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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.
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Wang, Shuang. "Music, social media and public pedagogy: indie music in the post-Cantopop epoch." Asian Education and Development Studies 7, no. 1 (January 2, 2018): 42–52. http://dx.doi.org/10.1108/aeds-03-2017-0022.
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Purpose Hong Kong’s musical scene is rapidly changing along with the evolving media landscape. The purpose of this paper is to examine the new way of Cantopop production and dissemination in the new media ecosystem. Furthermore, this study calls for a reconceptualization of the process of Cantopop listening and sharing as a form of public pedagogy within the online public space. Design/methodology/approach Based on the investigation into two of the leading local indie bands Kolor and Supper Moment, this study explores the implications that social media and participatory culture have for these indie bands. In this study, the music content and promotion strategy of the two bands, as well as the role of their online audiences are studied. Findings Social media leads to more democratic cultural production and distribution. The strong online audience engagement serves as the foundation for the popularity of the two Cantopop indie bands. In their music practice, the lyrics appear to be in alignment with the goals and interests of the listeners, which gives rise to greater participation by its audiences through social media. Under the context of interactive internet culture, listening and sharing Cantopop can be seen as an educational force, thus reinforcing the values and attitudes. Originality/value While many important works have examined various aspects of Cantopop, little attention has been paid to the indie bands. This paper attempts to reveal the recent development of local indie bands as a site under the interactive internet culture. It also gives insights to the significant role of Cantopop played in public pedagogy.
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Kantor‐Martynuska, Joanna. "The listener's temperament and perceived tempo and loudness of music." European Journal of Personality 23, no. 8 (December 2009): 655–73. http://dx.doi.org/10.1002/per.734.
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The relationship between the listener's temperament and perceived magnitude of tempo and loudness of music was studied using the techniques of magnitude production, magnitude estimation scaling and cross‐modal matching. Four piano pieces were presented at several levels of tempo and loudness. In Study 1, participants adjusted tempo and loudness of music to their subjective level of comfort. In Study 2, participants estimated these parameters on a numerical scale and matched the length of a line segment to the estimates of these musical features. The results showed significant correlations of selected aspects of perceived tempo with perseveration and endurance as well as of selected aspects of perceived loudness with endurance and emotional reactivity. Perceived tempo and loudness, as measured by magnitude production and cross‐modal matching tasks, do not seem to systematically correlate with the six formal characteristics of behaviour distinguished in the most recent version of the Regulative Theory of Temperament (RTT). Additionally, there is some evidence that they are selectively associated with reactivity and activity, the dimensions of a previous version of the RTT. The study extends the methodology of research on music preferences and the stimulatory value of music. Copyright © 2009 John Wiley & Sons, Ltd.
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Rabinowitch, Tal-Chen. "The Potential of Music to Effect Social Change." Music & Science 3 (January 1, 2020): 205920432093977. http://dx.doi.org/10.1177/2059204320939772.
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Can music effect social change? This is a complex question, because both music and social change exist in multiple forms and within diverse contexts. What types of music cause social change and what kinds of social change are generated by music are questions that deserve systematic empirical investigation. Addressing these questions may have important benefits for advancing society and for revealing the important aspects of the human connection to music. Several studies have begun to explore such questions, so it is useful at this stage to pause and consider what is actually meant by social change and what are the cognitive and emotional processes that underlie musical responses and behaviour, which is the goal of this interdisciplinary review paper. Social behaviour appears in different forms (e.g., collaboration, helpfulness), and contexts (e.g., dyad, group, community). At the same time, engagement in music involves a variety of behaviours (e.g., synchronisation). In order to better understand how these different musical and social behaviours interact, and in order to produce high-quality research in this area, it is necessary to carry out more investigations of the mechanistic basis of the links between music and social change. Such a research agenda will include a thorough deconstruction of music into its essential elements and, subsequently, and may involve a reconstruction of the most socially relevant components into novel forms of music.
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Park, Sun-Min. "A Study on the Aspects of Accepting Popular Music in Regard to Social Media." JOURNAL OF GLOBAL CULTURAL CONTENTS 36 (October 31, 2018): 69–83. http://dx.doi.org/10.32611/jgcc.2018.10.36.69.
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FAIRCHILD, CHARLES. "The medium and materials of popular music: ‘Hound Dog’, turntablism and muzak as situated musical practices." Popular Music 27, no. 1 (December 13, 2007): 99–116. http://dx.doi.org/10.1017/s0261143008001499.
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AbstractPopular music studies has rarely exhibited the kinds of disciplinary coherence found in closely related disciplines mostly due to the field’s adoption and adaptation of methodological and theoretical innovations from a variety of disciplines, notably sociology, cultural studies, anthropology, media studies and musicology. However, many commentators continue to seek disciplinary coherence without making any critical aesthetic distinctions between the medium and materials of popular music. Distinctions and interrelationships between the literal or material aspects of popular music and the social or cultural processes of making meaning from popular music are central to the definition of a particular but not exclusive field of analysis. Through such distinctions, the very category ‘popular music’ can be understood as a more flexible and supple distinction based on an understanding of methods of construction, production and mediation in specific relation to the technical, contextual and sociological aspects of music. I use different performances of ‘Hound Dog’, the practices of ‘turntablism’, and the exigencies of Muzak as examples for analysis offering ways in which the aesthetic, material and contextual aspects of popular music can be understood in order to incorporate the actual sound of music into the analysis of its social, cultural and musical construction.
