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Journal articles on the topic 'Music journalist'
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1
Finkler, Juryj. "THEORETICAL JUSTIFICATION PROBLEMS OF ORBITAL MASS MEDIA." Bulletin of Lviv Polytechnic National University: journalism 1, no. 1 (2021): 15–19. http://dx.doi.org/10.23939/sjs2021.01.015.
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Modern media not only (such as radio, newspapers, television or online journalism), but also the full range of media (e.g. theater, music, exhibitions, cinema, drama, opera, visual arts etc.) promote narrative – interpretive both the journalist and the audience the contexts of the realities referred to in the journalistic presentation. But with the introduction of holistic systems of ideologically united mass media, the narrative is no longer characterized by the temporality or length of interpretations. Contexts and narratives of mass media content no longer mask under assumptions or hypotheses a specific ideological, party, worldview position, which is far from thinking about the cognition of life, journalism, the work of a journalist. The once dualistic use of the context of the interpretive environment has turned into a non-constructivist model of pressure on the audience not through plots, but from fundamental ideological and ideological, and often direct, party proposals. It is proposed to consider the context as a basis for interaction and different media, which are not only united by common ideological narratives, but which have a certain center around which all the content is not loaded on the target audience. We have the effect of orbital mass media – within their content proposals there is an interaction of authors and audiences in order to distribute such content, which in the framework of informing about something or someone not so much improves media and audience interaction as an element of severe content pressure on the audience. Those journalistic broadcasts that are broadcast by these groups of media.
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Gahan, Peter. "Bernard Shaw, New Journalist (1885–1898)." Shaw 41, no. 2 (2021): 264–318. http://dx.doi.org/10.5325/shaw.41.2.0264.
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ABSTRACT As Shaw's authorized biographer Archibald Henderson put it in the second of three biographies: “While Shaw may have a dozen labels—art critic, music critic, drama critic, novelist, dramatist, rationalist, Socialist, publicist, harlequin, sage, statesman, prophet—he has only one profession: journalism.”1 Especially remembered now for his achievements as playwright, whether in the vanguard of the New Drama at the end of the nineteenth century or as the established dramatist of world fame throughout the first half of the twentieth, Shaw worked first and last as a journalist in a working life stretching seventy-five years. Dan H. Laurence devoted nearly three hundred pages of the second volume of Bernard Shaw: A Bibliography (1983) itemizing Shaw's contributions to newspapers and periodicals between 1875 and 1950, amounting to almost four thousand entries.2 For fourteen of those years, from 1885 to 1898, he led the career of a full-time journalist, mostly as a critic of the fine arts, but criticism was by no means the whole story of Bernard Shaw's fourteen-year career as a full-time journalist sketched out in what follows.
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Aleshinskaya, E. V. "MUSIC CRITIC AS A PROFESSIONAL CULTURAL AND LINGUISTIC PERSONALITY." Humanities And Social Studies In The Far East 17, no. 1 (2020): 178–81. http://dx.doi.org/10.31079/1992-2868-2020-17-1-178-181.
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The paper reveals a number of characteristics inherent in a music critic as a professional cultural and linguistic personality. Drawing material from English-language musical reviews, it examines the roles of a music critic as a musicologist and journalist and analyzes methods of musical ekphrasis, i.e. verbalization of music as a type of intersemiotic translation.
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Dunn, David, and René van Peer. "Music, Language and Environment." Leonardo Music Journal 9 (December 1999): 63–67. http://dx.doi.org/10.1162/096112199750316820.
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Interviewed by music journalist René van Peer, the composer and sound recordist David Dunn discusses the sound work he has done in natural environments, his motivations for doing this work, and the thoughts and theories he has developed from it. Most of these works are unique events created for a specific time and location or for specific circumstances. In these events, the sounds generated by the players set up interactions with their immediate surroundings. Soundscape recordings are another aspect of Dunn's work. His work in different natural and cultural environments has enabled him to research areas where music and language intersect.
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Calico, Joy H. "Schoenberg's Symbolic Remigration: A Survivor from Warsaw in Postwar West Germany." Journal of Musicology 26, no. 1 (2009): 17–43. http://dx.doi.org/10.1525/jm.2009.26.1.17.
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Abstract Musicologists have recently begun to study a crucial component in the reconstruction of European cultural life after World War II——the remigration of displaced musicians, either in person or (adopting Marita Krauss's notion of "remigrating ideas") in the form of their music. Because composers are most significantly present in the aural materiality of their music, and because Arnold Schoenberg's name was synonymous with modernism and its persecution across Europe, his symbolic postwar reappearance via performances of his music was a powerful and problematic form of remigration. The case of Schoenberg's A Survivor from Warsaw and the former Nazi music critic Hans Schnoor serves as a representative example. Schnoor derided Schoenberg and Survivor in a newspaper column in 1956 using the rhetoric of National Socialist journalism as part of his campaign against federal funding of musical modernism via radio and festivals. When radio journalist Fred Prieberg took him to task for this on the air, Schnoor sued for defamation. A series of lawsuits ensued in which issues of denazification and the occupying Allied forces put a distinctly West German spin on the universal postwar European themes of anti-Semitism, the Holocaust, remigration, and modernism.
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Alan, Suna. "Kurdish music in Turkey." Memory Studies 12, no. 5 (2019): 589–92. http://dx.doi.org/10.1177/1750698019870713.
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Musician and journalist Suna Alan gives an account of some of the songs she performs and loves. These are mainly Kurdish music. Suna describes the Dengbej tradition to which much of the music belongs. However, her summary of some songs, and excerpts from the lyrics, also draws on music by Sephardi Jews and the Armenians, other cultural groups who lived, like the Kurds, under the Ottoman Empire. The lyrics and Suna’s contextualization of them in terms of the history they tell and from which they emerge reveal the oppression and suffering of these transcultural groups under the Ottoman Empire, but also their fight against injustice. The music remembers their loves as well as their losses.
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Kocaj, Agata, and Izabela Krasińska. "Musical education from the perspective "Musical news" (1925-1926)." Edukacja Muzyczna 15 (2020): 363–77. http://dx.doi.org/10.16926/em.2020.15.20.
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In Poland, over a hundred music magazines appeared in the interwar period. They were divided into several categories: subject and methodological, social and cultural music press, music and li- turgical magazines, regional music periodicals, as well as musicological and popular science mag- azines. The final group includes the subject of this article, “Wiadomości Muzyczne” (1925–1926), edited by the music collector and journalist Edward Wrocki. The article is the first attempt at a monograph elaboration of this periodical, both in terms of the formal and publishing aspects and its content. However, it focuses mainly on educational content, training and professional develop- ment of musicians and music and singing teachers in various types of schools (conservatories and music academies, primary and secondary schools, courses).
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Blonk, Jaap, and René van Peer. "Sounding the Outer Limits." Leonardo Music Journal 15 (December 2005): 62–68. http://dx.doi.org/10.1162/lmj.2005.15.1.62.
