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Journal articles on the topic 'Music magazines'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Vasic, Aleksandar. "The reception of west European music in Belgrade between world wars: On the examples of “Muzicki glasnik” and “Muzika” magazines." Muzikologija, no. 11 (2011): 203–18. http://dx.doi.org/10.2298/muz1111203v.

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The very first music magazines started in Belgrade between World Wars were ?Muzicki glasnik? (issued monthly from January to December 1922) and ?Muzika? (also issued monthly in the period January 1928 - March 1929). These magazines used to publish music essays, researches, debates, notes, news and other kind of articles. This paper brings an analysis of texts on West European music in these two journals. ?Muzicki glasnik? published only few articles on European music. Those were on bibliographical news concerning editions on musicology in England and on French music magazines. There was a repo

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Vasic, Aleksandar. "The beginnings of Serbian music historiography: Serbian music periodicals between the world wars." Muzikologija, no. 12 (2012): 143–64. http://dx.doi.org/10.2298/muz120227007v.

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The transition of the 19th into the 20th century in Serbian music history was a period of music criticism, journalism and essay writing. At that time, Serbian musicology had not yet been developed as an academic discipline. After WWI there were many more academic writings on this subject; therefore, the interwar period represents the beginning of Serbian music historiography. This paper analyses Serbian interwar music magazines as source material for the history of Serbian musicology. The following music magazines were published in Belgrade at the time: Muzicki glasnik (Music Herald, 1922), Mu

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Vasic, Aleksandar. "The magazine “Slavenska muzika” (1939–1941) in the history of Serbian music periodicals." Muzikologija, no. 29 (2020): 121–47. http://dx.doi.org/10.2298/muz2029121v.

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From November 1939 to March 1941, the monthly magazine ?Slavenska muzika?, a journal of the Association of Friends of Slavic Music, was published in Belgrade. The magazine did not differ from other Serbian magazines of the interwar period in its sections. ?Slavic music? also published essays on music, music criticism, reviews of books and music editions, notes, news, obituaries, and in one case, polemics. However, differentia specifica of this review is the exclusive focus on the music of the Slavic nations. The study provides a review and analysis of the texts in this journal. It was noticed

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Zarza Delgado, Martha P., Héctor Serrano Barquín, and Carolina Serrano Barquín. "Gender Symbolic Messages in Music and Magazines Consumed by Young Mexicans." Culture & History Digital Journal 2, no. 1 (2013): e018. http://dx.doi.org/10.3989/chdj.2013.018.

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Johinke, Rebecca. "BEHIND THE COVERS OF AUSTRALIAN ROLLING STONE: NEGOTIATING THE PERSONA OF A FEMALE MUSIC MAGAZINE EDITOR." Persona Studies 5, no. 1 (2019): 75–91. http://dx.doi.org/10.21153/psj2019vol5no1art843.

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Singers, songwriters and musicians create personas and perform the (gendered) role of rock star, punk, heart-throb, crooner, diva, or rock chick. Magazine covers are a key factor in consolidating and marketing that constructed persona. Magazine covers have visual power that is calibrated for maximum impact with a defined audience and a key part of the editor’s role is to decide on the cover image and cover lines. Moreover, there is now an expectation that editors of glossy magazines are recognisable ‘influencers’ who personify the values and commodities that their titles promote. We expect per

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Sheremeta, Iryna. "UKRAINIAN-BELARUSIAN CULTURAL TIES IN THE 1920S ON THE EXAMPLE OF COOPERATION OF THE MAGAZINE «MUZYKA» (“MUSIC”) WITH YULIAN DREJZIN." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 58, no. 58 (2021): 182–97. http://dx.doi.org/10.34064/khnum1-58.11.

