Academic literature on the topic 'Music – Social aspects – Limpopo'
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Journal articles on the topic "Music – Social aspects – Limpopo"
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Junko, Kitagawa. "Some aspects of Japanese popular music." Popular Music 10, no. 3 (October 1991): 305–15. http://dx.doi.org/10.1017/s0261143000004669.
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In 1959, the Conlon report, a presentation of United States government policies in relation to Asian cultures, stated the following about Japanese culture (in a section titled ‘Social change’):Developments within and among the various Japanese social classes suggest the dynamic, changing quality of modern Japan … No area of Japan, moreover, is beyond the range of the national publications, radio, and even TV. New ideas can be quickly and thoroughly disseminated; it is in this sense that Japanese culture can become more standardised even as it is changing. Many of the changes look in the direction of the United States; in such diverse fields as gadgets, popular music, and fashions. American influence is widespread. And this is but one evidence of the general desire to move away from the spartan, austere past toward a more comfortable, convenient future.
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Cipta, Febbry, and Sandie Gunara. "Sirojul Ummah: Music in Social Interaction." Harmonia: Journal of Arts Research and Education 20, no. 2 (December 27, 2020): 153–60. http://dx.doi.org/10.15294/harmonia.v20i2.21456.
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This article describes music’s role in social interactions carried out by female members of the Marawis group Sirojul Ummah. The Marawis music is the medium they use in their efforts to convey Islamic knowledge and understanding, both for this group itself and for the surrounding community. The research method used is qualitative, in which data are collected from observations, interviews, and literature review, while the technique in analyzing data is done through a contextual approach. Social interaction in this study is viewed from the associative and dissociative aspects in the form of actions that include rational instrumental action, value rational action, effective action, and traditional action. Music is present in each of these actions. Music is both a subject and an object in social interaction, both in-groups, and out-groups. The associative and dissociative aspects of in-groups can be seen from how musical ideas and performances are developed and honed through practice activities. This activity is carried out because good musical performance is supported by techniques and methods of singing, playing, and presenting musical articulation, ornamentation, and harmonization. At the same time, the associative and dissociative aspects of out-groups can be seen from their activities in filling out events in society. The interaction process is built-in pleasant and informal situations which are shaped by an interest in music and family relationships. Since childhood, they have known each other; thus, they understand the characteristics of each person. Maturity, the maturity of thinking, and acting tend to avoid emotional conflicts that may occur. In this context, music is not only a medium for interaction, but can be a motivation in building these interactions.
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Chambers, Paul W. "A STUDY OF THE DINAKA PIPE DANCE OF THE PEDI PEOPLE IN SOUTH AFRICA." African Music: Journal of the International Library of African Music 10, no. 4 (November 22, 2018): 7–39. http://dx.doi.org/10.21504/amj.v10i4.2231.
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This article provides a description and musical analysis of the Pedi genre known as dinaka, as it is currently practised (2016) in the rural areas throughout the Limpopo province. The role of this music is examined along with the implications of learning and performing it as a cultural outsider. The construction, methods of tuning, and playing techniques of the pipes, drums, and other instruments associated with dinaka are discussed. The form and structure of the music are interpreted as well as the idioms of rhythm, melody, and dance repertoire which imbue the genre with a distinct sound. Common methods for creating improvisational variations among the instrumental and dance parts are explained. The connection of dinaka to styles of Pedi vocal music is examined along with the proverbial meanings of the songs with which these melodies and rhythms are associated. Transcriptions of the dance steps, pipe melodies and drum rhythms have been developed to provide a visual representation of the music. The aim is to provide a resource from which one can study and understand the many aspects of dinaka.
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Pope, Stephen Travis. "Web.La.Radia: Social, Economic, and Political Aspects of Music and Digital Media." Computer Music Journal 23, no. 1 (March 1999): 49–56. http://dx.doi.org/10.1162/014892699559643.
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Jutbring, Henrik. "Social marketing through a music festival." Journal of Social Marketing 8, no. 2 (April 9, 2018): 237–56. http://dx.doi.org/10.1108/jsocm-03-2017-0017.