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In an exchange with music journalist René van Peer, composer and sound poet Jaap Blonk discusses aspects of his work that hitherto have not been given much attention: his approach to composition, his use of electronic equipment and software, and his thoughts about recordings of his work.
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Andersen, Kirsten. "‘I Like to Be a Swell’: Paupers at the Pantomime." Nineteenth Century Theatre and Film 44, no. 2 (2017): 133–53. http://dx.doi.org/10.1177/1748372717752313.
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In January 1866, journalist James Greenwood entered the Lambeth Workhouse disguised as a vagrant. Greenwood's account of his experience inspired a host of imitators, and inaugurated a mania for slum journalism. Critics have noted the voyeurism and the homoerotic subtext of Greenwood's ‘A Night in a Workhouse', but the impact of Victorian popular theatre on his narrative has received scant attention. This essay recuperates the links between workhouse and theatre: examining paupers' reception, criticism, and appropriation of popular forms of entertainment such as the pantomime and the music hall song, analysing the representation of the workhouse on the Victorian stage, and finally proposing the concept of the workhouse itself as a performance space. Greenwood provides a valuable source of information about the theatregoing habits of the houseless poor, the most marginalised demographic within audiences at the Victorian theatre.
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Laing, Dave. "31 Songs and Nick Hornby's pop ideology." Popular Music 24, no. 2 (2005): 269–71. http://dx.doi.org/10.1017/s0261143005000486.
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31 Songs (re-titled Songbook in the United States) is ‘a little book of essays about songs I loved’ written in 2002 by Nick Hornby, author of the 1996 hit novel High Fidelity and latterly pop critic of the New Yorker. Hornby's assumption of the role of music critic echoed the wish of the protagonist of High Fidelity whose No. 1 in a list of ‘my five dream jobs’ was ‘NME (New Musical Express) journalist 1976–1979’.
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Roman. "KORNÉL ÁBRÁNYI, SENIOR (1822-1903): EDITOR AND JOURNALIST AS MUSIC HISTORIAN IN NINETEENTH-CENTURY HUNGARY." Revista de Musicología 16, no. 3 (1993): 1663. http://dx.doi.org/10.2307/20796028.
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Oncins-Martínez, José Luis. "Bernard Shaw: Book Critic." Shaw 41, no. 2 (2021): 369–84. http://dx.doi.org/10.5325/shaw.41.2.0369.
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ABSTRACT As a journalist, Shaw displayed an uncanny versatility, penning opinion articles, open letters, music and drama criticism … and book reviews, perhaps the least known of his journalistic activities. These reviews—stylistically valuable in themselves—contain a wealth of information on Shaw's art. Indeed, in this early work one can find many of the ideas he would later rework in his plays and some of the distinguishing technical and formal features of his trade as a playwright. Thus, this article provides a thematic and stylistic account of the content of some of these reviews, in order to demonstrate, first, that Shaw's critical style deserves praise and attention in its own right; and then, that these critical pieces provide a faithful picture of the reading public of the time, and a true index of Shaw's intellectual and literary interests as well as the blueprint of Shaw, the playwright.
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Danielson, Virginia. "Listening to Umm Kulthūm." Middle East Studies Association Bulletin 30, no. 2 (1996): 170–73. http://dx.doi.org/10.1017/s0026318400033976.
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A well-known journalist in Cairo, Rajā’ al-Naqqāsh, wrote that, as a child, he thought “listening to Umm Kulthūm” meant “listening to singing.” When the adults around him listened to singing, they listened to Umm Kulthūm, thus “singing,” in his youthful experience, equated to “Umm Kulthūm.” While this attitude would be rare in Egypt now as listeners have moved other music into the domains of their daily life, Umm Kulthūm remains a formidable presence as she has been for nearly a century.
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Pietroń, Katarzyna. "Ludwik Wawrzynowicz jako organizator życia kulturalnego w regionie częstochowskim." Kwartalnik Młodych Muzykologów UJ, no. 48 (1) (December 30, 2021): 31–46. http://dx.doi.org/10.4467/23537094kmmuj.21.002.13639.
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Ludwik Wawrzynowicz as an active organizer of cultural life in the Częstochowa region Ludwik Wawrzynowicz was a graduate of the Music Conservatory in Warsaw. He started his professional career in Warsaw as a singer of the Warsaw Opera. In 1902 he came to Częstochowa, where he took the position of artistic director of the "Lutnia" Singing Society and choir conductor. In 1904 he founded the L. Wawrzynowicz Music School in Częstochowa. He ran the facility and was an active teacher for 42 years, until 1946. The school contributed significantly to the flourishing of Częstochowa's musical environment and the city's cultural life. Wawrzynowicz was an animator of musical culture and an organizer of numerous concerts. He has performed as a conductor, pianist, organist and speaker. He was also a journalist and regular music rapporteur for "Goniec Częstochowski" in the years 1906–1939. He also published articles in other periodicals. He was a versatile activist, an active popularizer of musical culture. He exerted a significant influence on the development of the musical life of Częstochowa.
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Milojkovic, Milan. "A Peasant’s Interview with a Foreign Journalist by Predrag Milosevic in relation to the question of socialist realism in Serbian music history." Muzikologija, no. 21 (2016): 71–83. http://dx.doi.org/10.2298/muz1621071m.
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Bearing in mind the position occupied by Yugoslav postwar music, in this article I review certain compositional strategies implemented by Predrag Milosevic in his piece A Peasant?s Interview with a Foreign Journalist, by means of which this modernist composer stepped into the field of socialist realism. I will analyze the score in order to identify the most significant compositional-technical strategies used by the composer. Further analyses will encompass an interpretation of the piece with respect to the theories of socialist realism, while a separate segment of this article will be dedicated to some aspects of the relationship between this composition and writings published at the time of its creation. I will then use these analyses to emphasize some points in Milosevic?s work where one can observe connections with the theoretical output of his contemporaries, as well as with recent writings that focus on understanding the place of socialist realism in Serbian music history.
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Southcott, Jane. "Egalitarian Music Education in the Nineteenth Century: Joseph Mainzer and Singing for the Million." Journal of Historical Research in Music Education 42, no. 1 (2019): 29–45. http://dx.doi.org/10.1177/1536600619848104.
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In the 1840s, massed singing classes led by charismatic pioneer music educators such as Joseph Mainzer (1801–1851) sprang up across the United Kingdom. Mainzer was a much respected composer, music journalist, and music educator. Born in Trèves (Prussia), he traveled across Europe and settled in Paris, where he was part of the revolutionary Association Polytechnique that offered free education to the working classes. His mass singing classes were a remarkable success but aroused the suspicions of authorities. Mainzer left Paris for political reasons and moved to England, and after teaching across the United Kingdom, settled in Edinburgh. His arrival in Scotland was greeted with a degree of adulation reserved for celebrities. Across Scotland classes were established to disseminate his new system that was taught in larger centers and most small towns. Although Mainzer’s fixed-doh system did not long survive him and the subsequent arrival of the tonic sol-fa method in the 1850s, his work (and that of others) created an environment in which popular singing classes in schools, churches and the community could flourish. Mainzer was a skilled and charismatic educator. He advocated tirelessly for lifelong music education for all. Mainzer has been overlooked and deserves recognition.