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The study of Ukrainian-Belarusian cultural ties has significant research potential due to typologically similar processes of cultural and national formation of the two neighboring nations, which was especially pronounced in the 1920s. One of the important factors in this was the Bolshevik strategy of indigenization in the national regions of the Soviet Union. Almost simultaneously, there was a surge in literature and art in both republics. The lack of special studies that would cover these joint processes in the field of music culture, actualized the disclosure of this topic. The purpose of th

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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. How

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Railton, Diane. "The gendered carnival of pop." Popular Music 20, no. 3 (2001): 321–31. http://dx.doi.org/10.1017/s0261143001001520.

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One of the ironies of popular music studies is that the music that is the most popular, in terms of contemporary chart success, is rarely discussed by academics writing in the field. In this article I want to suggest that this is because some forms of ‘mainstream’ chart pop music, and the discourse of the magazines that promote this type of music, pose a threat to the certainties of both gender and genre that underpin ‘serious’ popular music. The music I am concerned with here is that provided by ‘boy bands’ like Boyzone, Westlife or Five, and ‘girl groups’ like The Spice Girls, Atomic Kitten

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9

Vasic, Aleksandar. "Review of music: Forgotten musical magazine of inter-war Belgrade." Muzikologija, no. 19 (2015): 119–33. http://dx.doi.org/10.2298/muz1519119v.

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The monthly magazine Review of Music was published six times in Belgrade from January to June 1940. Each edition comprised thirty-two pages, half of which were devoted to a sheet-music supplement, popular compositions of the time for voice and piano. Review of Music published 222 articles and scores in total. The aim of the magazine was to popularise classical music, but it also encompassed jazz, films and film music, theatre, literature, fashion, and even sport. Review of Music was different from all other Serbian inter-war music magazines, not only because of its wide range of topics, but al

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EVANS, MARK. "'QUALITY' CRITICISM Music Reviewing in Australian Rock Magazines." Perfect Beat 3, no. 4 (2015): 38–50. http://dx.doi.org/10.1558/prbt.v3i4.28739.

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Davies, Helen. "All rock and roll is homosocial: the representation of women in the British rock music press." Popular Music 20, no. 3 (2001): 301–19. http://dx.doi.org/10.1017/s0261143001001519.

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The British rock music press prides itself on its liberalism and radicalism, yet the discourses employed in music journalism exclude women from serious discussion both as musicians and as fans. In particular, the notion of credibility, which is of vital importance to the ‘serious’ rock music press, is constructed in such a way that it is almost completely unattainable for women.The most important and influential part of the British music press was until recently its two weekly music papers, Melody Maker (MM) and the New Musical Express (NME), both published by IPC magazines. The NME, launched

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Nikolić, Sanela. "A biography of Boulez as a music writer." New Sound, no. 48-2 (2016): 9–19. http://dx.doi.org/10.5937/newso1648009n.

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In the period from 1948, the writings of Pierre Boulez were published in several languages and in over forty magazines of art and contemporary music. They were also published in the programmes for concerts Domaine musical, for the performances of Wagner's pieces in Bayreuth, in over sixteen booklets for the editions of the records on "new music", in the forewords for different studies, in five collections printed in several volume-amounting to over a hundred and thirty texts. The number of publications of Boulez articles is, however, almost four times as many as the number of titles, since a l

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Imayo, A. "«Altyn art» magazine – a means to explore the culture, arts, and music education of Kazakhstan." Pedagogy and Psychology 46, no. 1 (2021): 212–19. http://dx.doi.org/10.51889/2021-1.2077-6861.28.

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The article presents the conceptual basis of the ALTYN ART magazine, ways of the magazine development and implementation. Finally, it is proposed to consider the concept of further development of the publication to give information, possibly, useful for other publications of a similar thematic area. Art magazines are an effective way to conduct a dialogue between creative artists, i.e. painters, musicians, designers, etc. The author aims to improve the theoretical and practical understanding of the key elements and factors that contribute to the arrangement of the social and cultural creative

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Bailey, Walter B. "“For the serious listeners who swear neither at nor by Schoenberg”." Journal of Musicology 32, no. 2 (2015): 279–322. http://dx.doi.org/10.1525/jm.2015.32.2.279.

