Attic”, “Yomi”, “Seira”, “NUVO”. Perhaps knowing that Latvia is too small to live on music only, as well as wishing to expand their audience and be noticed abroad, the 5 of the albums in question are recorded in English. The debuts of several newly formed bands (“Seira”, “Revelation Attic”, “Māra”) confirm the unlost interest in metal music and also show the attempts of these groups to build their way to Latvian and the world metal music scene, which manifests in their search for a strange sound (“NUVO”) or a strong female vocal use (“Oceanpath”, “Seira”, “Māra”). In general, Latvian metal music representatives continue the world’s metal music traditions, where it is extremely difficult to surprise because the number of existing bands is so large that it is almost impossible to be original, while the population of the planet is so big that many bands can access the listener so that each band also searches for its audience, both online and in concerts.
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Міхєєва, Л. В. "ОСОБЛИВОСТІ ВІЗУАЛІЗАЦІЇ ЛОГОТИПІВ МУЗИЧНИХ КОЛЕКТИВІВ НЕЗАЛЕЖНОЇ УКРАЇНИ." Art and Design, no. 1 (June 3, 2020): 142–53. http://dx.doi.org/10.30857/2617-0272.2020.1.11.
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The purpose of this article is to identify the distinctive features of the visual language of creating logos of musical band under the influence of cultural and socio-political events. Methodology. The research method is to observe and compare design objects. For analysis, the logos of music bands were taken, the list of which consists of more than 180 groups that existed and existed on the Ukrainian music space for at least two years. The chronological boundaries of the study are determined by the period of Independence of Ukraine (1991 – to date). Results. The trends of the visual component of logos have been divided into several historical periods. The visual language of each of the designated periods is traced, the characteristic features and tendencies of the visual series are revealed. The typology of logos of music band by graphic and semantic loading is deduced as the means of communication that influence the creation of the image of the music band and its brand. Some types of logos are considered as a means of identifying a music band. Scientific novelty. There is a systematization of logos of music bands according to certain characteristics, elements of visual languages, graphic components. Cases of creating a recognizable brand of a music bands that have no established logo but have existed for a long time due to the fan audience that perceives their creativity are considered separately. It is argued that the musical style in which a certain team works on the functioning of a brand of a music bands as a whole is the most influential factor in creating elements of its visual language. Practical significance. The proposed systematization and conclusions presented in the article can be used in scientific studies related to the further study of the elements of graphic identification; in the educational process of studying the subject of research; in the preparation of training and methodological manuals in graphic design.
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Swist, Jeremy. "‘Wolves of the Krypteia’: Lycanthropy and right-wing extremism in metal’s reception of ancient Greece and Rome." Metal Music Studies 8, no. 3 (September 1, 2022): 309–25. http://dx.doi.org/10.1386/mms_00083_1.
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Metal’s pervasive (were)wolf motifs are key hermeneutics for the reception of classical antiquity by right-wing bands. Continuities of lupine themes and romanticization of Sparta and Rome exist between fascist Germany and Italy, contemporary far-right political and pagan organizations, and bands that combine these two subjects in a unique but consistent way. Also inspired by Nietzsche, Evola and social Darwinists, bands such as Der Stürmer, Kataxu and Spearhead trace their biological and spiritual ancestry to Sparta, emulating their lycanthropic militarism and racial terrorism. Bands such as Hesperia, Diocletian and Deströyer 666 utilize Roman wolf iconography to promote the destruction of civilization and return to ‘natural’ hierarchies. Like their fascist predecessors, these artists perpetuate patriarchal and racist distortions of both lupine behaviour and ancient Mediterranean civilizations. Such constructions nevertheless extend from the resonance of both wolves and classical antiquity with metal’s common themes of transgression, hypermasculinity, elitism and nostalgia for premodernity.
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Hebert, David G. "The Tokyo Kosei Wind Orchestra: A Case Study of Intercultural Music Transmission." Journal of Research in Music Education 49, no. 3 (October 2001): 212–26. http://dx.doi.org/10.2307/3345707.
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Instrumental music education in Japan has long emphasized wind bands, and in recent decades, Japanese bands have achieved a level of performing excellence that arguably rivals all other nations. This case study of Japan s premier wind ensemble provides insights applicable to bands throughout the nation. The study explores the influence of the ensembles repertoire and educational activities, traces its religious origins, and examines Frederick Fennell's role as musical ambassador. The findings suggest that Japan has not only assimilated and mastered the band genre, but it has transformed the tradition. Moreover, the subculture of wind bands is argued to be a domain of internationalization that challenges Japanese notions of gender roles and ethnic identity.