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Purpose The purpose of this paper is to examine a social marketing initiative pursued by the privately owned Swedish music festival Way Out West during 2012-2014. This paper’s aim is to explore how events can support individual behaviour changes, and it seeks to assess the effects of Way Out West, as well as to understand what motivated visitors to change. Design/methodology/approach The theoretical lens of perceived consumer value (Holbrook, 1999) as the individual outcome of a social marketing exchange is used for the analysis. The paper uses a mix of quantitative and qualitative methods; a Web survey (n = 1757) monitors self-reported behaviour over time, and in-depth interviews are conducted with a handful visitors who reduced regular meat consumption. Findings The results of this paper suggest that the initiative was a strong inspiration for 15 per cent of the sample (corresponding to ca. 9,300 festival visitors who decreased their meat consumption 2012-2014). It was evident that these “Decreasers” perceived functional, emotional, social and altruistic value as outcomes of changed behaviour. The paper identifies and discusses links between the adoption of a new behaviour in the temporal non-ordinary setting of a music festival and the endurance of the behaviour in a mundane environment. Originality/value This paper examines self-perceived effects on behaviour that a private social marketing initiative had on consumers. The paper contributes by applying Holbrook’s (1999) theoretical framework of perceived consumer value to empirical context, by investigating hedonic aspects of social marketing consumption in the non-ordinary setting of a music festival. The paper discusses how a temporarily adopted behaviour continues to create value for consumers, when maintained in ordinary life.
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Liao, Chechen, Yi-Jen Huang, Pui-Lai To, and Yu-Ting Lu. "Factors driving digital music purchases." Social Behavior and Personality: an international journal 45, no. 4 (May 7, 2017): 583–98. http://dx.doi.org/10.2224/sbp.5875.
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The ongoing development of the digital music ecosystem has fostered a proliferation of products. In this study our aim was to address the digital aspects of physical music products. We analyzed data collected via a survey, using a research model based on an enhanced version of the theory of reasoned action, into which we integrated the following: intangibility attributes of perceived risk, accessibility, and predicted risk; price, range, and trialability as attributes that define the types of digital product; and the entertainment attributes of anticipation of customers' needs and perceived playfulness. Results indicated that consumers' attitude and intention were influenced mainly by product range and, simultaneously, that their decision to buy digital music was influenced by attitude and subjective norms. The results suggest that as trialability had a nonsignificant impact on consumer intention and attitude, consumers' perceived risk may be lowered by reducing the cost of digital music.
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Platt, R. "New light on Richard Mudge, 1718-63: some aspects of social status and amateur music-making." Early Music 28, no. 4 (November 1, 2000): 531–45. http://dx.doi.org/10.1093/em/28.4.531.
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Powell, Bryan. "Community music interventions, popular music education and eudaimonia." International Journal of Community Music 00, no. 00 (February 24, 2021): 1–23. http://dx.doi.org/10.1386/ijcm_00031_1.
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The fields of community music and popular music education have expanded rapidly over the past few decades. While there are many similarities between these two fields, there are aspects that set these two areas of practice apart. This article seeks to explore the intersections of community music interventions and popular music education to explain how they are similar and in which ways they are unique. This discussion centres on examinations of facilitation, ownership of music, training and certification, inclusivity, life-long music making, amateur engagement, informal learning and non-formal education, and social concerns. The Greek philosophy of eudaimonism, understood as ‘human flourishing’ is then used to explore the opportunities for human fulfilment through popular music education and community music approaches.
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Lupak, R., V. Tarasyuk, and K. Varkholyak. "Aspects of festival events tourism development." Galic'kij ekonomičnij visnik 66, no. 5 (2020): 30–37. http://dx.doi.org/10.33108/galicianvisnyk_tntu2020.05.030.
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The importance of tourism development for the country's economy and the growing popularity of festival events tourism in the context of music, gastronomic and ethno-festival events is summarized. The conceptual characteristics of festival events tourism that require in-depth research are clarified. The economic advantages of each direction of festival event tourism and their interrelation with other economic processes are listed. Special attention is paid to marketing, technological, social, historical and other features of their formation and progressive growth. Peculiarities (in the context of meeting social needs, formation of new directions of tourist culture, development of economic and resource opportunities, expansion of interstate relations, introduction of advanced technologies) and factors (demographic, economic, political, technical-technological, social-psychological, organizational- cultural) of the development of music, gastronomic and ethnic festival tourism are determined. The characteristics of festival events tourism in Ukraine and certain European countries are given, particularly, taking into account the number of festivals, their visitors, the average ticket price and seasonality. The preconditions of the formed significant difference between the tourist activity organization in Ukraine and the group of European countries are determined. The required formation and implementation of tourism policy on the state basis, including the creation of extensive institutional network of tourism regulators, particularly festival events tourism are emphasized. It is proved that problems solution in the tourist complex has positive effect on the economic security of the country requiring a reasonable choice of the relative areas of industry development. The advantages of holding joint (music, gastronomic, ethnic) festivals are substantiated, forming at the same time new direction of tourist culture. It is concluded that organization and running of festival events create a wide range of opportunities for the territories development improving the market infrastructure, accelerating the rate of information technology development and increasing business activity.