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The rich array of publications covering music in New York City during the second two decades of the twentieth century provides a compelling account of the reception of ultra-modern music. Newspapers, arts periodicals, and, especially, monthly and weekly music magazines offer tantalizing insight into how music lovers perceived new and challenging music. Before the Great War connections to German musical traditions were strong, and ultra-modern music was mostly imported. During the war ties to Germany were largely severed and ultra-modern music was silenced. After 1918 a more egalitarian and int

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Thornton, Sarah. "Strategies for reconstructing the popular past." Popular Music 9, no. 1 (1990): 87–95. http://dx.doi.org/10.1017/s0261143000003755.

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One of the things that distinguishes music from other forms of popular culture is that its consumption is accompanied by so much comment. Neither TV nor film, for instance, has accrued the volume, diversity or specialisation of the books and magazines devoted to music and read by people without a professional investment. This literature poses particular problems for historians of rock'n'roll, rock and pop. What are its main methods of ordering the popular past? Which musics and events does it privilege? How should scholars read the music press as sources? How can the pop histories contained in

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del Val, Fernán. "‘Sing as you talk’: Politics, popular music and rock criticism in Spain (1975–1986)." Journalism 20, no. 9 (2017): 1203–22. http://dx.doi.org/10.1177/1464884917719586.

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The field of popular music in Spain underwent an important transformation in the years of the country’s political transition from 1975 to 1986, producing a great confluence of two music scenes: the so-called ‘Movida’ scene and the hard-rock scene. This article analyses a variety of music magazines and personal interviews with rock critics to trace how the process of legitimation in rock criticism deepened during those years. From a theoretical standpoint, this article applies ideas from the sociology of art criticism to popular music studies, Motti Regev’s work on the non-Anglophone music pres

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Vasic, Aleksandar. "Music critic Gustav Michel." Muzikologija, no. 4 (2004): 167–95. http://dx.doi.org/10.2298/muz0404167v.

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The writers whose real vocation was not music left significant traces in the history of Serbian music critics and essayism of the late 19th century and the first half of the 20th century. Numerous authors, literary historians theoreticians and critics, jurists and theatre historians, wrote successfully on music in Serbian daily newspapers, literary and other magazines, until the Second World War. This study is devoted to Gustav Michel (1868 - 1926), one of the music amateurs who ought to be remembered in the history of Serbian music critics. Gustav Michel was a pharmacist by vocation. He ran a

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18

Welburn, Ron. "Jazz Magazines of the 1930s: An Overview of Their Provocative Journalism." American Music 5, no. 3 (1987): 255. http://dx.doi.org/10.2307/3051735.

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Dolfsma, Wilfred. "Radio and magazines: valuing pop music in the Netherlands (1955–1965)." Media History 10, no. 1 (2004): 29–42. http://dx.doi.org/10.1080/13688800410001673725.

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Vasic, Aleksandar. "Two views on the Yugoslav ideology in Serbian music periodicals between the two world wars." Muzikologija, no. 17 (2014): 155–66. http://dx.doi.org/10.2298/muz1417155v.

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This study explores the relationship between the Yugoslav ideology as exhibited in Serbian music magazines published between the two world wars. These are the following journals: Music (1928-1929), Bulletin of the Music Society ?Stankovic? (1928-1934, 1938-1941; in January 1931 it was renamed The Musical Gazette), The Sound (1932-1936), Herald of the South Slavic Choral Union (1935-1936, 1938), Slavic music (1939-1941) and Review of Music (1940). I have excluded the magazine Musical Gazette (1922) from consideration because I have already discussed its ideological aspects in an earlier article

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Mee, Erin B. "The Cultural Intifada: Palestinian Theatre in the West Bank." TDR/The Drama Review 56, no. 3 (2012): 167–77. http://dx.doi.org/10.1162/dram_a_00194.

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Three prominent Palestinian theatres use performance as a form of and forum for resistance to occupation. In the words of Juliano Mer Khamis, the murdered artistic director The Freedom Theatre, “We believe that the third intifada, the coming intifada, should be cultural, with poetry, music, theatre, cameras, and magazines.”