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Gabrielsson, Alf, and Siv Lindström Wik. "Strong Experiences Related to Music: Adescriptive System." Musicae Scientiae 7, no. 2 (September 2003): 157–217. http://dx.doi.org/10.1177/102986490300700201.
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Strong Experiences related to Music (SEM) were investigated by means of some 900 persons' free description of their strongest experience of music ever. Most of them also completed a questionnaire containing statements about SEM. Content analysis of the free descriptions and factor analysis of the questionnaires successively generated a three-level descriptive system for SEM comprising seven fundamental categories'. General characteristics, Physical reactions and behaviours, Perception, Cognition, Feelings/Emotions, Existential and transcendental aspects, and Personal and social aspects. Each of them comprises a number of subcategories, which in their turn contain a varying number of specific reactions. The meaning of the categories is explained using quotations from the participants' own SEM reports. Comparisons are made with results from earlier related research, and various methodological problems are discussed.
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Alvarenga, Claudia Helena Azevedo, and Tarso Bonilha Mazzotti. "Samba as Representation of Brazilianness in the Popular Songs Rhetoric." Per Musi, no. 39 (September 12, 2019): 1–12. http://dx.doi.org/10.35699/2317-6377.2019.15152.
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This article aims to examine the hegemonic representations of what is said “to be Brazilian”. It proposes the rhetorical analysis of the lyrics of a couple of Brazilian popular songs in order to present the psychosocial aspects that bring to light the representations of social identity. The statement of identity and symbolic bonds through musicality exposes the desirable of the groups who share their value. The construct of social identity linked to nationality is a belief reinforced by social practices which relies on the metaphor that defines Music as the “people’s soul”.
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Lee, JooYun. "A Study on the Cultural and Social aspects of Hip-hop in Korean Pop Music." Culture and Convergence 41, no. 1 (February 28, 2019): 825–48. http://dx.doi.org/10.33645/cc.2019.02.41.1.825.
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Lee, JooYun. "A Study on the Cultural and Social aspects of Hip-hop in Korean Pop Music." Korean Society of Culture and Convergence 41, no. 1 (February 28, 2019): 825–48. http://dx.doi.org/10.33645/cnc.2019.02.41.1.825.
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Ojala, Juha. "Music as a non-arbitrary avenue for exploration of the social." Sign Systems Studies 49, no. 1-2 (June 4, 2021): 86–107. http://dx.doi.org/10.12697/sss.2021.49.1-2.04.
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The article examines how music affords exploration of social aspects of semiosis: how music signifies the social, beyond the fact that music is an inherently participatory social process.
Pentti Määttänen extends Peirce’s notion of ‘hard fact’ to ‘soft facts’ to which we accommodate our behaviour in order to get along in society. As mutual beliefs, soft facts are continuously tested and updated in inquiry. Representation of oneself is also continuously correlated, thrown together, with that of the rest of the world, yielding positioning of self in ways we call emotions.
In music, com-positions of sound constitute hard facts that stand for other facts, soft or hard, by being their metaphors. Shaping and reshaping music allows for safe playing and testing of acts and events, anticipating upcoming situations and changes through virtual situations of the world, social and non-social.
Music analysis examines how features of sound offer complex ways of constructing and interpreting metaphors, and how the narratives in music unfold through presentation of metaphors of subjects’ existence, identity and relations, evoking dialogue, drama, tension, even crises to be resolved.
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Sickbert, Murl, and Mary Sue Morrow. "Concert Life in Haydn's Vienna: Aspects of a Developing Musical and Social Institution." Notes 47, no. 4 (June 1991): 1124. http://dx.doi.org/10.2307/941630.
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Deng, Shengli, Anqi Zhao, Shaoxiong Fu, Yong Liu, Wenjie Fan, and Yuting Jiang. "Music-search behaviour on a social Q&A site: A cross-gender comparison." Journal of Information Science 46, no. 4 (July 17, 2019): 560–74. http://dx.doi.org/10.1177/0165551519861605.
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While there have been numerous studies of music-search behaviour, little is known about gendered aspects of how it is carried out on social question and answer sites. The article examines gender differences manifested on one such site with regard to (a) the motivations of the person posing the question, (b) intervening variables that influence music-search behaviour and (c) the formulation of the questions. Results from manual categorisation and other analysis of 17,380 music-relevant questions collected from the site show that males who asked questions did so more often, provided more answers and had more followers than female question-posters. Males tended to include music context information in questions asking for ready reference, whereas females often asked questions in a second-person pronoun aiming for promoting discussion. Such research results add to the current understanding of music-search behaviour and contribute new insights that can inform development of better music services/systems.