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Ender, Tommy. "Incorporating the Critical Music Framework: An Autoethnographic Reflection." International Journal of Multicultural Education 23, no. 1 (April 30, 2021): 146. http://dx.doi.org/10.18251/ijme.v23i1.2447.
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I articulate an autoethnographic narrative of using different songs to counter dominant interpretations of gender, class, immigration, slavery, and education in the social studies classroom. Framing it as the Critical Music Framework, the practice of using music addressing social issues and historical representations of women and people of color provided secondary students with reflective, learning opportunities. The resulting conversations illustrate the importance of music not just on the personal, but also the academic aspects of individuals.
Dissertations / Theses on the topic "Music – Social aspects – Limpopo"
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Sodi, Edzisani Egnes. "Qualitative reflections on teenage motherhood experiences." Thesis, Stellenbosch : Stellenbosch University, 2005. http://hdl.handle.net/10019.1/50433.
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Thesis (MPhil)--Stellenbosch University 2005ENGLISH ABSTRACT: The aim of the current study was to undertake a phenomenological investigation on teenage motherhood and to learn how this experience forms part of the teenage mother's life. Using the snowball sampling method, five women aged between 26 and 35 years were selected to participate in the study. All the five women became mothers during their teenage years. Indepth interviews were conducted in Northern Sotho and Tshivenda depending on the language preference and fluency of the participant. The interviews were audio-taped, and later transcribed and translated. A phenomenological method of analysis was used to transform the original data into natural meaning units (NMUs) which were further interrogated so as to distil central sociological themes that were associated with the experience of teenage motherhood. Apart from the finding that the participants got pregnant when they were aged between 16 and 18, five sociological themes associated with teenage motherhood were identified. These are: • Lack of knowledge about sexual relationships contributes to teenage pregnancy and motherhood. • Early childbearing has a negative impact on the teenage mother's social relationships. • Teenage mothers tend to experience emotional problems after delivery of their babies. • Teenage motherhood has a long term disruptive effect on the teenage mother's educational and occupational opportunities. • Teenage motherhood leads to significant lifestyle changes for those who have been through the experience. In view of the above themes, sexual education both at school and at home, is suggested here as a more viable option to help minimise the risk of teenage motherhood in society. Whilst other options like abortion and the newly introduced child support grant are also available to the teenage mother, these are not considered favourable.
AFRIKAANSE OPSOMMING: Die doel van die huidige studie was om 'n fenomenologiese ondersoek oor tienermoederskap te doen en uit te vind hoe hierdie belewenis deel uitmaak van die tienermoeder se bestaan. Deur die sneeubaltoetsingsmetode is vyf vroue tussen die ouderdomme van 26 en 35 jaar gekies om deel te neem aan die studie. AI vyf vroue het tydens hulle tienerjare moeders geword. Diepteonderhoude is in Noord-Sotho en Venda gevoer, afhangende van die taalvoorkeur en -vlotheid van die deelnemer. Klankopnames is van die onderhoude gemaak wat later getranskribeer en vertaal is. 'n Fenomenologiese analisemetode is gebruik om die oorspronklike data na natuurlike betekeniseenhede (NMUs - natural meaning units) te herlei wat verder ondersoek is om sentrale sosiologiese temas geassosieer met die belewing van tienermoederskap te identifiseer. Behalwe vir die bevinding dat die deelnemers swanger geraak het toe hulle tussen die ouderdom van 16 en 18 jaar was, is vyf sosiologiese temas geassosieer met tienermoederskap geïdentifiseer. Hierdie temas is: • 'n Gebrek aan kennis oor seksuele verhoudings dra by tot die voorkoms van tienerswangerskappe en -moederskap. • Vroeë kinderbaring het 'n negatiewe impak op die tienermoeder se sosiale verhoudings. • Tienermoeders is geneig daartoe om emosionele probleme te ondervind na die geboortes van hulle babas. • Tienermoederskap het 'n langtermyn ontwrigtende effek op die tienermoeder se opvoedings- en werksgeleenthede. • Tienermoederskap lei tot betekenisvolle veranderinge in lewenstyl vir diegene wat die ondervinding deurgemaak het. Met inagneming van bogenoemde temas word hier voorgestel dat seksuele opvoeding beide op skool en by die huis 'n meer lewensvatbare opsie is om die risiko van tienermoederskap in die samelewing te verminder. Alhoewel ander opsies soos aborsies en die nuutingestelde toekennings van kinderonderhoud ook vir die tienermoeder beskikbaar is, word hierdie opsies nie as bevorderlik beskou nie.