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22

Bashford, Christina. "Historiography and Invisible Musics: Domestic Chamber Music in Nineteenth-Century Britain." Journal of the American Musicological Society 63, no. 2 (2010): 291–360. http://dx.doi.org/10.1525/jams.2010.63.2.291.

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Abstract A persistent idea in chamber music historiography is that nineteenth-century Britain lacked a significant, serious domestic chamber-music culture of the type so prevalent in Austro-Germany. Such activity is assumed to have dried up ca. 1800, along with indigenous chamber-music composition, to be replaced by music making at the parlor piano and attendance at public concerts. This essay challenges that view and suggests a continuing, coherent subculture of private chamber music spread across Britain, often in unexpected settings and in communities of upper- and middle-class males. Under

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Siti Mudawamah, Nita. "PENGELOLAAN KOLEKSI DI MUSEUM MUSIK INDONESIA SEBAGAI UPAYA PELESTARIAN WARISAN BUDAYA." Fihris: Jurnal Ilmu Perpustakaan dan Informasi 16, no. 1 (2021): 1. http://dx.doi.org/10.14421/fhrs.2021.162.1-20.

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The Museum Music Indonesia is the only museum that houses a collection of music by Indonesian musicians. Located in Malang City, this museum has approximately 35.000 music collections of various types including cassettes, vinyl, compact disks, posters, magazines, musical instruments, audio equipment, and even artist/musician clothes. This paper aims to describe how the collection management at the Museum Music Indonesia uses a qualitative descriptive approach. The results found in the field include; Most of the collections contained in this music museum are obtained from grants from the music

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DuPree, Mary Herron. "Mirror to an Age: Musical America, 1918–30." Royal Musical Association Research Chronicle 23 (1990): 137–47. http://dx.doi.org/10.1080/14723808.1990.10540939.

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The time between the end of the First World War in 1918 and the stock market crash in 1929 has traditionally been considered an interregnum in American Music: before it, American music and musical culture largely reflected that of Europe, and after it, America found its voice in the distinctive compositions of Aaron Copland, Roy Harris and others. An examination of periodical writings on music from that time, however, reveals that this period marked not a state of anticipation but the real beginning of modern American music, of composition of international significance, and of distinctive styl

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Herbst, Jan-Peter. "From Bach to Helloween: ‘Teutonic’ stereotypes in the history of popular music and heavy metal." Metal Music Studies 6, no. 1 (2020): 87–108. http://dx.doi.org/10.1386/mms_00006_1.

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Throughout the centuries, German popular music has caused various foreign reactions from admiration to outright rejection. Sometimes, international audiences perceived it as too ‘Teutonic’; other times, this was exactly the reason for its appeal. This article traces ‘Teutonic’ features in 400 years of German popular music history, seeking to identify the emergence and development of ‘Teutonic’ stereotypes as well as their perception inland and abroad. The metal discourse was analysed based on a corpus of nearly 200,000 pages from magazines such as the British Kerrang! and the German Metal Hamm

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Watt, Paul. "Musical and Literary Networks in the Weekly Critical Review, Paris, 1903–1904." Nineteenth-Century Music Review 14, no. 1 (2017): 33–50. http://dx.doi.org/10.1017/s1479409816000276.

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Published in 1903 and 1904 the Weekly Critical Review was a typical ‘little magazine’: it was produced on a shoestring with a small readership, with big editorial ambition. Its uniqueness lay in its claim to be a literary tribute to the entente cordiale (and it enjoyed the imprimatur of King Edward VII), but more importantly, it was a bilingual journal, which was rare at the time even for a little magazine. The Weekly Critical Review aimed to produce high-quality criticism and employed at least a dozen high-profile English and French writers and literary critics including Rémy de Gourmont (185

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Basini, Laura. "Masks, Minuets and Murder: Images of Italy in Leoncavallo's Pagliacci." Journal of the Royal Musical Association 133, no. 1 (2008): 32–68. http://dx.doi.org/10.1093/jrma/fkm012.