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Nielsen, Carole, Regina K. Studer, Horst Hildebrandt, Urs M. Nater, Pascal Wild, Brigitta Danuser, and Patrick Gomez. "The relationship between music performance anxiety, subjective performance quality and post-event rumination among music students." Psychology of Music 46, no. 1 (May 18, 2017): 136–52. http://dx.doi.org/10.1177/0305735617706539.
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According to cognitive models, the negative perception of one’s performance and the post-event rumination (PER) occurring after stressful social events maintain social anxiety. These aspects have hardly been studied in music performance anxiety (MPA), a specific form of social anxiety. The first aim of this study was to analyze the development of negative and positive PER over two days following a soloist concert, depending on the usual MPA level. The second aim was to investigate if subjective performance quality serves as mediator between MPA and PER. Negative and positive PER were assessed 10 minutes, one day and two days after a concert in 72 music students with different levels of usual MPA. Subjective performance quality was measured 10 minutes after the study concert. An increasing usual MPA level was associated with more negative and less positive PER. Both decreased over time. Negative PER decreased less rapidly in high-anxious than in low-anxious musicians and positive PER decreased more rapidly in low-anxious than in high-anxious musicians. Subjective performance quality mediated the relationship between MPA and PER. These findings extend previous knowledge in social anxiety to the field of MPA and have implications for interventions aiming at reducing MPA.
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Prelovšek, Anita. "Music at Funeral Ceremonies in Today’s Slovenia." Musicological Annual 55, no. 1 (June 20, 2019): 225–28. http://dx.doi.org/10.4312/mz.55.1.225-228.
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This doctoral dissertation provides an insight into funeral music as an ethnomusicological, anthropological, economic and cultural phenomenon, which has so far in Slovenia not attracted appropriate scholarly attention. It focuses on the role and importance of music at funerals in the context of the symbolism associated with death, departure and the concept of transience, and on the causes of different choices of music as an integral part of the leave–taking of the deceased, in conjunction with aspects of historical, social and cultural diversity.
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Biasutti, Michele, and Eleonora Concina. "The effective music teacher: The influence of personal, social, and cognitive dimensions on music teacher self-efficacy." Musicae Scientiae 22, no. 2 (January 9, 2017): 264–79. http://dx.doi.org/10.1177/1029864916685929.
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The profile of an effective instrumental and vocal music teacher includes many personal and professional dimensions. Among them, teacher self-efficacy plays a key role and influences the evaluation of music teachers’ effectiveness. Recent studies have identified several factors that affect one’s self-assessment of efficacy. However, a comprehensive model of the predictors of music teachers’ self-efficacy still does not exist. The aim of the current study was to identify factors that affect music teacher self-efficacy using a quantitative approach. Three self-report questionnaires were administered to 160 instrumental and vocal music teachers in Italy. Data about their beliefs on musical ability, teacher self-efficacy, and social skills were collected to define a predictive model of teachers’ self-efficacy using a stepwise regression analysis. In addition, an ANOVA was performed to examine group differences in music teacher self-efficacy and intercorrelations among questionnaire scales were computed. The findings have shown that a general score of music teacher self-efficacy can be predicted by a multidimensional model, including music teachers’ personal and professional traits, such as social skills, beliefs about musical ability, teaching experience, and gender. Moreover, differences in specific aspects of teacher self-efficacy emerged in relation to participants’ gender and level of expertise. The impact of these results on music teachers’ education is discussed.
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CAMUS, RAOUL F. "The Inspector of Music Meets the French." Journal of the Society for American Music 8, no. 4 (November 2014): 479–500. http://dx.doi.org/10.1017/s1752196314000376.
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AbstractWhen the French military forces arrived in Newport in 1781, they brought with them not only music of a social nature, such as country-dances, but also music used in military ceremonies. Americans quickly adopted many French customs, melodies and traditions. A fife major's manuscript of 1781 is only one of many that evinces the importance of John Hiwell, the Continental Army Inspector of Music, in promoting this French influence on American military ceremonial music. This article also examines some aspects of fifes and drums in the Revolutionary War era.
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Rahkonen, Carl, Yoshimasa Kurabayashi, Yoshiro Matsuda, and Richard Curt Kraus. "Economic and Social Aspects of the Performing Arts in Japan: Symphony Orchestras and Opera." Notes 47, no. 4 (June 1991): 1169. http://dx.doi.org/10.2307/941658.
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Platt, Richard. "New light on Richard Mudge, 1718–63: Some aspects of social status and amatuer music-making." Early Music XXVIII, no. 4 (November 2000): 531–46. http://dx.doi.org/10.1093/earlyj/xxviii.4.531.
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Nome, Dag. "Social life among toddlers in kindergarten as communicative musicality." Psychology of Music 48, no. 4 (December 19, 2018): 598–608. http://dx.doi.org/10.1177/0305735618816159.