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Bassalé, Parfait Adegboyé. "Music and Conflict Resolution: Can a Music and Story Centered Workshop Enhance Empathy?" PDXScholar, 2013. https://pdxscholar.library.pdx.edu/open_access_etds/1122.
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The Story and Song Centered Pedagogy (SSCP) is a workshop that uses songs, stories and reflective questioning to increase empathy. This preliminary study tested the prediction that being exposed to the SSCP would increase empathy using, the Emotional Concern (EC) and Perspective Taking (PT) subscales of the renowned Interpersonal Reactivity Index (IRI) (Davis, 1990). Subjects self-reported their answers to the IRI before and after undergoing the SSCP intervention. Comparing their pre and post intervention results, no statistically significant changes were noticed for the EC and PT scales (p-value = 0.7093 for EC; p-value = 0.6328 for PT). These results stand in direct tension with the anecdotal evidence gathered from 10 years of action research that shows that the SSCP impacts audiences' ability to empathize. This opens the door for additional research with more rigorous methodology and a larger sample size which will allow for more interpretative analysis. These results also probe the concern about whether the IRI is the most suitable tool to quantitatively measure the empathetic responses caused by the SSCP and evidenced by action research.
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Johnston, Mindy Kay. "Music and Conflict Resolution: Exploring the Utilization of Music in Community Engagement." PDXScholar, 2010. https://pdxscholar.library.pdx.edu/open_access_etds/437.
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This study is based on interviews conducted with twenty-two musician-activists in the Pacific Northwest region of the United States in 2009 to explore perspectives about the role of music in community engagement with the aim of considering how music might be used in the field of conflict resolution. The study followed the qualitative approach of constructivist grounded theory as designed by Charmaz (2000, 2002). Two themes, "Music for Self," and "Music for Society" emerged from interviews and comprise the internal and external meanings of music to the research informants. The results of the study indicate that the relationships people have with music make it a potentially powerful tool in conflict situations within the realms of both conflict resolution and conflict transformation. More extensive research exploring these benefits is recommended.
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Gautier, Alba. "Producing a popular music : the emergence and development of rap as an industry." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79768.
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In this thesis, I trace the evolution of the rap market from its emergence in 1979 in New York City to its development into a national industry in 1990. I analyze the motivations of the producers of rap and the mechanisms that led to their current organization. Independent labels were the primary producers of rap records until they made distribution deals with major record companies in the second half of the eighties. I argue that the division of labor between production and distribution, which became the most common context for the production of the music, is both the result of an organizational strategy initiated by the majors and of the negative perception their executives had of rap artists.
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Kruger, Jaco Hentie. "A cultural analysis of Venda guitar songs." Thesis, Rhodes University, 1994. http://hdl.handle.net/10962/d1002309.