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Manns, Patricio. "The problems of the text in nueva cancíon." Popular Music 6, no. 2 (1987): 191–95. http://dx.doi.org/10.1017/s0261143000005985.
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Patricio Manns (b. 1937) is a Chilean singer, songwriter, writer, poet, novelist and journalist. He was one of the group of singers who came together in the Peña de los Parra, the club founded by Angel and Isabel Parra in Santiago in 1965 which became the crucible where neo-folklore metamorphised into nueva cancíon (‘New Song’). Manns' relationship with nueva cancíon has been a fundamental, although at times an ambivalent one. Unlike many of the other musicians he has constantly involved himself in non-musical and political activity. Recently he has been the European spokesperson for the Chilean resistance movement, the Manuel Rodriguez Patriotic Front, which claimed responsibility for the assassination attempt in October 1986 on President Pinochet.
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ENGEL, Alina Monica. "The Activity of the Composer Iacob Mureșianu in Blaj. Cultural Heritage and Traditions." Bulletin of the Transilvania University of Braşov. Series VIII:Performing Arts 13(62), no. 1 (2020): 55–64. http://dx.doi.org/10.31926/but.pa.2020.13.62.1.6.
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" I have written this article bearing in mind the musical education in Blaj. It includes social and historical specific to Iacob Mureșianu’s years of professional practice in Blaj; it lists cultural and musical personalities shaped by that cultural centre. Moreover, it covers the stages specific to his work as a teacher, composer, musical education organizer, promoter of authentic folklore. In addition, the article reviews his piano compositions that served as a didactic material, but also as concert pieces. The influence of the Romanian folk music predominates, even though he did some of his musical studies abroad. The portray of composer Iacob Mureșianu is crayoned in the context of his family, with the influences, ideas and ideals instilled by its members. The pages of the article will, however, mention the close connection the musician Iacob Mureșianu had with his father, journalist Iacob Mureșianu."
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Wallace, Dickie. "Hyperrealizing “Borat” with the Map of the European “Other”." Slavic Review 67, no. 1 (2008): 35–49. http://dx.doi.org/10.2307/27652765.
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Sacha Baron Cohen maps a cultural background for his “Borat” character by creating a hyperreal Kazakhstan that is based, nonetheless, on gradations of a “real,” yet Orientalized, eastern Europe and Balkan region. Having no cultural connections to its actual Central Asian namesake, “Borat's Kazakhstan” is a Baudrillardian simulacrum because, for a western filmgoer, it essentially replaces the original. Scratching beneath the surface, however, we see that Baron Cohen composes his clown-journalist using exotic, yet familiar, “realities” from the “Other” in Europe's backyard. Using Edward Said's Orientalism (along with Milica Bakić-Hayden's and Maria Todorova's modifications of the idea), Dickie Wallace describes how this discursive bricolage of eastern European and Balkan music, language, folkloristic rituals, and archetypes, as well as continual tabu violations and commonsensical acceptance of violence, gives the character the sharp parodic elements that have had western audiences laughing even while wincing as they recognize themselves in this “Other.“
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Porębski, Adam. "Piano Sonatas by Ryszard Bukowski – a search of interpretative keys." Notes Muzyczny 2, no. 12 (2019): 115–36. http://dx.doi.org/10.5604/01.3001.0013.7171.
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Performing a forgotten piece or work by a not-well-known composer is always a great challenge for an artist. The fact that there are no recordings, no performance traditions or at least an arranged and published score is not conductive to a decision to include such a piece in one’s repertoire. Which elements should a performer pay attention to while working on unknown contemporary pieces? Aside from the emotions and intuition, which influence the shape of a composition in a natural way, he or she should also refer to the intellectual side of interpretation. The issue to reflect on is the way how the knowledge and awareness of the form of a work, its texture, harmony, rhythm and other elements of a music piece may influence the final shape of its interpretation. Ryszard Bukowski – a composer, music theoretician, journalist and organiser of musical life became a permanent part of the musical cityscape of Wrocław of the afterwar period. His numerous compositions include works for diversified line-ups, from solo pieces to vocal-and-instrumental ones. As a skilful pianist, Bukowski eagerly wrote music featuring the piano, and the works he composed the most frequently were solo sonatas. Writing as many as ten piano sonatas took him only a little more than a decade. Was the title of a piece what made the composer refer to this very traditional form thanks to its genre significance? Or was it just the opposite, i.e., with the title being merely a provocation? Perhaps Bukowski’s characteristic creative feature was combining tradition with modernity and on the basis of traditional formal patterns he proposed original solutions in reference to harmony, rhythm or texture? The article analyses Bukowski’s Piano Sonatas no. 2, 5, 9 and 10 in terms of their performance.
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Florczyk, Tomasz. "Metal-morfozy. O języku dziennikarstwa metalowego w miesięczniku „Rock’N’Roll” w latach 1990–1991." Annales Universitatis Paedagogicae Cracoviensis. Studia de Cultura 3, no. 10 (2018): 156–64. http://dx.doi.org/10.24917/20837275.10.3.13.
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Metal-morphoses On the language of metal journalism in the monthly ”Rock’N’Roll” in 1990-1991 This article is an attempt at analyzing the language of journalists dealing with different types of metal music in the “Rock’N’Roll” magazine, which appeared in 1990-1991. The period after the transformation of the system in Poland is particularly interesting because of the development of music journalism, and the ”Rock’N’Roll” seems to be the bravest music magazine of that time. Cycles of articles, concert reviews, disc reviews, analysis of the phenomenon – all of them constitute a very intriguing picture of this period in the development of musical awareness of Polish heavy metal audience.
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Horak, Yakym. "Volodymyra Bozhejko’s & her family letters Stanislav Liudkevych." Proceedings of Vasyl Stefanyk National Scientific Library of Ukraine in Lviv, no. 11(27) (2019): 271–311. http://dx.doi.org/10.37222/2524-0315-2019-11(27)-15.