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Through micro-ethnographic analysis of video observations in two Norwegian kindergartens for children below the age of three, this study explores some of the complexity of the social lives of young children in institutions. Drawing on the theory of communicative musicality, the analysis adds to existing knowledge on early childhood education (ECE) by showing some aspects of young children’s social capacities. Before or alongside the use of speech and conventional words, they can develop and use a large repertoire of sounds, rhythms, expressive bodily movements, and melodic elements in order to interact with their peers. Through communicative musicality, they can balance between the need for togetherness and being singled out, gathering in crowds and making space for themselves. Although this is more audible among toddlers, since their verbal capacity is limited, the study underlines the role of non-verbal musical elements in human interaction in general.
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Cannon, James W., and Alinka E. Greasley. "Exploring Relationships Between Electronic Dance Music Event Participation and Well-being." Music & Science 4 (January 1, 2021): 205920432199710. http://dx.doi.org/10.1177/2059204321997102.
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While an increasing amount of literature highlights the psychological well-being benefits of musical participation, research focusing on electronic dance music (EDM) event contexts remains scarce. This exploratory mixed methods research draws influence from interdisciplinary research on EDM culture and psychological well-being research on music festivals that suggest EDM event attendance may have a positive influence on well-being. Two studies were implemented. Semistructured interviews with regular attendees of EDM events were undertaken and analyzed thematically (Study 1, n = 7). Four main themes were identified, namely the importance of social, musical, and emotional experiences, and shared values at EDM event. These themes were then used as a basis for developing a questionnaire which explored relationships between scores on facets of EDM event attendance and measures of subjective, social, and psychological well-being (Study 2, n = 103). Results showed that all four EDM event facets were positively associated with psychological and social well-being measures. Principal component analysis was utilized to elucidate nuanced aspects of the four themes and their links to well-being scores. A four-factor model (SMEV) that encapsulates the key psychological beneficial aspects of EDM event attendance has been suggested, and the implications of this model and findings are discussed within the context of future research avenues.
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Killin, Anton. "The origins of music." Music & Science 1 (January 1, 2018): 205920431775197. http://dx.doi.org/10.1177/2059204317751971.
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Music is a fascinating topic for evolutionary theory, natural philosophy, and narrative construction: music is a highly valued feature of all known living cultures, pervading many aspects of daily life, playing many roles. And music is ancient. The oldest known musical instruments appear in the archaeological record from 40,000 years ago (40 Kya) and from these we can infer even earlier musical artefacts/activities, as yet unrepresented in the archaeological record. I argue that, following research couched in the social brain hypothesis framework, a theoretical basis is emerging for the proposition that the (incremental) evolution of proto-music took hold in the late mid-Pleistocene, roughly 400 Kya, and perhaps earlier. Subsequently, musical activities and traditions incrementally evolved throughout modernity (from 250 Kya onwards), global dispersal from Africa (currently thought to be from 60-100 Kya onwards), and the Holocene (from 12 Kya). In this article I provide an overview of recent research and a sketch of music’s evolutionary career. I identify avenues for future research, including work in the evolution of the emotions, and the application of signalling theory to music archaeology.
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Öner, Onur. "Music in Early Twentieth-Century Istanbul." Archiv orientální 89, no. 1 (June 22, 2021): 63–84. http://dx.doi.org/10.47979/aror.j.89.1.63-84.
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This study addresses the social history of music in early twentieth-century Ottoman Istanbul. The paper argues that private music schools were at the center of transformations in music and that their history is profoundly related to the political crises the Ottoman state experienced after the turn of the twentieth century. More precisely, by approaching the Ottoman bureaucracy from a musical perspective, the paper tries to link the reorganization of the Ottoman bureaucracy in 1909 with the emergence of private music schools in Istanbul. To explore the process, the paper follows some official functionaries’ career paths to explain their concentration in these schools. In contrast to conventional historiography, the aim is to emphasise that out of the political crises, private music schools emerged as a new ground in music. By paying limited attention to musical aspects, the study will mainly address the social roles these schools occupied in Ottoman urban life. They were practically social organizations, whose members pursued common goals. Collective action, such a fundamental shift of mindset on the part of the musicians, facilitated the advancement of the status of musicians in Ottoman urban society and decreased uncertainty about the future of the profession. Moreover, the institutional identity provided by the schools changed the place of women in music by increasing their visibility as music teachers and performers.
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Farmer, Eliot, Crescent Jicol, and Karin Petrini. "Musicianship Enhances Perception But Not Feeling of Emotion From Others’ Social Interaction Through Speech Prosody." Music Perception 37, no. 4 (March 11, 2020): 323–38. http://dx.doi.org/10.1525/mp.2020.37.4.323.