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This thesis focuses on the articulation in music of human worldviews, and the social contexts in which they emerge. It suggests that people project various forms of social reality through symbolic systems which operate dynamically to maintain and recreate cultural patterns. The symbolic system investigated in support of this suggestion is that constituted by Venda guitar songs. In the performance of these songs, social reality emerges in a combination of symbolic forms: verbal, musical and somatic. The combination of these symbolic forms serves as a medium for individual self-awareness basic to the establishment of social reality and identity, and the drive for social power and legitimacy. A study of these symbolic forms and their performance indicates that musicians invoke the potential of communal music to increase social support for certain principles on which survival strategies in a turbulently changing society might be based. The discourse of Venda guitar songs incorporates modes of popular expression and consciousness, and thus attempts to invoke states of intensified emotion to promote these survival strategies. Performance occasions emerge as a focus for community orientation and the exploration of social networks. They promote stabilizing social and economic interaction, and serve as a basis for moral and cooperative action. Social reality also emerges in musical style, which is treated as the audible articulation of human thought and emotion. Stylistic choices are treated as integral to the conceptualization of contemporary existence. A study of these choices reveals varying degrees of cultural resistance and assimilation, ranging from musical styles which are essentially rooted in traditional social patterns, to styles which integrate traditional and adopted musical elements as articulations of changing self-perceptions, social aspirations, and quests for new social identity.
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Warr, Richard Lloyd. "Music consumption : the impact of social networking, identity formation, and group influence." Thesis, Swansea University, 2015. https://cronfa.swan.ac.uk/Record/cronfa43122.
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Previous researchers such as McGuire & Slater (2005) noted that people have an inherent need to share favourite music with other people, and also theorised that a democratisation of culture is taking place with consumers effectively standing by (or in some cases even replacing) traditional tastemakers by sharing music with one another through the Internet; thus shaping culture and in turn themselves. In addition, this theory supports the notion that once music consumers discover others online who have similar or interesting tastes, they may begin to interact with one another; therefore leading to the formation of communities around an artist or genre (or around a particular tastemaker such as a podcaster) which may also provide benefits to consumers in other areas of their social lives. The motivation of this thesis was to explore how these online social influences compared to the traditional offline social influences that can be inferred upon music consumption behaviours and habits. Methods of consumption can include listening to music alone or with others, obtaining music in different formats and on various platforms, and attending live events such as music shows or festivals. A study was conceptualised on behaviours relating to live music consumption, with a literature review being conducted on the exploration of the music industry and its digitisation, identity theory (both individual and collective), and social influence. The research methodology was separated into two phases; the first being a qualitative exploratory investigation consisting of a webnography data collection which was used to examine relevant trends in online forums, and the second an online survey. The online survey allowed for the quantitative testing of the theoretical frameworks identified by the literature review, as well as enabling the development of predictive models for live music consumption behaviours in both the online and offline social contexts.
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Mogashoa, M. W. "The interface between politics and administration in the Limpopo Department of Education." Thesis, University of Limpopo (Turfloop Campus), 2006. http://hdl.handle.net/10386/1051.
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Thesis (MPA) --University of Limpopo, 2006The study conducted was based on the political and administrative interface in the Department of Education in Limpopo. This provincial Department has experienced challenges that originated from the offices of both the Executive Authority and the Accounting officer. This grey area in the Department had almost paralysed the whole system and it became imperative that it be studied in an attempt to find possible solutions. An extensive scientific body of knowledge from different scholars and their findings contributed to a new direction recommended for consideration. The findings presented have the capacity to hamstring any organisation. The findings reveal, among others, that: the complementary bureaucratic model is threatened by time, and its challenges are enormous; there is little knowledge among politicians and administrators regarding interface matters; administrators do not have a global picture regarding the result of unethical conduct; more research on interface matters needs to be done and results published for the public to be educated while politicians and administrators should be continuously trained; the fluidity of the interface needs continuous focus to avoid plunging the department into an untenable situation.
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Wong, Chi-chung Elvin, and 黃志淙. "Making and using pop music in Hong Kong." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1997. http://hub.hku.hk/bib/B29872583.
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Lawrenson, Ilean. "Anthropologizing musical performance, the quest for a rapprochement of classical music production and practice." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ42167.pdf.
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Demeuldre, Michel. "Le changement musical: étude transculturelle de trois siècles de changements dans la musique et la danse en milieu urbain." Doctoral thesis, Universite Libre de Bruxelles, 1991. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/213065.
Full textBooks on the topic "Music – Social aspects – Limpopo"
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Rosenthal, Rob. Music and social movements. Boulder, Colo: Paradigm Publishers, 2010.
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1957-, Natvig Mary, ed. Music: A social experience. Upper Saddle River, NJ: Pearson, 2012.
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Music in society: A guide to the sociology of music. Stuyvesant, NY: Pendragon Press, 1987.