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The article bears witness to the history of relationship between composer and pianist. The extant letters (31 in all) are published with the scientific commentary for the first time, as well as letters of her father Ivan Bozhejko (2 in all), and a letter of her brother Yuliy Bozhejko to Stanislav Liudkevych. The pianists’ letters span the years from 1919 to 1947 — the time of her piano studies in Vienna, and later her employment as a piano teacher in Peremyshl subsidiary school of Higher Music Institute. The letters reveal the methodology of Liudkevuch professional tutoring of his student: he were the first music journalist, who met with great eclait the bright talent of a young pianist in a Peremyschl girls’ Liceum, extant in two articles of acclaim in 1911 and 1912. After the graduation from the Austrian Academy of Arts & Letters in a piano masterclass of E. Lialevytch , S. Liudkevych sent the letter of support on behalf of V. Bozhejko to prominent Austrian pianists Paul Weingartner and Emil Sauer, recommending the young pianist to enter Meisterschule in Vienna. Due to Liudkevuch support continued her studies in Meisterschule, and at a later date, in a Neuer Vienna Conservatoire, in the class of pianist Andjelo Cessisoglu of Greece. The letters bear witness to Viennies Promenade Concert Series, as a vibrant milieu the young Ukrainian pianist crafted her musicianship of a rich connoiseur’s appreciation of the artists of brilliance. The letters bear witness to her warm and sincere relationship with Stanislav Liudkevych, where she conveys her impressions of Vienna Concert Series, accounts of her teachers and studies, personal and family matters. During her studies in 1923 the pianist played the Recital Concert in Lviv, which met the great eclait of Stanislav Liudkevich, where he called it the Klavierabend of a premiere eclait in his acclaim article in a press, as a success were a unique resonance as a Ukrainian Concert Series. The letters of pianist's employment in a Peremyschl Subsidiary School of Higher Music Institute bear V. Bojeyko’s witness of Stanislav Liudkevych signifacance as a tutor to her arstistic endeavour, performance of his compositions, the musicianship’s intricacies and craft, revealed in her dialogs with the composer. This dialog were coninued througout their lives, as a piano teacher in Peremyschlyany Subsidiary School, and in calamities of war. Keywords: Volodymyra Bozheyko, Ivan Bozheyko, Yuliy Bozheyko, letters, concerts, Vienna, Paul Wiengartner, Emil Zauer, Angelo Cessisoglu, Meisterschule, Neue Vienna Musichochschule, Peremyschl, the Higher Music Insti¬tute subsidiary school, Stanislaw Liudkevych.
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Leinman, Colette. "Le « Musée de poche »: collection productrice d'un patrimoine artistique." Nottingham French Studies 58, no. 3 (2019): 382–95. http://dx.doi.org/10.3366/nfs.2019.0264.
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In 1955 a polychrome and affordable collection of writers' biographies was created, allowing a large and young audience to easily access contemporary art, especially abstract art. This is hardly a given in the context of post-war, where the return to classical French aesthetics clashes with Socialist Realism. This study of ‘The Pocket Museum’ (1955–1965), shows how the collection fits into art writing, between art criticism and poetic writing, and how it enables the reader to discover abstract works. An ideal place for mediation and transmission, the collection, as an editorial strategy, helps to transform these new aesthetic creations into a national cultural heritage. Through a discursive analysis of ten books from the collection, three processes that have contributed to the promotion of abstract art are highlighted: the legitimacy of the author's discourse, whether he is an art critic, a poet, writer or journalist; the representation of the artist in question, whose difficult path is both stereotyped and singular, but always valorized; and finally, a series of analogies between abstract art and nature or comparisons with music, or else metaphorical expressions manifesting the ‘collapse of time’ where the universality of abstract art is part of the past, the present and the future.
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Morton, Melissa. "‘Where Did That Voice Come From?’." MUSIC.OLOGY.ECA 1 (September 11, 2020): 8–25. http://dx.doi.org/10.2218/music.2020.5695.
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For the last two decades, the viewers of televised talent competitions have witnessed an intriguing phenomenon—singers with voices that fail to ‘match’ their bodies. With a particular focus on female child singers, this article explores the phenomenon of the ‘mismatched girl’. Combining theories from voice studies and musicology, the article examines the depiction of the relationship between voice and body within the talent competitions. Ultimately, mismatched girls prompt journalists, fans, and musicians alike to consider fundamental questions concerning the human voice—where do voices come from and what do they mean?
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Jacke, Christoph, Martin James, and Ed Montano. "Editorial Introduction: Music Journalism." IASPM@Journal 4, no. 2 (2014): 1–6. http://dx.doi.org/10.5429/2079-3871(2014)v4i2.1en.
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Burgund, Halsey. "Music for Journaling." Public Art Dialogue 2, no. 1 (2012): 60–63. http://dx.doi.org/10.1080/21502552.2012.662772.
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Putra, Riomanadona M., and Irwansyah Irwansyah. "Musik Rilisan Fisik Di Era Digital: Musik Indie Dan Konsumsi Rilisan Musik Fisik." Jurnal Komunikasi 11, no. 2 (2019): 128. http://dx.doi.org/10.24912/jk.v11i2.4062.
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The release of physical music will never be extinct, as is technology disrupting audio technology. This article provides an explanation of physical music releases in the digital era, where vinyl records, audio and CD tapes are still consumed by connoisseurs and musicians alike. Although digital music players and online music applications such as Joox, Spotify, Apple Music or Sky Music is very important in the spread of music in the digital era. The attitude of independent musicians or who are familiar with the term indie musicians still maintains the release of physical music as a tool for the dissemination of their work. This article presents descriptive data from existing journals which are then combined with interviews to obtain depth about what shapes the attitude of indie musicians in using physical music releases and how indie musicians and indie music distributors collaborate in communicating works - indie musicians work through strategies that are done together. As well as what indie music absorbs local culture and how they influence their work and what their attitudes are. Do they not pay attention to the presence of digital distribution or even combine these two things. With the existence of this article, the description of the things that underlie the independent musicians released the music they made themselves with the release of physical albums. Rilisan musik fisik tidak akan pernah punah, sebagaimana pun teknologi mendisrupsi teknologi audio. Artikel ini memberikan penjelasan tentang rilisan musik fisik pada era digital, dimana piringan hitam (vinyl), kaset audio dan CD masih tetap dikonsumsi oleh para penikmat serta pelaku musik. Walaupun pemutar musik digital dan aplikasi musik secara online seperti Joox, Spotify, Apple Music ataupun Langit Musik sangat berperan penting dalam penyebaran musik di era digital. Sikap dari musisi independen atau yang akrab dengan sebutan musisi indie tetap mempertahankan rilisan musik fisik sebagai alat untuk penyebaran karya mereka. Penelitian ini bertujuan untuk melihat bagaimana rilisan musik fisik akan tetap bertahan, dan mengapa sebuah rilisan fisik menjadi hal yang dianggap penting bagi musisi Indie. Artikel ini menyajikan data-data secara deskriptif dari jurnal-jurnal yang ada yang kemudian di padupadankan dengan wawancara untuk memperoleh kedalaman tentang apa yang membentuk sikap dari para musisi indie dalam menggunakan rilisan musik fisik dan bagaimana musisi indie dan distributor musik indie melakukan kolaborasi dalam mengomunikasikan karya-karya musisi indie melalui strategi yang dikerjakan bersama. Serta seperti apa musik indie menyerap budaya lokal dan bagaimana hal tersebut memberikan pengaruhnya pada karya-karya mereka dan seperti apa sikap mereka. Apakah kehadiran distribusi yang dilakukan secara digital tidak mereka hiraukan atau malah menggabungkan kedua hal tersebut. Adanya artikel ini, memberikan gambaran hal-hal yang mendasari para musisi independen merilis musik yang mereka buat sendiri dengan rilisan album fisik.