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Music expertise has been shown to enhance emotion recognition from speech prosody. Yet, it is currently unclear whether music training enhances the recognition of emotions through other communicative modalities such as vision and whether it enhances the feeling of such emotions. Musicians and nonmusicians were presented with visual, auditory, and audiovisual clips consisting of the biological motion and speech prosody of two agents interacting. Participants judged as quickly as possible whether the expressed emotion was happiness or anger, and subsequently indicated whether they also felt the emotion they had perceived. Measures of accuracy and reaction time were collected from the emotion recognition judgements, while yes/no responses were collected as indication of felt emotions. Musicians were more accurate than nonmusicians at recognizing emotion in the auditory-only condition, but not in the visual-only or audiovisual conditions. Although music training enhanced recognition of emotion through sound, it did not affect the felt emotion. These findings indicate that emotional processing in music and language may use overlapping but also divergent resources, or that some aspects of emotional processing are less responsive to music training than others. Hence music training may be an effective rehabilitative device for interpreting others’ emotion through speech.
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Hill, Jennifer. "‘A Source of Enjoyment': The Social Dimension of the Melbourne Liedertafels in the Late Nineteenth Century." Nineteenth-Century Music Review 2, no. 2 (November 2005): 77–105. http://dx.doi.org/10.1017/s1479409800002214.
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The city Liedertafels of Melbourne in the late colonial era were extraordinarily active, essentially amateur societies, with burgeoning memberships through to the early 1890s and a busy and varied calendar of men-only and mixed concerts and social events. This article examines aspects of the Melbourne (previously Melbourner Deutsche) Liedertafel (est. 1879) and the Metropolitan (later Royal Metropolitan) Liedertafel (est. 1870) as they functioned within late nineteenth-century Melbourne society, particularly the 1880s to Federation (1901). Opening with preliminary discussion of the social class of the participants and the role of women in the societies, it focuses on the balance in these choirs between the amateur and professional and the social and musical. The article begins with a consideration of the participants’ status as amateur or professional. It looks at any tensions between the two and charts the ways in which the balance between amateur and professional elements changed over the period and gives reasons for those changes. A second section outlines some of the varied and often picturesque types of semi-social, social and ceremonial functions in which the societies involved themselves, but places these briefly in the context of their avowed priorities and aims.
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Supriyadi, Supriyadi. "NILAI ESTETIS MUSIK DALAM RENTANG SEJARAH MUSIK BARAT." Tonika: Jurnal Penelitian dan Pengkajian Seni 2, no. 1 (May 29, 2019): 1–18. http://dx.doi.org/10.37368/tonika.v2i1.39.
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The history of Western music, historically, has been changing for a long time; from one period to other period until the present day. In music, the chaging automatically changes its forms, styles, characteristics, harmony, and particularly its aesthetics values. Then, the changing triggers development. Dominantly the development is inluenced by two dominant aspects, i.e. internal aspect and external aspect. The music history said that the period of Middle Ages was influenced by political religion which was placed under Chatolic church authorization. Renaisance period was influenced by spirit of individualism and humanism, and also enthusiasm of anthropocentrism. The Barock era was shadowed by the political changing in Western Europe. The Classic dan Romantic period was shaded by the passion of territorial expansion and nationalism that was marked by Franch Revolution. After World War I and II the social changes were determined by the development of technology. It becomes significant factor. In musicology context, the development of technology has created several new music instruments. The relationship between internal and external aspect occurs correlative and the aesthetics values in music has been influenced by several aspects above. The existence of music is not caused by itself, but it influenced by another aspects.
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Renner, Walter, Karl Peltzer, and Motlatso G. Phaswana. "The Structure of Values among Northern Sotho Speaking People in South Africa." South African Journal of Psychology 33, no. 2 (May 2003): 103–8. http://dx.doi.org/10.1177/008124630303300205.
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The aim of this study was to compile a culture specific taxonomy of human values in Northern Sotho. Two raters extracted a comprehensive list of value descriptive nouns from two Northern Sotho dictionaries. The list comprised a total of 210 terms. Four hundred individuals, 256 men and 144 women, from the Limpopo Province of the Republic of South Africa, participated. Their mean age was 24.6 years (SD = 7.9). The participants rated these concepts on an 11-point-scale with regard to their subjective importance as guiding motives in life. The principal components factor analysis with varimax rotation yielded five factors which explained 42.3% of total variance: (I) Religiosity and Support, (II) Solidarity (ukuzwdana, ubunye or ubudlelwane), (III) Conformity and Benevolence, (IV) Leadership and Achievement, and (V) Human Enhancement. With respect to cross-cultural comparisons the outcome of the study shows that in Northern Sotho, religious themes and social commitment play a more important role than in German, and that religious issues correlate with social concerns. The other dimensions share some aspects with the German factors but mainly reflect the religious and collective values of traditional African culture.
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Holtz, Peter. "What's your music? Subjective theories of music-creating artists." Musicae Scientiae 13, no. 2 (September 2009): 207–30. http://dx.doi.org/10.1177/102986490901300202.