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This article interprets Leoncavallo's opera Pagliacci (1892) as a voicing of Italy's ‘Southern Question’ – the problem of the underdeveloped and socially troubled Italian South. Pagliacci juxtaposes cultural symbols that include a commedia dell'arte figure representative of the Italian South and antique genres perceived to be emblematic of ‘civilized’ northern culture. By interpreting the interaction of costumes and musical styles, I argue that the work incorporates images of southern Italy – that ‘violent’, ‘uncontrollable’, yet ‘picturesque’ region – into a broader, northern-dominated concep

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Mittal, Deepak Kumar. "NOWADAYS: THE ROLE OF INTERNET FOR PROPAGATION AND PROLIFERATION OF MUSIC." International Journal of Research -GRANTHAALAYAH 3, no. 1SE (2015): 1–4. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3391.

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In present day internet play a very important role for propagation and proliferation of music in India and world-wide. With the help of internet media we can get each and every information about the music at home. Many websites and softwares are available on internet browsing for music searching, watching, listening, reading and learning.Google search are best source for searching and type documents of music, YouTube (youtube is a video-sharing website), Skype (Skype is a tele communications application software that specializes in providing video chat and voice calls from computers via the In

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Baetens, Jan. "Modernist Magazines and the Social Ideal." Leonardo 54, no. 3 (2021): 360–62. http://dx.doi.org/10.1162/leon_r_02041.

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Vasic, Aleksandar. "Problem of the ′national style′ in the writing of Miloje Milojevic." Muzikologija, no. 7 (2007): 231–44. http://dx.doi.org/10.2298/muz0707231v.

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Dr. Miloje Milojevic (1884-1946) was a central figure in Serbian music criticism and academic essays between the World Wars. A large part of his writings on music were dedicated to the issue of the Serbian ?national music style?, its means of expression, and the question of modernity, i. e. to what extent modernity is desirable in the ?national style?. This paper analyzes some twenty articles - reviews, essays, and writings for special occasions - published by Milojevic between 1912 and 1942 in various Serbian newspapers magazines and collections: Srpski knjizevni glasnik (The Serbian Literary

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Tinker, Chris. "Shaping 1960s youth in Britain and France: Fabulous and Salut les copains." International Journal of Cultural Studies 14, no. 6 (2011): 641–57. http://dx.doi.org/10.1177/1367877911405756.

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Existing accounts of Fabulous (later Fabulous 208) and Salut les copains ( SLC) – two of the most successful youth magazines in Britain and France during the 1960s – have tended to highlight the ‘rapport’ that they fostered between music artists and young readers. However, the representation of youth in both magazines was, in fact, much more extensive, if not complex, when viewed in relation to the official, academic and other media discourses of the period. While Fabulous unquestioningly supports well-established unitary and consumerist notions of youth, SLC adopts a more problematic stance,

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Carter, James. "Campus Rock." Journal of Popular Music Studies 32, no. 3 (2020): 51–72. http://dx.doi.org/10.1525/jpms.2020.32.3.51.

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During 1967-8, The Lovin’ Spoonful, The Animals, The Who, Richie Havens, Jefferson Airplane and the Iron Butterfly, performed in the gymnasium at the small, liberal arts Drew University in suburban New Jersey. Turns out, this experience was not unique to Drew. College campuses across the country were essential for the growth of popular music, and of rock music in particular in the mid- to late-sixties. The music industry took notice as booking agents, record shops, pop music promoters, radio stations, and industry magazines and newspapers all began to place more emphasis on the opportunities p

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Carter, James. "Campus Rock." Journal of Popular Music Studies 32, no. 3 (2020): 51–72. http://dx.doi.org/10.1525/jpms.2020.323006.