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González-Martínez, Susana. "The didactic role of feminist art in metal music: Coven bands as a relational device for personal improvement and social justice." Metal Music Studies 8, no. 3 (September 1, 2022): 401–21. http://dx.doi.org/10.1386/mms_00087_1.
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This article presents an analysis of the feminist artistic practices that some bands are adopting through metal music to show how their approaches are linked to a tradition in the history of feminist art. For this purpose, I addressed these feminist metal bands to demonstrate how their practices align with feminist and artistic pedagogies that evolved during the 1970s women’s liberation movement. I examine how artists, like second-wave feminist art groups, create an integrating framework that transcends the scope of art, managing to simultaneously convene and attend to various personal and social processes, based on a reflection substantiated on social group theory, feminist art, feminist pedagogies and ritual studies. Similarly, I highlight and differentiate their specific strategies by analysing their practices in order to understand, on the one hand, these feminist bands as a powerful relational device, which I have termed ‘coven bands’, and, on the other hand, the set of their practices as a didactic action of feminist resistance for personal improvement and social justice. Therefore, I will show how coven bands – whose name is a metaphor that evokes a gathering or circle of witches – are both a collective critical conscience and a multifunctional platform where several of life’s processes can be conjured up, such as relational learning, mutual help, psycho-emotional healing, creativity, empowerment and social action simultaneously.
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Mohammadi, Mohsen. "Marche Triomphale: A Forgotten Musical Tract in Qajar-European Encounters." Iranian Studies 55, no. 3 (July 2022): 765–76. http://dx.doi.org/10.1017/irn.2021.65.
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AbstractThis article introduces Julius Heise’s Marche Triomphale which reveals a history that was eliminated during the nineteenth century race theory publications. Beginning with an account of Iranians’ encounters with European military music, this article provides a brief history of Iranian military bands in European style, or the bands of muzikānchiān. It then addresses racial motivations behind a short account on Iranian music in 1885 by Victor Advielle, a French administrator. Arthur de Gobineau’s race theories were fashionable in nineteenth century Europe, and Victor Advielle used his fellow Artesian, Alfred Lemaire, to prove their racial superiority. Through Advielle’s account, Lemaire became the main figure of European music in Iran in the last quarter of the nineteenth century. The article proceeds with biographical information on two European musicians, Marco Brambilla (d.1867 in Tehran) and Julius Heise (d.1870 in Tehran), and uncovers the earliest known piece published for the bands of muzikānchiān: Marche Triomphale, À Sa Majesté Impériale Nassir-Ed-Din Shah Kadjar de Perse.
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Copeland, Lyndsey. "Pitch and tuning in Beninese brass bands." Ethnomusicology Forum 27, no. 2 (May 4, 2018): 213–40. http://dx.doi.org/10.1080/17411912.2018.1518151.
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Mantie, Roger, and Leonard Tan. "A Cross-Cultural Examination of Lifelong Participation in Community Wind Bands Through the Lens of Organizational Theory." Journal of Research in Music Education 67, no. 1 (January 4, 2019): 106–26. http://dx.doi.org/10.1177/0022429418820340.
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The purpose of this study was to investigate participant involvement in community wind bands through the lens of organizational theory to inform the music education profession about community wind bands as an “expressive” voluntary association with potential for lifelong participation. Twenty-eight informants were drawn from three community wind bands in the United States and four community wind bands in Singapore. Overall, responses between U.S. and Singapore informants shared many commonalities. Informants from both countries desired musical opportunities that aligned with their interests (incentives and commitment), viewed their participation as defined largely by the ensemble-conductor relationship (formal structures), and preferred rehearsing and performing under the direction of a competent and respectful conductor (leadership and authority). The diversity of bands from which informants were drawn points to the importance of an environment that supports a range of interests for lifelong participation.
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IOAN, Cristina Mioara. "Representative Music of the Ministry of National Defense – decisive presence in the Romanian cultural and musical evolution." Bulletin of the Transilvania University of Braşov. Series VIII:Performing Arts 14(63), Special Issue (January 27, 2022): 77–84. http://dx.doi.org/10.31926/but.pa.2021.14.63.3.8.
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Symphony orchestra of blowers, Representative Music of the Ministry of National Defense is today the performance standard in terms of wind bands in our country. Through its activity carried out during seven decades, the band crowned the creative, interpretative, educational and cultural values of the military music bands from the Romanian garrisons and military units. Having a repertoire that exceeds two thousand works from almost all musical genres (hymns, marches, patriotic and military songs, fantasies, potpourri, overtures, processing of songs and folk games, symphonic poems, symphonies, jazz, Romanian light music, etc.) from the creations of Romanian and universal composers, the wind symphony orchestra supported a rich concert, ceremonial and protocol activity, representing Romania in numerous national and international festivals.