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In an interview study with 17 music-creating artists (composers of contemporary “classical” music, electronic music, musicals, movie scores, and jazz musicians) from Southern Germany, three types of music-creating artists could be discerned: the avant-gardists, the neo-romantics, and the self-disclosing artists. These types represent social groups that are prone to typical intergroup conflicts. The different types of music-creating artists adhere to different aesthetic ideals: the avant-gardists emphasize the abstract beauty of musical structures and try to develop their music from within the music itself, the neo-romantics view music as the true language of the heart and try to express something through their music, and the self-disclosing artists feel the drive to express their feelings and sensations by means of music. As a consequence, different dimensions of musical communication are pivotal: formal aspects, the relationship between the musician and the listener, and self-disclosure. The three types of music-creating artists resemble the types of composers analyzed by Julius Bahle in the 1930s ( e.g. Bahle, 1930). Regarding their modus operandi, the musicians differ on a continuum between a purely rational creative work and the creation of music in an unconscious outburst of inspiration. Nevertheless, most musicians experience an alternation between phases of intuitive inspiration and phases of deliberate rational construction during the creative process. Therefore, a typology of musicians based on their modus operandi seems unhelpful.
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Correa, Antenor Ferreira, and Marise Gloria Barbosa. "Female empowerment." Per Musi, no. 39 (April 19, 2019): 1–16. http://dx.doi.org/10.35699/2317-6377.2019.5300.
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Based on a field research conducted in the State of Maranhão (Brazil), we consider aspects of empowerment prompted by a traditional female leadership existent in several cities of that state. This headship was established in the context of the celebrations in honor of Holy Spirit and provides material which raise interesting questions, such as: Has the female leadership empowered women who play during this festivity? How do the women who participate evaluate their own role within the overall context of the ceremony? Did their headship contribute to undermining racial, social, and gender prejudices? Although our object of study belongs to the field of cultural studies, encompassing both performative and representational aspects of this widely spread Brazilian manifestation, in order to exemplify empowerment, these questions will be addressed having as a case study a group of women called Caixeiras do Divino [The Holy Spirit’s Drumers], who are the responsible for the general organization of the ceremony.
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Temperley, David. "Syncopation in rock: a perceptual perspective." Popular Music 18, no. 1 (January 1999): 19–40. http://dx.doi.org/10.1017/s0261143000008710.
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While study of the social and cultural aspects of popular music has been flourishing for some time, it is only in the last few years that serious efforts have been made to analyse the music itself: what Allan Moore has called ‘the primary text’ (1993, p. 1). These efforts include general studies of styles and genres (Moore, 1993; Bowman, 1995); studies of specific aspects of popular styles such as harmony and improvisation (Winkler 1978; Moore 1992, 1995; Walser 1992), as well as more intensive analyses of individual songs (Tagg 1982; Hawkins 1992). In this paper I will investigate syncopation, a phenomenon of great importance in many genres of popular music and particularly in rock.
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Haji Bibi, Zainon, Aiza Johari, and Azlina Bujang. "YOUTHS’ AWARENESS TOWARDS SARAWAK’S MALAY CULTURAL HERITAGE: SOCIAL MEDIA." Journal of Information System and Technology Management 4, no. 14 (September 12, 2019): 18–25. http://dx.doi.org/10.35631/jistm.414002.
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Recognized for its own distinctive aspects, Sarawak’s Malay Community is unique, mainly in the aspects of culture, language, and lifestyle. One of the relevant Malay proverbs in the context of heritage states: “Yang lama dikelek, Yang Baharu didukung” means that the traditional custom will always be practiced, while the modern way of life will be embraced. Thus, it is important to preserve these cultural heritages to sustain and protect their values. This study’s objective focuses on the exploration of the Malay youths’ and their awareness towards Sarawak’s Malay Heritage, specifically on Traditional Malay Clothing, Music and Dances. It also recognizes the use of social media as a medium to promote and sustain Sarawak’s Malay Cultural Heritage. The study involves 115 respondents who are undergraduate students of one of the local universities in Sarawak, where they have completed an online survey to address the study’s objectives effectively.
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Radoman, Valentina. "Identity politics, music, and musical discourse in the age of globalization." Muzikologija, no. 12 (2012): 63–78. http://dx.doi.org/10.2298/muz120201006r.
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An immense number of scientific works have been written on the phenomenon of identity. Insisting on the consideration of the aforementioned phenomenon has become prominent in social and humanistic sciences - and especially in cultural studies as a specific interdisciplinary field - since the 1960s. Unlike previous studies and notions that see identity as a centered, unchangeable and homogeneous entity that manifests itself as objective social facts, much research has led to the conclusion that identity is a complex, multifaceted, changeable, unstable construct which occurs and changes its meaning in various historical, social and discursive contexts. After that, the focus of research was shifted from the consideration of ways of constructing identity to understanding the occurrence of new aspects of identity, that is, multiplication, fragmentation and destruction of existing identities, especially in the era of globalization. Along with the statement that any art is political, as art per se is one of ideological instruments which conceals the horrible, in terms of the Lacanian ?Real?, and which would destroy society if it could be seen, visualized, heard or touched, there are discussed some aspects of the work of Kevin Volans and Aleksandra Vrebalov, composers whose works have been promoted and brought into the world of music by the Kronos Quartet, a music institution whose work is based on the idea of promoting multiculturalism - a phenomenon which accompanies globalization. Modern open politicization of works of art and musical institutions, which are themselves political instruments, has been interpreted, in the spirit of the conclusions of left-orientated scientists, as a social decision, within neo-liberal capitalism, which enables the acceleration of the process of globalization, that is, the unimpeded flow of Capital.