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Honigsheim, Paul. Sociologists and music: An introduction to the study of music and society. 2nd ed. New Brunswick: Transaction Publishers, 1989.
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Music in central Java: Experiencing music, expressing culture. New York: Oxford University Press, 2008.
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Music in human life: Anthropological perspectives on music. Austin: University of Texas Press, 1993.
Find full textBook chapters on the topic "Music – Social aspects – Limpopo"
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Erlmann, V. "Music: Anthropological Aspects." In International Encyclopedia of the Social & Behavioral Sciences, 10251–55. Elsevier, 2001. http://dx.doi.org/10.1016/b0-08-043076-7/00918-9.
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Erlmann, Veit. "Music: Anthropological Aspects." In International Encyclopedia of the Social & Behavioral Sciences, 149–54. Elsevier, 2015. http://dx.doi.org/10.1016/b978-0-08-097086-8.12114-2.
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Harney, Kristin. "Music and Social Studies." In Integrating Music Across the Elementary Curriculum, 103–50. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190085582.003.0005.
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This chapter explores connections between music and social studies. It includes rationales for integrating music and social studies, common links between the two disciplines, and a discussion of National Curriculum Standards for Social Studies, the C3 Framework for Social Studies State Standards, and the National Core Arts Standards for Music. Tables clearly show the standards that are incorporated throughout the lessons and examples. The chapter contains four detailed, full-length lessons that integrate music and social studies. These include a lesson that examines the importance of a classroom community; a two-part exploration of historical and musical aspects of the blues; and an introduction to the Holocaust through Górecki’s Symphony No. 3. The chapter ends with an inventory of ideas detailing nineteen additional lesson topics, specific teaching strategies, and recommended activities.
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Siwe, Thomas. "Music-Theater." In Artful Noise, 118–35. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043130.003.0009.
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In the late 1960s, a renewed focus on the theatrical aspects of musical performance merged with the political and social concerns of the times to create a new genre, music-theater. For percussionists, theatricality is inherent in the action used to play their instruments. Recognizing this, composers created works that incorporated various aspects of theater, designating these new compositions as mixed- or multimedia, intermedia, or music-theater. Examples of this genre are discussed in this chapter beginning with the works of the American maverick composer Harry Partch, who not only created the music, but also built the instruments used in his productions. The genre is defined further through a description of the works of composers Benjamin Johnston, Mauricio Kagel, Karlheinz Stockhausen, Jean-Pierre Drouet, and Michael Udow. Each percussion composition described is unique, incorporating theatrical components such as lighting, stage actions, improvisation, electronics, film, set design, and other elements.
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James Mmadi, Pontsho, and Sello Levy Sithole. "An Analysis of Salient Aspects of the Research Proposals of Fourth Year Student Social Workers: A Case Study of Class of 2019, University of Limpopo." In Global Social Work - Cutting Edge Issues and Critical Reflections. IntechOpen, 2020. http://dx.doi.org/10.5772/intechopen.89503.
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O’Reilly, Dr Daragh, Dr Gretchen Larsen, and Dr Krzysztof Kubacki. "Music Consumption." In Music, Markets and Consumption. Goodfellow Publishers, 2013. http://dx.doi.org/10.23912/978-1-908999-52-8-2250.