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Roces, Mina. "Filipino Identity in Fiction, 1945–1972." Modern Asian Studies 28, no. 2 (1994): 279–315. http://dx.doi.org/10.1017/s0026749x00012415.
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The Philippines in the immediate post-war years may be described as a nation in search of an identity. This preoccupation with what one journalist has dubbed ‘the question of identity’ spurred a sudden interest in the research and discussion of things Filipino: Filipino dance, theater, literature, language, music, art and cultural traditions. After four hundred and fifty years of colonial rule the Filipino intelligentsia began to wonder if indeed the western legacy of colonial rule was the annihilation of the very essence of Filipino culture. Under the aegis of American rule Filipinos were adamant about proving to their colonizers that they had been good pupils in western democratic ideals and were fit to govern themselves. From the 1920s to the early 1940s, the Filipino had become a sajonista (pro-American). The Japanese colonizers who replaced the Americans in the second world war were appalled not only at the pro-Americanism of the Filipino but at the magnitude of American influence absorbed by Filipino culture. In fact it was the Japanese who promoted the use of Tagalog and the ‘revival’ and appreciation of Filipino cultural traditions as part of the policy of ‘Asia for the Asians’. Once independence was achieved at last in 1946, the focus shifted. The nagging question was no longer ‘Are we western enough to govern ourselves?’ but its opposite—‘Have we become too westernized to the point of losing ourselves?’.
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Mark, Christopher, and Allan Moore. "Editorial." Twentieth-Century Music 1, no. 1 (2004): 3–4. http://dx.doi.org/10.1017/s1478572204000039.
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To start with the obvious: journals come into being for specific reasons. And if one regards the most influential titles born during the last thirty years or so, it seems that one of the principal motivating factors has been interventionist – an attempt to kick-start a particular subdiscipline, or to promote a hitherto neglected or insufficiently examined field. Thus Music Analysis (Basil Blackwell, 1982) sought to place on a fully professional footing a subdiscipline which, whilst recognized in North America (as Music Theory), was at that time underdeveloped in the UK, while 19th Century Music (University of California Press, 1977) sought ‘to stimulate and focus work on what has for too long been American musicology’s lost century’. There is, however, little need to stimulate the study of twentieth-century music(s): if one includes (as we believe one must) popular music, jazz, film music, and twentieth-century developments in traditional musics, as well as ‘art’ or ‘classical’ music, activity in the field is burgeoning at an impressive rate. What is needed, rather, is a dedicated forum. Earlier journals specializing in twentieth-century music (such as Contact and Perspectives of New Music) tended to act as voices for particular constructions of the field. Established generalist journals have frequently found a place for twentieth-century classical music, and more recently (following the trajectory of musicology in general) have begun to widen their scope to include the discussion of popular, film, and traditional music. But as the first three meetings of the Biennial International Conference on Twentieth-Century Music have shown (the third, held in Nottingham, UK, in June 2003, is reviewed in these pages), forums dedicated to the whole range of twentieth-century music promote a synergy and crossfertilization that will inevitably escape generalist journals or those confined to one corner of the field. twentieth-century music aims to provide such a forum; and not the least of our hopes is that, through the contiguity of divergent topics in each issue, the journal will stimulate the creation of new perspectives by encouraging contact with areas and approaches that we might not, as individual scholars, otherwise think to engage with.
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Nunes, Pedro. "Good Samaritans and oblivious cheerleaders: ideologies of Portuguese music journalists towards Portuguese music." Popular Music 29, no. 1 (2010): 41–59. http://dx.doi.org/10.1017/s0261143009990377.
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AbstractThis article addresses the ideologies developed by Portuguese music journalists towards Portuguese music in the context of the global crisis in the record industry. Music journalists who were once seen as the good Samaritans in coverage of the national repertoire have to reconcile their duty to cover the national acts with the pressures of a global music industry represented by the multinational record companies. Gathering information from interviews conducted between 2001 and 2003, I trace the perceptions of music journalists on coverage of the national repertoire in a period in which a global crisis in the music sector became noticeable and low airplay of Portuguese music became a matter of concern for agents within the local industry. Two approaches emerge from such a context, one more proactive towards coverage of Portuguese music, the other less interested in allowing the influence of the origin filter to determine the journalists' agenda. I conclude that in these two approaches the traditional opposition between music journalists and the music industry needs to be revised.
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Kriswanto, Yanuarius Jefri. "PERAN MUSIK SEBAGAI MEDIA INTERVENSI DALAM LINGKUP PRAKTIK KLINIS." IKONIK : Jurnal Seni dan Desain 2, no. 2 (2020): 81. http://dx.doi.org/10.51804/ijsd.v2i2.737.
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Banyak ahli dan pakar psikologi meneliti peran musik terhadap proses penyembuhan pada praktik klinis untuk berbagai macam penyakit. Dewasa ini musik dan elemen yang terkandung di dalamnya sering digunakan sebagai media intervensi selama proses penyembuhan medis berlangsung. Tujuan penelitian ini adalah untuk mengetahui sejauh mana musik dapat berperan sebagai media intervensi dalam praktik klinis. Metodologi yang digunakan dalam penelitian ini adalah studi pustaka dengan memanfaatkan jurnal online, buku serta disertasi. Hasilnya adalah musik sebagai media intervensi ternyata sangat membantu dalam pasien mengatasi rasa takut, cemas, dan nyeri baik sebelum, selama, dan setelah proses perawatan medis berlangsung. Lebih dari itu, Intervensi musik pada pasien terbukti dapat membangun rasa percaya diri serta memunculkan energi positif dari hasil pengalaman menyenangkan yang telah dialami sebelumnya. Hal ini tentunya sangat baik untuk memajukan kualitas hidup dan kesejahteraan psikologis pasien.Many experts and psychologists examine how big music is taking a role in the healing process in clinical practice for various diseases. Nowdays music and the elements contained in it are often used as a medium of intervention during the medical healing process. The purpose of this study is to determine the extent to which music can act as a medium of intervention in clinical practices. The methodology used in this research is literature approach by utilizing online journals, books, and dissertations. The result is music as an intervention media is very helpful in patients in order to overcome fear, anxiety, and pain both before, during, and after the medical treatment process. More than that, music intervention in patients is proven to build self-confidence and generate positive energy which are coming from their pleasant experiences they feel before. This is certainly very good for advancing the quality of life and psychological well-beeing of them.
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Diaz, Frank M., and Jason M. Silveira. "Music and Affective Phenomena." Journal of Research in Music Education 62, no. 1 (2014): 66–77. http://dx.doi.org/10.1177/0022429413519269.