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Krause, Amanda E., Simone Maurer, and Jane W. Davidson. "Characteristics of Self-reported Favorite Musical Experiences." Music & Science 3 (January 1, 2020): 205920432094132. http://dx.doi.org/10.1177/2059204320941320.
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Research supports the folk wisdom that individual preferences are tied to our experiences: we like what we know and as a result, we know what we like. Yet our understanding of the elements contained in lived examples of musical experiences that facilitate enjoyment and investment in music is little described. The current study recruited Australian residents ( N = 135) to complete an online survey, which asked them to describe their favorite musical experience with regard to its context and impact. The majority of favorite musical experiences involved listening to live music and performing. The descriptions provided indicated that these experiences resulted in layered emotional experiences, much more subtle than folk psychology would suggest. Further, thematic analysis results revealed that Gabrielsson’s Strong Experiences with Music Descriptive System adequately categorizes the elements of people’s favored experiences, with particular reference to general characteristics, bodily reactions, perceptual phenomena, cognitive aspects, emotional aspects, existential and transcendental aspects, and personal and social aspects. A wide variety of musical genres were involved, though pop, classical, rock, and hip-hop music featured predominately. By detailing key components which lead to favored musical experiences, the findings have implications regarding how musical engagement opportunities can be better designed to support continued musical investment, which has particular relevance for educational and community uses of music for fostering positive individual and community benefits.
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Kuuse, Anna-Karin. "”Konstnären”, ”fostraren”, ”tjänstemannen” och ”rebellen”: Musiklärares dramaturgiska framträdanden kring musikundervisning, social rättvisa och demokrati." Nordic Research in Music Education 1, no. 1 (November 17, 2020): 29–57. http://dx.doi.org/10.23865/nrme.v1.2637.
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This article intends to explore how some Swedish music teachers present their teaching in relation to democracy and social justice. Present-day social issues such as socio-economic vulnerability and ever more segregated schools have accentuated the need for critical reflection on social and democratic aspects in all teaching. This also has consequences for music educational practices. During two focus group interviews with Swedish music teachers from both the community school of music and arts and elementary school, the organisation of the teaching practice, as well as the teachers’ respective opportunities and challenges in relation to their specific contextual social and democratic issues are discussed. With the aid of dramaturgical theory and interview analysis it is shown how the teachers’ joint discussions make space for four social roles in relation to those themes: the artist, the fosterer, the civil servant and the rebel. In spite of some similarities in the staging opportunities of the two different music educational contexts, some differences appear in terms of the dramaturgical significance of the respective roles, as well as the force of the connections between them. In both contexts, still a common ambivalence is displayed in the perception of democracy and social justice in relation to the very practical task of teaching music. Following the article’s results in relation to social justice, the music teachers’ opportunities for internal professional control and joint negotiation of their teaching task are discussed. The article thus advocates further reflection on the institutional structures and basic philosophical assumptions that appear to govern perceptions of music teaching, democracy and social justice in music educational practices at large.
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Petrescu, Cezara Florentina, and Alexandru Radu Petrescu. "11. The Vocal-Chamber Music Recital – Theoretical and Practical Aspects of an Interdisciplinary Approach." Review of Artistic Education 19, no. 1 (April 1, 2020): 85–92. http://dx.doi.org/10.2478/rae-2020-0011.
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AbstractIn a world of spectacle in which everything seems to have already been told, the vocal-chamber music recital is found in an identity crisis. The economic, social and cultural context in which it takes place is labile and determines the performers to ask themselves what is their position within the sctructures in which they function/operate. The purpose of the research is to identify and reevaluate links, configurations, structures and elements of a type of an aparently morally obsolet musical performance and marked by the passage of time. The originality of the thesis spans from its interdisciplinary character and from its multifaceted approach of the performative phenomenon.
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Bruin-Mollenhorst, Janieke. "The Musical Eulogy and Other Functions of Funeral Music." OMEGA - Journal of Death and Dying 82, no. 1 (September 13, 2018): 25–41. http://dx.doi.org/10.1177/0030222818799939.
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This article examines the function of music during contemporary funerals in the Netherlands. Using a performance-based approach, this article shows that music adds to the ritual dimension of contemporary funerals, by relating the music to the funeral itself, the deceased person’s identity, and to emotions. Zooming in on the music that in contemporary personalized funerals is selected because it is—one way or another—related to the deceased, it will be shown that the lyrical content of this music is less important than social and emotional aspects. Theoretically, the concept of the musical eulogy is introduced as a hermeneutic tool to examine music in ritualized contexts.