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Music can be heard everywhere, infiltrating our everyday existence. Not only does one choose to listen to music across a range of situations, times and spaces; one is also exposed to music in innumerable day-to-day situations – on public transport, from a passing car, through advertisements. Even prior to the technological advances which have revolutionized the way music is acquired, purchased and used (Elberse 2010; Simun 2009), Merriam noted that ‘the importance of music, as judged by the sheer ubiquity of its presence, is enormous... There is probably no other human cultural activity which is so all-pervasive and which reaches into, shapes and often controls so much of human behaviour’ (1964: 218). Technological, social and cultural trends have only served to deepen and diversify the ways in which one listens to, or engages with, music. The marketing and consumer behaviour perspective on music engagement has focused primarily on experiential aspects. Interest in the consumption of music arose on the back of the experiential turn in consumer research, and the associated interest in aesthetic products (e.g. Holbrook and Hirschman 1982). Music is a rich and complex symbolic, social and political product (Larsen et al., 2010), the experience of which can be distinguished from the consumption of other kinds of products. For example, music is the only product which is primarily auditory (Larsen and Lawson, 2010); consumption does not alter its recorded form and it can be consumed actively or passively, with or without ownership, in private and in public (Lacher and Mizerski, 1994). As a result, most of our knowledge about the consumption of music has concentrated on the emotional and aesthetic reasons for listening to music (e.g. Cherian and Jones, 1991; Kellaris and Kent, 1993; Lacher and Mizerski, 1994; North and Hargreaves, 1997; Chien et al., 2007; Lonsdale and North, 2011); the relationship between music and identity, particularly the use of music as a ‘badge of identity’ (e.g. Holbrook, 1986; DeNora, 1999; North and Hargreaves, 1999; Shankar, 2000; Goulding et al., 2002; Negus and Velazquez, 2002; Nuttall, 2009) and the symbolic function of music (Hogg and Banister, 2000; Larsen et al., 2009, 2010). There is a broader question, underlying this body of knowledge, which remains unexamined. That is: What does it mean to frame music engagement as consumption and music listeners as consumers, and what are the consequences of doing so for our understanding of music consumption? As conceptualized by Holbrook and Anand (1990) and Lacher and Mizerski (1994), music consumption is the act of listening to a piece of music. Listening to music is, without a doubt, one of the most significant aspects of the act of consuming music; however, it does not entirely capture all that is involved. For example, talking and reading about music are also important activities in consuming music (Larsen et al., 2009). If, in addition, one also acknowledges that the music product can be an artist, venue and associated paraphernalia (see Chapter 3), then the consumption of the music product must necessarily go beyond listening. Finally, this conceptualization does not help us to identify or understand how the experience of engaging with music differs if one does it as an audience member, as a fan, or as a consumer. Thus, a clearer understanding is needed of what one means by consumption in the context of music.
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O’Reilly, Dr Daragh, Dr Gretchen Larsen, and Dr Krzysztof Kubacki. "Music and Collectivity." In Music, Markets and Consumption. Goodfellow Publishers, 2013. http://dx.doi.org/10.23912/978-1-908999-52-8-2253.
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The purpose of this chapter is to explore issues of music and collective consumption by using notions such as consumer culture, consumer tribes, brand communities and scenes. This is not intended to be an exhaustive analysis of music and community or collectivity. Rather, this chapter focuses specifically on a number of ideas which have potential implications for the analysis, interpretation and understanding of music markets. Part of the contribution of this book is to examine what they buy us in terms of understanding exchange relationships, what their limitations are, and how these limitations might be remedied by combining them with social identity and consumer culture theory. The discussion of brand community builds on the earlier discussion of branding in Chapters 5 and 6. The focus of consumer tribes builds on the discussion in Chapter 7 about music consumption by focusing on collective aspects of consumption. The notion of scenes is one which has emerged within music studies.
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Tudor, Angela. "Music and Mobile Phones." In Advances in Educational Technologies and Instructional Design, 140–63. IGI Global, 2021. http://dx.doi.org/10.4018/978-1-7998-5805-8.ch008.
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In a discussion of student behaviors, the author considers the affordances of mobile phones in the English language arts (ELA) classroom. The author believes that mobile phones establish a private, first space where students interact both socially and academically as they appear as audience/observers and agents/creators. In addition to practical affordances, the author discusses social-emotional aspects of mobile phones as they have become part of students' first space, representing both culture and identity. The author believes that music, which exists in students' private first spaces, affords teachers an opportunity to establish and engage students in a neutral third space where meaning and knowing occur without scripts or strategies but rather curiosity, respect, and connection. The author also provides vignettes of practical implementation of digital literacies.
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Vera, Alejandro. "Musicians in Colonial Santiago." In The Sweet Penance of Music, 321–78. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190940218.003.0006.
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This chapter deals with musicians of Santiago in more depth, showing the importance of music in their professional and personal life. Among other aspects, it shows that these subjects frequently understood music as both a tool for social ascent and a vocation, and that music profession interacted with—but was not determined by—race, genre, familiar status, acquaintances, and other aspects of colonial life. Two of the chapter’s conclusions are that the social status of musicians was not necessarily proportional to the salary that they received, and that the music career of nuns and cathedral musicians was more similar than previously believed, since both passed many years working for free, with the goal of accumulating merits enough to enter the music chapel formally.