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The purpose of this study was to establish trends in the study of music and affective phenomena through a content and bibliometric analysis of three eminent music research journals, the Journal of Research in Music Education, Psychology of Music, and Music Perception, for the years 1990 through 2009. Excluding editorials, paper responses, and book reviews, 1,293 articles were examined, resulting in 286 (22%) publications that met criteria for further analysis. Data indicated several trends with respect to the sample analyzed, including a notable but not significant decrease of affective studies in the Journal of Research in Music Education, with significant increases in the journal Music Perception. Other trends indicated the emergence of topics and methods that were less prevalent when compared to the overall sample but that evidenced significant increases throughout the period analyzed. These increases occurred for topics relating to expression, physiological and neurological issues and for the use of descriptive methodologies. Other notable trends included increases in examinations of folk, jazz, and world musics.
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Casals i Martorell, Daniel. "El ‘Full de la Cultura’ (1982-1983), de la ‘Hoja del Lunes’ de Barcelona, i els continguts sobre la llengua catalana." Tripodos, no. 44 (February 5, 2021): 169–86. http://dx.doi.org/10.51698/tripodos.2019.44p169-186.
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L’objectiu del present article és donar a conèixer el Full de la Cultura i analitzar els textos sobre la llengua catalana que l’esmentat suplement cultural de la Hoja del Lunes de Barcelona va fer públics. Els resultats de la investigació evidencien que el Full de la Cultura es va posar en marxa arran de l’arribada del periodista Josep Maria Cadena a la direcció del setmanari, va sortir entre el 7 de juny de 1982 i el 21 de febrer de 1983, i va ser elaborat per periodistes i escriptors sensibles a l’ús del català. Va afegir-se, així, a les publicacions que, durant la Transició, estaven escrites en aquest idioma, en aquest cas amb l’objectiu de difondre continguts culturals d’actualitat, sobre literatura, dramatúrgia, música, arts plàstiques, filosofia i llengua. Així, el Full de la Cultura va continuar la tradició de la premsa de Catalunya a l’hora de dedicar espais a parlar de diferents aspectes de la llengua catalana com a contingut d’interès social: l’autoritat i el corpus normatius, la situació a l’ensenyament i als mitjans de comunicació, el model d’estàndard més adequat per a l’època, la correcció lingüística, trobades acadèmiques de prestigi, la sociolingüística i novetats bibliogràfiques. Catalan Language Content in the Supplement ‘Full de la Cultura’ (1982-1983) of Barcelona’s Weekly Newspaper ‘Hoja del Lunes’ The objective of this paper is to raise awareness of the Full de la Cultura and analyze the texts about Catalan language made public by this cultural supplement to Barcelona’s Hoja del Lunes. The results of the research show that the Full de la Cultura was launched with the appointment of the journalist Josep Maria Cadena as the director of the weekly magazine, which was published between June 7, 1982 and February 21, 1983. It was produced by journalists and writers who were sensitive to the use of Catalan. Thus, this weekly became one of the publications during the Transition that were written in this language, with the aim of disseminating current cultural content related to literature, drama, music, visual arts, philosophy and language. In this sense, the Full de la Cultura continued the Catalan press tradition of devoting space to discussing different aspects of the Catalan language as a type of content of social interest, and addressed such issues as normative authority and standard corpuses, its position in both education and the media, the most appropriate standard model for the time, linguistic correction, prestigious academic conferences, sociolinguistics and bibliographical novelties.
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Theodosiadou, Sofia. "From DJ talk to music journalism." Social Semiotics 29, no. 2 (2018): 172–85. http://dx.doi.org/10.1080/10350330.2018.1425319.
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Mano, Winston. "POPULAR MUSIC AS JOURNALISM IN ZIMBABWE." Journalism Studies 8, no. 1 (2007): 61–78. http://dx.doi.org/10.1080/14616700601056858.
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Bella, Risnawati Salsa, Nuniek Nizmah Fajriyah, and Firman Faradisi. "Literature Review : Penerapan Terapi Musik Untuk Menurunkan Intensitas Nyeri Pada Pasien Post Operasi." Prosiding Seminar Nasional Kesehatan 1 (December 23, 2021): 1930–35. http://dx.doi.org/10.48144/prosiding.v1i.954.
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AbstractPostoperative is the postoperative period that starts when the patient is transferred to the recovery room and ends until the next evaluation. The postoperative stage starts from moving the patient from the operating room to the postoperative unit and ends when the patient goes home. The result of the operation will cause pain that is felt by a person after the effects of anesthesia are reduced. The definition of pain is an unpleasant sensory and motor experience, which is associated with tissue damage and is highly subjective in nature, resulting in symptoms of an increase in blood pressure, an increase in heart rate, and groaning in pain. There are many ways to reduce pain in postoperative patients, one of which is by using music therapy. Listening to music regularly helps the body relax physically and mentally, thereby helping to relieve or reduce pain. The purpose of scientific papers is to determine the effect of music therapy in reducing pain intensity in postoperative patients. The method was carried out by searching three research journals on the effect of music therapy in reducing pain in postoperative patients. The results obtained after music therapy were reduced pain intensity in postoperative patients. The conclusion of this scientific paper is that music therapy can reduce pain in postoperative patients. Suggestions for nurses are expected to be able to apply music therapy to postoperative patients who experience pain.Keywords: music therapy; pain; postoperative
 AbstrakPasca operasi adalah masa setelah dilakukannya pembedahan yang dimulai saat pasien dipindahkan ke ruang pemulihan dan berakhir samapai evaluasi selanjutnya. Tahap pasca operasi dimulai dari memindahkan pasien dari ruangan bedah ke unit pasca operasi dan berakhir saat pasien pulang. Akibat dari adanya operasi akan menimbulkan nyeri yang dirasakan seseorang setelah efek anestesi berkurang. Definisi dari nyeri adalah pengalaman sensorik dan motorik yang tidak menyenangkan, yang berhubungan dengan kerusakan jaringan dan bersifat sangat subyektif, sehingga gejala-gejala yang berupa kenaikan tekanan darah, kenaikan laju jantung, dan mengerang kesakitan. Ada banyak cara yang dilakukan untuk mengurangi nyeri pada pasien pasca operasi salah satunya yaitu dengan menggunakan terapi musik. Mendengarkan musik secara teratur membantu tubuh relaks secara fisik dan mental, sehingga membantu menhilangkan atau menurunkan rasa sakit. Tujuan dari karya tulis ilmiah adalah untuk mengetahui pengaruh terapi musik dalam menurunkan intensitas nyeri pada pasien pasca operasi. Metode yang dilakukan dengan mencari tiga jurnal penelitian tentang pengaruh terapi musik dalam menurunkan nyeri pada pasien pasca operasi. Hasil yang didapatkan setelah dilakukan terapi musik intensitas nyeri pada pasien pasca operasi berkurang. Kesimpulan karya tulis ilmiah ini bahwa terapi musik dapat menurunkan nyeri pada pasien pasca operasi. Saran bagi perawat diharapkan dapat menerapkan terapi musik terhadap pasien pasca operasi yang mengalami nyeri.Kata kunci: nyeri; post operasi; terapi music
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Li, Jia. "Towards the Feasibility of Instituting a Philippine Digital Audio Library: A Case Study." Journal of ICT In Education 8, no. 2 (2021): 1–12. http://dx.doi.org/10.37134/jictie.vol8.2.1.2021.