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Burt, Rosie, and Janet Mills. "Taking the plunge: The hopes and fears of students as they begin music college." British Journal of Music Education 23, no. 1 (March 2006): 51–73. http://dx.doi.org/10.1017/s0265051705006741.
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The attitudes and experiences of 13 music students entering a conservatoire were tracked before their entry and throughout their first term at college. Aspirations and apprehensions towards the musical, academic and social aspects of college life were collected in addition to career aims, and the data analysed qualitatively to produce emergent themes. Three pivot points were drawn from the analysis, describing events or factors that appear to shape the development of the students as musicians. The first highlights the importance of the students' first performance at college, and the second focuses on overcoming possible feelings of inadequacy generated from being one of many outstanding musicians. Thirdly, the role of feedback is highlighted as an important part of the students becoming confident in all aspects of their musical work.
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Lipták, Dániel. "Hungarian Ethnomusicologist Oszkár Dincsér (1911–1977) as a Pioneer of Musical Anthropology." Studia Musicologica 59, no. 1-2 (June 2018): 79–97. http://dx.doi.org/10.1556/6.2018.59.1-2.7.
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There are marked differences between Hungarian and American ethnomusicology in incentives, aims, interests, and methods. Hungarian research was based in the early twentieth century on study of musical form, while the Americans approached music in terms of social context and functions. However, Hungarians from the mid-1930s onward moved toward an increasing interest in the social aspects of folk music. Oszkár Dincsér, a lesser known researcher of Kodály's school, exemplifies this trend in his 1943 study of chordophone instruments in the Csík (in Romanian: Ciuc) County region of Transylvania Két csíki hangszer. Mozsika és gardon (Two instruments from Csík. Fiddle and gardon). A comparison with Alan P. Merriam's fundamental work The Anthropology of Music (1964) reveals that Dincsér's study includes almost every topic and approach set out by Merriam twenty years later. Although Dincsér's scholarly career ended with his emigration in 1944, he remains an important forerunner of musical anthropology.
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Kim, Jin-Ah. "Beethovens Auseinandersetzung um die Vormundschaft über seinen Neffen Karl aus historischer und soziologischer Perspektive." Die Musikforschung 73, no. 2 (September 22, 2021): 97–116. http://dx.doi.org/10.52412/mf.2020.h2.19.
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This article investigates from a historical and sociological perspective, Beethoven's struggle for the guardianship of his nephew, Karl, from November 1815 until September 1820. Its purpose is to illuminate Beethoven's knowledge and actions in the case of guardianship against the backdrop of contemporary historical and sociological conditions. In the early nineteenth century guardianship meant most certainly more than just the acceptance of legal custody of a minor; rather it was understood as an expression of the public recognition of talent, assets and social standing, as well as of character and honor. It furthermore functioned as an indicator of social status and position. Of great significance were also aspects of the position of legal guardian, the types of disputes with relatives, matters of family politics, the societal roles of fathers, issues of child-rearing, perceptions of status and rank, the traditional construction of gender difference and, lastly, norms of sexual behavior. The article reads Beethoven's letters and statements against the guardianship provisions of the Allgemeines Bürgerliches Gesetzbuch and contemporary legal practice, and argues that his struggle for Karl's guardianship was motivated by his ideas about social advancement through education as well as gendered norms of good parenthood.
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Menezes, Flo. "La voie du syncrétisme : sur la musique électroacoustique au Brésil." Circuit 17, no. 2 (December 10, 2007): 55–64. http://dx.doi.org/10.7202/016839ar.
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This text deals with certain aspects of the birth of electroacoustic music in Brazil, by making links between Brazilian contemporary music and economic, political and social circumstances of the country’s history. After describing the emergence of a cannibalistic movement in Brazilian culture, i.e., of musical nationalism, the author seeks to situate the first attempts in the genre and to shed light on the circumstances surrounding the establishment of the first centre of research and production of electroacoustic music in Brazil: Studio panaroma in São Paulo.
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Lucas, Ann. "Understanding Iran Through Music: A New Approach." Middle East Studies Association Bulletin 40, no. 1 (June 2006): 79–89. http://dx.doi.org/10.1017/s0026318400049439.
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Within the realm of Iranian studies, music remains mostly outside the purview of larger social and political discussions of the region. At first glance this may seem appropriate, since even musicians often consider their work beyond the reach of sociological discussions. But the behavior of Iranians suggests that music has a broader social and political role beyond narrowly defined musical contexts. Music is a common part of everyday life in Iran. In traditional contexts such as weddings and other family gatherings as well as in modern settings such as the car, the computer, or the concert hall, most Iranians experience music on a daily basis. Music's influential role in Iranian society has made it the target of constant government scrutiny both before and after the Islamic Revolution. The current Islamic government's need to control and approve of every aspect of music making demonstrates a keen understanding of music's influence in the country. Hence whether Iranians are listening to it, dancing to it, performing it, or banning it, the message is the same: music is a powerful force that affects key aspects of Iranian society. For this reason music can offer a unique perspective on a variety of topics relevant to students and scholars of modern Iran.