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Clauhs, Matthew, Brian Franco, and Radio Cremata. "Mixing It Up: Sound Recording and Music Production in School Music Programs." Music Educators Journal 106, no. 1 (September 2019): 55–63. http://dx.doi.org/10.1177/0027432119856085.
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Recent advances in music technology include practical tools for sound recording and production in school music classrooms. Secondary school music production classes allow students to make meaningful connections between school music and the music in their own lives. We offer several projects for teaching music production and sound recording; provide examples of authentic, performance-based assessments; and identify opportunities for collaboration through digital means. These projects are particularly well aligned with the United States’ Core Arts Standards related to creating music and may widen the door for students who are less interested—or less able to participate—in traditional bands, orchestras, and choirs or music appreciation electives.
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Cumberledge, Jason P. "The Benefits of College Marching Bands for Students and Universities: A Review of the Literature." Update: Applications of Research in Music Education 36, no. 1 (December 8, 2016): 44–50. http://dx.doi.org/10.1177/8755123316682819.
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College marching bands are a large and visible part of American music education. Institutions of higher learning have benefited from the existence of marching bands, as they serve as a powerful recruitment tool and an essential public relations vehicle for music departments and universities. The benefit students may receive from marching band participation is influenced by a variety of social and educational factors. This article is a review of literature on the benefits of marching bands and band participation for universities and college students. The review is organized as follows: (a) brief introduction and methodology, (b) benefits for colleges and universities, (c) benefits for college students, (d) challenges for college students, and (e) summary and recommendations. This article presents scholarship on the possible benefits of marching bands for students and universities in an effort to aid recruitment and inform administrators of the value a marching band brings to their school.
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Averill, Gage. "Haitian Dance Bands, 1915-1970: Class, Race, and Authenticity." Latin American Music Review / Revista de Música Latinoamericana 10, no. 2 (1989): 203. http://dx.doi.org/10.2307/779951.
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Jeziński, Marek. "Obrazy miasta w utworach polskich grup alternatywnych lat 80. XX wieku." Kultura Popularna 3, no. 53 (February 26, 2018): 81–90. http://dx.doi.org/10.5604/01.3001.0010.8269.
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In the paper I analyse the ways in which a city, urbanism, city space and people living in urban environment are portrayed in Polish popular music, especially in the songs of Polish alternative bands of the 80. inthe 20th century. In popular music, the city is pictured in several ways, among which the most important is the use of words as song lyrics that illustrate urban way of life. The city should be treated as an immanent part of the rock music mythology present in the songs and in the names of bands. In the case of Polish alternative rock music of the 80.such elements are found in songs of such artists as Lech Janerka, Variete, Siekiera, Dezerter, Deuter, AyaRL. The visions of urbanism taken from their songs are the exemplifications used in the paper.
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Ray, Daniel E. "Military Bands and Government Documents." DttP: Documents to the People 44, no. 4 (January 31, 2017): 27. http://dx.doi.org/10.5860/dttp.v44i4.6227.
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Since before the founding of the United States, musicians have been an integral part of the military. Throughout history armies have used trumpets and drums to enhance communication and assist the movement of mass forces. Over time, the military has influenced both the makeup of musical ensembles, and styles of popular music. The modern American wind band featuring brass, woodwinds and percussion, is modeled after British military bands. And the marches of John Phillip Sousa, who served as the director of the President’s Own Marine Band for twelve years, remain popular to this day. His “Stars and Stripes Forever” is considered our national march. Today, the US Army declares itself “the oldest and largest employer of musicians in the world.”
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Jian, Miaoju. "The Survival Struggle and Resistant Politics of a DIY Music Career in East Asia: Case Studies of China and Taiwan." Cultural Sociology 12, no. 2 (March 5, 2018): 224–40. http://dx.doi.org/10.1177/1749975518756535.
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Indie music in East Asia has experienced tremendous growth in popularity since the mid-2000s, especially in China and Taiwan. This trend has encouraged a number of indie bands to pursue more radical and alternative ‘do-it-yourself’ (DIY) careers within their local underground music scenes. Taking two bands from Beijing and Taipei as case studies, this article argues that their DIY music careers help them both to survive through their aesthetic freedom and to confront the paradoxical government involvement in the local music market. P.K. 14, a band from China, practice a pragmatic DIY music career with an oblique resistance to political authorities. Touming Magazine, a band from Taiwan, pursue a DIY career through punk ethics to fight against an overwhelming neoliberal discourse and a promotional state policy of developing a cultural and creative industry. While DIY career practitioners have opened up alternative possibilities to preserve the autonomy of making music, such a career path is still challenged by an unsustainable market, a shortage of financing, and the continued dominance of major music companies’ own platforms. The situations these musicians face illustrate a more ambivalent type of politics, beyond mere emancipation, in their pursuit of a DIY career.