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As a spearhead force in music research, especially in the area of South East Asia region, the University of the Philippines (UP) Center for Ethnomusicology (UPCE) caters to a gigantic collection of audio materials which covers different musics and musical traditions in the Philippines, South East Asia and representative areas from other continents. As an outcome of its former appellation, the “UP Ethnomusicology Archives”, UPCE hosts an ethnomusicological collection of about 2500 hours of recorded music in open reel and cassette tape formats, under the authorship of Jose Maceda whose visionary work of putting together these valuable recorded materials left a treasure for ethnomusicology scholarship and research. In recognition of his influential contribution that made the UCPE an archive and repository of materials on music, philosophy, anthropology and other cognate disciplines, these audio materials, together with field notes, music transcriptions, song texts, photographs, music instruments, music compositions, personal files, about 200 books and journals, all of which he personally initiated and developed as a unified institution resource for music research are called “Jose Maceda Collection”.
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Mccarthy, Marie. "The role of ISME in the promotion of multicultural music education, 1953-96." International Journal of Music Education os-29, no. 1 (1997): 81–93. http://dx.doi.org/10.1177/025576149702900112.
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This paper is the third in a sequence of studies that address the history of internationalism in music education, the first and second papers presented at ISME Conferences in Seoul (1992) and Tampa (1994). The study focuses on the role that ISME played in promoting the cultural dimensions of music in education, and in including diverse musical practices in the curriculum across cultures. Evidence is gathered from ISME archival materials housed at the University of Maryland at College Park – presidential papers, policy statements, journals, yearbooks, conference proceedings, to name some sources. This study provides an international context for furthering dialogue on world musics in education.
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Et al., Raima Shirinova. "“SYSTEM OF IMAGE IN CREATIVITY OF CHINGIZ AYTMATOV”." Psychology and Education Journal 58, no. 1 (2021): 5558–69. http://dx.doi.org/10.17762/pae.v58i1.1953.
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Background: this article is devoted to the work of the Kyrgyz Soviet writer ChingizAytmatov. In the vast world of fiction, Aytmatov's works amaze us with their figurative system. Against the background of everything and everyone, admires us with the simplicity, beauty, the variety of images created by the writer, whether it is the image of a person, politician, journalist, village shepherd, tree, horse, whale, ocean, etc.The Sarozek steppes, the vastness of space, Issyk-Kul, the Kremlin, Red Square in Moscow, a yurt in a Kyrgyz village, a church choir, Shostakovich's music, Georgian singing, Baikonur, legends about mankurt and many other concepts and phenomena of humanity make up the figurative system of ChingizAytmatov. The created artistic images cover huge layers of the life of peoples, an individual person, accompanying a person with his constant anxieties, experiences, joy, gains, losses and much of what we call life.
 Results: Reading Aytmatov, getting imbued with his images, we are more and more convinced that literature in a number of other arts is closer and more understandable to a person, because the main means of artistic expression is the word, this is a natural need for communication between people. We love to speak out, hear someone's confession; we simply cannot do without speech. And then we ask ourselves the question, what is this - the art of the word, how the word turns into an artistic image and makes us compassionate, laugh and cry, think, agree and argue, and most importantly receive aesthetic pleasure, because literature is an art.
 Conclusions: All ingenious is simple. Characters, descriptive elements of the plot, used by the author to create certain images, are in a certain system, filled with aesthetic, philosophical, realistic meaning.
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christgau, robert. "writing about music is writing first." Popular Music 24, no. 3 (2005): 415–21. http://dx.doi.org/10.1017/s0261143005000607.
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by focusing on brief examples from four writers – journalists anthony decurtis and lester bangs, academics sheila whiteley and susan mcclary – this piece is designed to inspire and/or shame readers into paying closer attention to how they use language when they describe or analyse music. an effort was made to keep the tone of the critiques informal and conversational, thus approximating the mood of the kind of session the author has found effective in more than thirty years of editing at the village voice, and many years of teaching writing to ambitious undergraduates as well as a class full of journalism grad students. in such sessions, the intention is always to better enable the writer to say what he or she wants to say as convincingly as possible. if ideas are called into question, that is because the editor believes them to be overly familiar, inconsistent, or already discarded by the writer's audience. what is at issue is the writing, not the writer. this is not to deny, unfortunately, that sometimes hurt feelings ensue.it should be added that the references to magic initially addressed the conference theme ‘this magic moment’. given the essay's nuts-and-bolts attitude, however, they retain a more general relevance.
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Speer, Annika C., and Chari Arespacochaga. "Missing: A Musical Dramedy: Engaging with the missing through the perpetually present." Studies in Musical Theatre 15, no. 1 (2021): 5–23. http://dx.doi.org/10.1386/smt_00052_1.
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Missing uses a historical reimagining of the murder of JonBenét Ramsey as a launchpad to examine what it is like for a woman of colour to be inundated in a sexist and racist media and cultural spin-cycle. The script tells the story of a young Black girl, Nancy, coming of age and absorbing these cultural messages. In Act 1, Nancy, a child beauty pageant contestant, learns about the death of her friend, JonBenét. Nancy is simultaneously drawn in, obsessed and repulsed by the media storm that follows. In Act 2, indelibly shaped by this childhood event and inspired by her role model Diane Sawyer (pageant winner turned news anchor), Nancy has grown up to be a reporter. She now finds herself peddling similarly problematic stories for ratings and clickbait. Nancy struggles increasingly with both the erasure of identities like her own and the salacious eagerness through which the media (now her job) capitalizes on violence against women in general. The title Missing stems from ‘missing white woman syndrome’ a phrase coined by PBS journalist Gwen Ifill and subsequently adopted by social scientists to refer to the immensely uneven media coverage favouring victims who are upper/middle-class white girls/women in contrast to the coverage and framing of victims of colour. A key goal of the play is to underscore and then question the dominant media representations of women whose stories garner mainstream attention. Whose stories get told? How are they framed? Who, in turn, are marginalized and ignored? How can artists engage representational inequity without inadvertently piling more attention on the already visible? Musicals can and should tackle questions of systemic inequity and inclusion; doing so requires more than positioning protagonists of colour in a theatrical world that fails to acknowledge the systemic realities of our actual one. Missing, a collaborative project in process, tackles these questions.
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Kroeger, Karl, and Malcolm MacDonald. "Havergal Brian on Music: Selections from His Journalism, Vol. I: British Music." Notes 46, no. 4 (1990): 943. http://dx.doi.org/10.2307/941263.