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During 1967-8, The Lovin’ Spoonful, The Animals, The Who, Richie Havens, Jefferson Airplane and the Iron Butterfly, performed in the gymnasium at the small, liberal arts Drew University in suburban New Jersey. Turns out, this experience was not unique to Drew. College campuses across the country were essential for the growth of popular music, and of rock music in particular in the mid- to late-sixties. The music industry took notice as booking agents, record shops, pop music promoters, radio stations, and industry magazines and newspapers all began to place more emphasis on the opportunities p

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Varriale, Simone. "Reconceptualizing Aesthetic Cosmopolitanism: Evidence From the Early Consecration of Anglo-American Pop-Rock in Italy." American Behavioral Scientist 65, no. 1 (2018): 99–115. http://dx.doi.org/10.1177/0002764218800139.

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This article explores how foreign, recently imported cultural forms can redefine the dynamics of legitimation in national cultural fields. Drawing on archival research, the article discusses the early consecration of Anglo-American pop-rock in 1970s Italy and analyzes the articles published by three specialist music magazines. Findings reveal the emergence of a shared pop-rock canon among Italian critics, but also that this “cosmopolitan capital” was mobilized to implement competing editorial projects. Italian critics promoted both different strategies of legitimation vis-à-vis contemporary po

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De Launey, Guy. "Not-so-big in Japan: Western pop music in the Japanese market." Popular Music 14, no. 2 (1995): 203–25. http://dx.doi.org/10.1017/s0261143000007443.

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The phrase ‘big in Japan’ has become a popular cliché, used to describe acts which are meant to be enjoying Japanese success: anyone from Kylie Minogue to Primal Scream; from Dead or Alive to Blur. It seems that even the most unregarded artists can make it in Japan. Even Spinal Tap – the fictional, washed-up heavy metal band from Rob Reiner's film of the same name – were finally able to find success in Japan. The implication seems to be that the Japanese hunger for Western culture is so strong that even bands who have failed in their own countries can succeed in the Japanese market. Indeed, an

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BRATUS, ALESSANDRO. "Scene through the Press: Rock Music and Underground Papers in London, 1966–73." Twentieth-Century Music 8, no. 2 (2011): 227–52. http://dx.doi.org/10.1017/s1478572212000096.

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AbstractIn the years around 1968 London was home to a sizeable community of writers, musicians, artists, and political activists whose countercultural attitudes are expressed in the publications of the ‘alternative’ or ‘underground’ press – magazines such asInternational Times,OZ,INK,Friends(laterFrendz),Time Out,Gandalf's Garden,The Black Dwarf, andThe Hustler. That most of them had at least some pages devoted to music reflected the crucial role of rock in particular in summing up the community's aspirations, focused less on political or social than on cultural transformation. This article se

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Wasiak, Patryk. "The Great Époque of the Consumption of Imported Broadcasts." Television Histories in (Post)Socialist Europe 3, no. 5 (2014): 68. http://dx.doi.org/10.18146/2213-0969.2014.jethc057.

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This article shows how Polish audiences “domesticated” West European television content available with satellite dishes and semi legal cable TVs during the turnover of the 1980s and 1990s. Based on analysis of viewers’ memoirs and content of magazines dedicated to satellite television, this article discusses how Poles considered channels available with Astra satellite as an attractive entertainment juxtaposed with dull national broadcaster TVP. As this article shows, they primarily “domesticated” German late night erotic shows symbolized by Tutti Frutti and music video available with MTV Europ

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Anderson, Martin. "London, Barbican: Masterprize Final." Tempo 58, no. 228 (2004): 63–64. http://dx.doi.org/10.1017/s0040298204260156.

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There's no doubt that Masterprize, the international composition competition with a mission ‘to bring music lovers and composers closer together’, is a slick and professional operation, with a tremendous outreach. The CD with the six pieces which made it to the final (of some 1,000 entries) was stuck on the front of both Gramophone and Classic FM magazines, with a joint print-run of around 100,000. The ‘gala final’ in the Barbican on 30 October, when the London Symphony Orchestra was conducted by Daniel Harding, was broadcast live on Classic FM (which reaches 6.5 million listeners a week), NPR

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Tsitsos, William. "Rules of rebellion: slamdancing, moshing, and the American alternative scene." Popular Music 18, no. 3 (1999): 397–414. http://dx.doi.org/10.1017/s0261143000008941.