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LeCroy, Hoyt F. "Community-Based Music Education: Influences of Industrial Bands in the American South." Journal of Research in Music Education 46, no. 2 (July 1998): 248–64. http://dx.doi.org/10.2307/3345627.
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From as early as 1855 and extending to the middle of the twentieth century, American industry encouraged the formation of bands and other musical organizations for workers, ostensibly to enhance their welfare. The actual purposes of music in industry, however, were often to prevent formation of unions and maintain social regimes. As industry expanded into the agrarian South, industrial bands augmented the limited town band tradition. Their performances, role-modeling and community-based instruction of young people filled curricular voids and developed favorable cultural environments for the eventual addition of instrumental music to public school curricula. A historical case study of the activities and influences of a significant industrial band in the state of Georgia provides a basis for formulating conclusions regarding influences of industry on music education in the American South.
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Rahmat, Sujud Puji Nur, G. R. Lono Lastoro Simatupang, and Harsawibawa Albertus. "Musik Metal dan Nilai Religius Islam: Tinjauan Estetika Musik Bermuatan Islami dalam Penampilan Purgatory." Resital: Jurnal Seni Pertunjukan 18, no. 3 (November 26, 2019): 133–43. http://dx.doi.org/10.24821/resital.v18i3.3338.
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Musik metal terkait dengan isu kekerasan, pemberontakan, kesewenang-wenangan. Oleh karenanya, band metal juga lekat dengan citra-citra itu. Namun demikian, Purgatory, band metal dari Jakarta, mencoba memunculkan citra yang berbeda. Mereka mengusung nilai-nilai religius islami dalam karya musik dan pertunjukannya. Dalam tulisan ini, penulis berupaya untuk memahami cara band ini tetap memiliki penggemar dengan isu-isu yang diusung tersebut. Penelitian ini menggunakan pendekatan etnografi. Pengumpulan data dilakukan dengan cara observasi-partisipasi. Penulis mengikuti dalam peristiwa-persitiwa pementasan musik metal dan juga berbagai aktivitas yang mengelilinginya. Berdasarkan penelitian dapat disimpulkan bahwa ada tiga dimensi persepsi estetika yaitu mengusung nilai-nilai religius Islami, memiliki kekhasan yang menampilkan ciri musik metal, dan mensyiarkan nilai-nilai kebaikan yang mendorong Mogerz, yakni para penggemar Purgatory tetap tertarik dengan band itu dan musiknya. Metal Music and Islamic Religious Values: The Aesthetics Review of Islamic Music in Purgatory Performance. Metal music is closely related to violence, rebellion, and abuse. Therefore, the metal band is also associated with those images. Purgatory, a metal band in Jakarta, however, is trying to establish a distinctive image to those of metal bands in common. They are to promote Islamic religious values in their music and performances. In this paper, the writers seek to understand how this band remains having their fans with these issues. This study uses an ethnographic approach. Data collection is carried out by doing the participatory observation. The writers actively got involved in the metal music performances and also other various activities. Based on the research results, it can be concluded that there are three dimensions of the aesthetics perceptions, i.e. carrying Islamic religious values, having a characteristic that displays the characteristics of metal music, and broadcasting good values that support Mogerz, fans of Purgatory, to keep on attracted to the band and their music.Keywords: Islamic metal music; purgatory; mogers
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Meckna, Michael. "Battle Cry of Freedom: Military Music of Union Army Bands." American Music 3, no. 3 (1985): 371. http://dx.doi.org/10.2307/3051490.
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Kelly, Steven N. "Effects of Conducting Instruction on the Musical Performance of Beginning Band Students." Journal of Research in Music Education 45, no. 2 (July 1997): 295–305. http://dx.doi.org/10.2307/3345588.
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The purpose of this study was to investigate the effects of conducting instruction on 151 beginning band students' individual rhythmic performance, group rhythmic performance, group performance of legato and staccato, and group performance of phrasing and dynamics. Eight beginning band ensembles, representing diverse cultural and ethnic backgrounds, were randomly selected for the study. Beginning band students and their ensembles were randomly assigned to experimental and control groups. After all subjects were pretested, the experimental bands received 10 minutes of basic conducting instruction per class during a 10-week period. Posttest results demonstrated that individuals in the experimental bands improved significantly more than did individuals in the control bands (p < .001) in their rhythmic performance. Bands in the experimental group improved their rhythm-reading and phrasing abilities (p < .01) more than bands in the control group. No differences were found with regard to legato and staccato, dynamic performance, or overall performance. It was concluded that conducting was a useful tool in teaching rhythm and phrasing in an ensemble setting.