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Hansen, Bethanie L. "Teaching the Course." In Teaching Music Appreciation Online, 245–69. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190698379.003.0012.
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This chapter provides a framework and guides for teaching the online music appreciation class in ways that suit the online modality and a variety of learners. Because it is much more challenging to build community and connect with others in an online classroom when compared to face-to-face learning, and community is essential to learning, a framework for teaching online that includes aspects most likely to promote community among learners and between students and their instructor is needed. Readers will find helpful guidance to develop a robust community of inquiry within the online music appreciation classroom, along with communication strategies and routines typical of online teaching. The chapter ends with a brief summary of important points and an infographic designed to visually highlight essential elements for teaching online music appreciation, including teaching, social, and cognitive presence; guidelines for online communication while teaching a class; time management tips; and weekly routine suggestions.
Conference papers on the topic "Music – Social aspects – Limpopo"
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Pandiova, Iveta. "STYLISTIC ASPECTS OF VOCAL INTERPRETATION IN THE CONTEXT OF NON-ART MUSIC." In 5th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS SGEM2018. STEF92 Technology, 2018. http://dx.doi.org/10.5593/sgemsocial2018/6.2/s25.030.
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Karnik, Mayur. "Social aspects of music and interactive technologies in facilitating face-to-face interactions in third places." In Procedings of the Second Conference. New York, New York, USA: ACM Press, 2011. http://dx.doi.org/10.1145/2079216.2079278.
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Wiflihani, Wiflihani, Pita Silitonga, and Herna Hirza. "Music in “Gobuk Melayu" Ritual Traditions: Study of Performance Aspects, Forms and Structures." In Proceedings of the 1st Conference of Visual Art, Design, and Social Humanities by Faculty of Art and Design, CONVASH 2019, 2 November 2019, Surakarta, Central Java, Indonesia. EAI, 2020. http://dx.doi.org/10.4108/eai.2-11-2019.2294720.
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Iazzetta, Fernando. "The Politics of Computer Music." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10464.
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When a set of objects, actions, and procedures begin to coalesce and gain some coherence, they become perceived as a new, cohesive field. This may be related to the emergence of a new discipline, a new craft, or a new technological configuration. As this new field shows some coherence and unity, we tend to overlook the conditions that gave rise to it. These conditions become "naturalized" as if they were inherent in that field. From this point on, we do not wonder anymore to what extent the contingencies (formal, social, economic, technological, aesthetic, religious) that gave rise to that field have been crucial to its constitution. When it comes to computer music we are comfortably used to its applied perspective: tools, logical models, and algorithms are created to solve problems without questioning the (non-computational) origin of these problems or the directions taken by the solutions we give to them. The idea of computing as a set of abstract machines often hides the various aspects of the sonic cultures that are at play when we develop tools and models in computer music. The way we connect the development of computer tools with the contingencies and contexts in which these tools are used is what I call the politics of computer music. This connection is often overshadowed in the development of computer music. However, I would like to argue that this connection is behind everything we do in terms of computer music to the point that it often guides the research, development, and results within the field.
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Huber, Annegret. "Die Pianistin spricht. Überlegungen zur Epistemologie von Vertonungsanalysen und ihrer Funktion in musikwissenschaftlicher Forschung." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.83.
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There is nothing fundamentally wrong with the premise that a pianist like Clara Wieck/Schumann ‘speaks’ in her song compositions. This, however, raises a number of epistemological questions that will be discussed in this article. First of all, an explicit distinction is made between the examination of the ‘technical’ aspects of her compositional practice – in German: Praktik – (which may allow conclusions to be drawn about the pianist’s implicit knowledge) on the one hand, and the social aspects of her discursive practice – in German: Praxis – on the other. Thus, it is also necessary to discuss the criteria that the structural-analytical methodology must satisfy, as well as to consider to whom the pianist is actually speaking: to us music researchers of the 21st century? Or should we ask ourselves whether our analysis is not rather a “reading of traces” in the sense of Sybille Krämer, through which we invent the ‘producer’ of the analyzed ‘trace’ in the first place? Or to put it another way epistemologically: how do we make the pianist speak? What function does our ‘speaking’ of her compositions – namely the piano parts in her songs – have in scholarly argumentations?