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Since 1993, popular music magazines in the USA such as Rolling Stone have reported the outbreak of an alternative music ‘revolution’, as bands such as Green Day (who trace their musical roots to late-1970s punk groups such as the Sex Pistols) achieve large-scale popular success. In September 1994 the Boston Globe newspaper devoted significant coverage to the free Green Day concert in Boston that was cancelled midway through as the crowd of 70,000 (comprised mostly of teenagers) threatened to overwhelm the security guards. The news media have focused their attention on the dancing known as ‘sla

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Kohl, Philipp. "Scales of sustain and decay: making music in deep time." Popular Music 39, no. 1 (2020): 108–20. http://dx.doi.org/10.1017/s0261143019000588.

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AbstractThis article explores the relationship between the human time of music making and the temporal layers that pervade the natural resources of musical instruments. It therefore offers case studies on two of popular music's most common instruments, the electric guitar and the synthesiser, and their symbolic and material temporalities: guitar players’ quest for ‘infinite sustain’ from Santana to today's effects manufacturers and the ‘psychogeophysical’ approach by artist and theorist Martin Howse, who developed a synthesiser module using radioactive material in order to determine musical ev

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Petroudi, Georgia. "The Cypriotization of Beethoven or Beethoven’s Cypriotization: The Composer’s Traces Throughout the Foundation of the “Westernized” Cypriot Music Scene." Studia Musicologica 61, no. 1-2 (2021): 149–59. http://dx.doi.org/10.1556/6.2020.00011.

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The focus of this paper is the reception of Ludwig van Beethoven’s works at the turn of the twentieth and twenty-first centuries, from the establishment of symphony orchestras and other cultural institutions. These works include symphonic and chamber music, performed in the framework of symphonic concerts as presented by the Cyprus Symphony Orchestra and chamber music as presented by chamber music festivals. This paper will shine a light onto the preserved concert programs of the orchestras, as well as other concerts that can be traced in newspapers and other printed magazines, in order to dem

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Kopiez, Reinhard, Friedrich Platz, and Anna Wolf. "The overrated power of background music in television news magazines: A replication of Brosius’ 1990 study." Musicae Scientiae 17, no. 3 (2013): 309–31. http://dx.doi.org/10.1177/1029864913489703.

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Ratnasingam, Malini, and Lee Ellis. "Sex Differences in Mass Media Preferences Across Four Asian Countries." Journal of Media Psychology 23, no. 4 (2011): 186–91. http://dx.doi.org/10.1027/1864-1105/a000054.

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Background. Nearly all of the research on sex differences in mass media utilization has been based on samples from the United States and a few other Western countries. Aim. The present study examines sex differences in mass media utilization in four Asian countries (Japan, Malaysia, South Korea, and Singapore). Methods. College students self-reported the frequency with which they accessed the following five mass media outlets: television dramas, televised news and documentaries, music, newspapers and magazines, and the Internet. Results. Two significant sex differences were found when particip

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Reyes-Ruiz, Rafael. "The Latino Culturescape in Japan." Diaspora: A Journal of Transnational Studies 14, no. 1 (2005): 137–55. http://dx.doi.org/10.3138/diaspora.14.1.137.

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On my first trip to Japan, shortly after I arrived in September 1988, I asked my Japanese host, a writer for one of Tokyo’s music magazines, to direct me to a Latin American restaurant or nightclub. Since leaving my native Colombia for the United States and Europe, I had learned that Latin American restaurants and nightclubs were some of the places to make contacts for jobs and housing, and, of course, to socialize. My host was not familiar with any such businesses in western Tokyo, where he lived, so I asked him to consult the telephone book. He found one listing and gave me the address.