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Vaaler, Alyson. "Music Index with Full Text." Charleston Advisor 23, no. 1 (2021): 35–37. http://dx.doi.org/10.5260/chara.23.1.35.
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Music Index with Full Text is an expansion of Music Index (formerly The Music Index Online), an EBSCO music periodical database that provides comprehensive coverage of the music field from 1970 to the present. Over 800 journals are indexed, and coverage includes various music styles and topics. Music Index with Full Text has added full text journal coverage from approximately 200 journals.The EBSCO interface is familiar to many users and offers easy integration with other heavily used music databases, such as RILM and RIPM. While the sheer size of citations and variety of music materials and styles is beneficial, Music Index might not be as useful to researchers focusing purely on historical music scholarship. The addition of full text journals is welcome, but the content of the journals varies widely in scope and content.
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Hourigan, Ryan M. "Preservice Music Teachers' Perceptions of Fieldwork Experiences in a Special Needs Classroom." Journal of Research in Music Education 57, no. 2 (2009): 152–68. http://dx.doi.org/10.1177/0022429409335880.
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The purpose of this study was to examine phenomenologically a special needs fieldwork experience through the perceptions of seven participants. All of the participants were a part of a long-term field experience. The research question was: How was this experience, assisting and teaching students with special needs in an elementary general music context, perceived and constructed by the participants individually and as they collaborated and interacted with one another, as indicated by journals, semistructured interviews, case writing, and field observations? A qualitative particularistic case study design was used in this investigation. Data included journals, participant interviews, observations, and an orientation session video. Findings suggested that (a) the orientation process to fieldwork with children with disabilities, which included the case method of teaching, was perceived as valuable; (b) observation, journaling, discussion, and the relationships that emerged were important to the participants; and (c) reflective practice may have occurred in this study.
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ATTON, CHRIS. "Writing about listening: alternative discourses in rock journalism." Popular Music 28, no. 1 (2009): 53–67. http://dx.doi.org/10.1017/s026114300800158x.
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Abstract‘Alternative’ publications challenge the conventional discourses of rock journalism. In particular, the dominant discourses of authenticity, masculinity and mythology might be countered by publications that emphasise historical and (sub)cultural framing, and that present radicalised ‘spaces of listening’. Using Bourdieu’s field theory to identify autonomous and semi-autonomous sites for rock criticism, the paper compares how a fanzine (the Sound Projector) and what Frith has termed an ideological magazine (the Wire) construct their reviews. The findings suggest that, whilst there is no evidence for an absolute break with the dominant conventions of reviewing, there is a remarkable polyglottism in alternative music reviewing. The paper emphasises differing cultural and social practices in the multiple ways the publications write about music, and argues for the value of such polyglottism.
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Silverman, Marissa. "A critical ethnography of democratic music listening." British Journal of Music Education 30, no. 1 (2012): 7–25. http://dx.doi.org/10.1017/s0265051712000423.
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The purpose of this critical ethnography was to investigate how music educators can approach the development of students’ music listening abilities democratically in order to deepen students’ musical understandings and, by teaching through music, create pathways for student–teacher transactions that are inclusive, educative, ethical and transformative. Critical ethnographies utilise qualitative data collection methods (e.g. observations, journaling, interviews, audiotapes) for sociopolitical and ethical purposes. That is, critical ethnographies are ‘critical’ in two senses: (a) they are framed and carried out with a social-ethical sense of responsibility to critique and, if necessary, change the status quo of specific contexts they investigate and (b) they are grounded in ‘a self-referential form of reflexivity that aims to criticise the ethnographer's own production of an account’ (Schwandt, 2007, p. 51). One finding of this critical ethnography of my urban music classroom is that students are most apt to learn music listening effectively and enjoyably when afforded democratic and creative opportunities to express their beliefs about the natures and values of the musics they decide to select, experience and discuss critically. Another finding is that although democratic teaching and learning inevitably involves conflicts, participants can and do learn to manage and transform these conflicts constructively. One important implication of these findings is that music classrooms can be powerful contexts and means for students’ social-ethical development.
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Kuyper-Rushing, Lois. "Identifying Uniform Core Journal Titles for Music Libraries: A Dissertation Citation Study." College & Research Libraries 60, no. 2 (1999): 153–63. http://dx.doi.org/10.5860/crl.60.2.153.
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In an attempt to create a new tool to aid librarians in choosing music journals, citations from music dissertation bibliographies submitted in 1993 from across the United States were gathered and analyzed. Core lists of journals were developed and then compared to lists compiled by analyzing doctoral dissertation bibliographies in the field of music from a single institution. The journal lists from a national study differed from those derived from the study of journals used at a single institution. Also, newly published journals are used regularly by doctoral students in music, and several are on the lists of core journals compiled.
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Cooper, B. Lee. "Rock Journalists and Music Critics: A Selected Bibliography." Popular Music and Society 33, no. 1 (2010): 75–101. http://dx.doi.org/10.1080/03007760701580207.
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Weber, Julian. "What Is the “American” in “American Music Journalism”?" Rock Music Studies 4, no. 1 (2017): 37–46. http://dx.doi.org/10.1080/19401159.2017.1291796.
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Kataev, Pavel V. "SPECIFIC FEATURES OF MUSIC REVIEWS IN CONVERGENT JOURNALISM." Вестник Пермского университета. Российская и зарубежная филология 12, no. 3 (2020): 140–48. http://dx.doi.org/10.17072/2073-6681-2020-3-140-148.
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The article is devoted to the analysis of music reviews as affected by transformation of the genre and its framework in the convergent media environment. The proposed original structure of analysis is developed and reasoned based on the ideas presented in works by Russian and foreign scholars on the specific features of the review as a genre (Ye. A. Nabiyeva, A. A. Tertychnyi, and others), media convergence (H. Jenkins, T. Rogers, and others), interpretation of music images (T. Adorno, Yu. Strakovich, and others), suggestiveness of media texts (A. Beck, D. Burns, J. Baron and others). The analysis structure includes three basic sections: content, environment of publication, communicative tactics; each section is expanded in several criteria grades. The review is considered as an analytical genre that is traditionally based on suggestion as the leading communicative strategy. However, today this genre is transforming intensively in the mutable deinstitutionalized environment of the network mass media. Distortions, which are inevitable in conversion of an artistic image into a text, become especially identifiable in music reviews and increase subjectivity initially typical for this genre. The structure of analysis elaborated in the article engages particularly a classification of heuristics, or cognitive biases, which are considered to be cognitive distortions turning in opinion journalism into the means of expression and suggestion. These means are regarded as the foundation for the genesis of local media myths. The proposed method is tested on the review published at the Colta web portal. In conclusion, the paper emphasizes the significance of the research done for some general issues of communication studies, and in particular notes the method’s applicability to the analysis of inner cognitive triggers a person feels exposed to in the network society.