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Perchard, Tom. "Mid-century Modern Jazz: Music and Design in the Postwar Home." Popular Music 36, no. 1 (2016): 55–74. http://dx.doi.org/10.1017/s0261143016000672.

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AbstractThis article takes an imagined, transnational living room as its setting, examining jazz's place in representations of the ‘modern’ middle-class home across the post-war West, and exploring the domestic uses that listeners both casual and committed made of the music in recorded form. In magazines as apparently diverse asIdeal Homein the UK andPlayboyin the US, a certain kind of jazz helped mark a new middlebrow connoisseurship in the 1950s and 60s. Yet rather than simply locating the style in a historical sociology of taste, this piece attempts to describe jazz's role in what was an em

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ZELENSKY, NATALIE K. "Club Petroushka, Émigré Performance, and New York's Russian Nightclubs of the Roaring Twenties." Journal of the Society for American Music 14, no. 4 (2020): 480–509. http://dx.doi.org/10.1017/s1752196320000346.

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AbstractIn the midst of the Prohibition era, New York City proliferated with nightclubs that presented patrons with imagined worlds of music and entertainment. This essay explores the role of music in creating such imagined worlds, looking specifically at the Russian-themed nightclubs founded by and employing émigrés recently exiled from Bolshevik Russia. Examining Midtown's Club Petroushka as a prime example of such a space, this essay focuses on the so-called “Russian Gypsy” entertainment that caught the eye and ear of the club's patrons, whose ranks included Charlie Chaplin, Harpo Marx, and

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Jaimangal-Jones, Dewi. "Analysing the media discourses surrounding DJs as authentic performers and artists within electronic dance music culture magazines." Leisure Studies 37, no. 2 (2017): 223–35. http://dx.doi.org/10.1080/02614367.2017.1339731.

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Al-Obaidi, Dr Entisar. "The influence of media on upbringing and behavior of children." GIS Business 14, no. 6 (2019): 656–66. http://dx.doi.org/10.26643/gis.v14i6.15023.

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Media refers to the channels of communication through which we distribute news, education, movies, music, advertising messages and other information. It includes physical and online newspapers and magazines, television, radio, telephone, the Internet, fax and billboards, are a dominant force in lives of children. Although television is remaining the predominant medium for children and adolescents, the new technologies are become more popular. We have to concern about the potential harmful effects of media "messages and images"; however, the positive and negative effects of media should be reco

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Sun, Meicheng, and Kai Khiun Liew. "Analog Hallyu: Historicizing K-pop formations in China." Global Media and China 4, no. 4 (2019): 419–36. http://dx.doi.org/10.1177/2059436419881915.

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This article will revisit the beginnings of the spread of Korean popular entertainment in China in the mid-1990s to early 2000s by examining the contents of previously untapped Chinese language popular entertainment magazines and public recollections on internet forums. Considered here as critical archival resources, the authors argue that these materials are instrumental in offering both new chronologies and insights to the circulatory process of the regionalization of Korean popular cultures or Hallyu. Korean popular music (hereafter K-pop) entered China after the normalization of diplomatic

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Milcarz, Aleksandra. "Lwówek Śląski in the arms of the muses. The activity of prince Constantin Hohenzollern’s private orchestra in the period of 1852–1869." Notes Muzyczny 1, no. 9 (2018): 161–77. http://dx.doi.org/10.5604/01.3001.0012.9903.

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Prince Constantine (Friedrich Wilhelm Constantine) of Hohenzollern-Hechingen, a great music lover, aimed to create a good orchestra at his court. In the 1840s, he had already had a decent ensemble conducted by Thomas Täglichsbeck, which gave regular concerts in Hechingen. Villa Eugenia, the prince’s palace at that time, hosted numerous prominent figures from the world of music, first of all Franz Liszt; this acquaintance had a great influence on Constantine. After he abdicated and moved to his dominions in Silesia, in 1852 the prince decided to build a little palace with a concert hall for thr

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