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Relevant bibliographies by topics / Popular music Popular music Music Social change Hungary

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Academic literature on the topic 'Popular music Popular music Music Social change Hungary'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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Journal articles on the topic "Popular music Popular music Music Social change Hungary"

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Allimant, Israel Holas, and Ramón López Castellano. "Transitional Music: Popular Music as Agent of Social Change in Chile and Spain." Journal of Iberian and Latin American Research 26, no. 1 (2020): 100–114. http://dx.doi.org/10.1080/13260219.2020.1778768.

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Junko, Kitagawa. "Some aspects of Japanese popular music." Popular Music 10, no. 3 (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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Wai-Chung, Ho. "A Historical Review of Popular Music and Social Change in Taiwan." Asian Journal of Social Science 34, no. 1 (2006): 120–47. http://dx.doi.org/10.1163/156853106776150216.

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AbstractThis article considers the relationship between popular music and the power of the state through an analysis of the history of Taiwan and the settings within which popular music was constructed and transformed by contentious political and social groups in the twentieth century. The historical formation of Taiwanese society falls into three distinct stages: Japanese colonization between 1895 and 1945; the Kuomintang's (KMT) military rule between 1947 and 1987; and the period from the end of martial law in 1987 to the resurgence of Taiwanese consciousness in the early 2000s. The evolution of Taiwan's popular music has always been connected with the state's production of new ideologies in line with changing socio-political and economic conditions, and this music still embodies a functional social content.

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Havas, Adam. "Made in Hungary: Studies in popular music, 1st ed.Emília Barna and Tamás Tófalvy (2017) Made in Hungary: Studies in popular music 1st ed. New York: Routledge, 192." Hungarian Studies 31, no. 2 (2017): 285–94. http://dx.doi.org/10.1556/044.2017.32.1.12.

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Webb. "Highlife Saturday Night: Popular Music and Social Change in Urban Ghana." Journal of West African History 2, no. 1 (2016): 205. http://dx.doi.org/10.14321/jwestafrihist.2.1.0205.

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Ho, Wai-Chung. "Music education curriculum and social change: a study of popular music in secondary schools in Beijing, China." Music Education Research 16, no. 3 (2014): 267–89. http://dx.doi.org/10.1080/14613808.2014.910182.

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Fornäs, Johan. "Moving Rock: Youth and pop in late modernity." Popular Music 9, no. 3 (1990): 291–306. http://dx.doi.org/10.1017/s0261143000004104.

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What is moving in rock and pop? This question concerns both what levels change in the popular music arena, and how music can initiate changes inside and outside itself. Revolution in popular music can mean radical transformations of music itself, as well as the way in which social and psychic changes express themselves in music. Musical forms can go through revolutionary changes, and musical content can thematise revolutions.

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Cooper, B. Lee. "Promoting Social Change Through Audio Repetition1." Journal of Popular Music Studies 30, no. 3 (2018): 45–56. http://dx.doi.org/10.1525/jpms.2018.200015.

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The development of contemporary American music is clearly reflected in the integration of black composers, performers, and their songs into mainstream popular record charts. Between 1953 and 1978 a fascinating role reversal occurred. During that quarter century black artists shifted from creators to revivalists. The same role reversal did not apply to white artists, who tended to evolve along a more consistent audience-acceptance continuum. How can this 25-year cycle of social change best be illustrated? What particular elements of black music dramatically entered the pop spectrum during the fifties, and later gained dominance by the end of the sixties? Why did black artists become more and more conservative during the late seventies? A careful examination of audio repetition – cover recordings and song revivals – offers a great deal of revealing information about changes in social, economic and artistic life in America after 1953.

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Espada-Brignoni, Teófilo, and Frances Ruiz-Alfaro. "Culture, Subjectivity, and Music in Puerto Rico." International Perspectives in Psychology 10, no. 1 (2021): 3–12. http://dx.doi.org/10.1027/2157-3891/a000001.

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Abstract. Understanding human phenomena requires an in-depth analysis of the interconnectedness that arises from a particular culture and its history. Subjectivity as well as a collective subjectivity emerges from human productions such as language and art in a specific time and place. In this article, we explore the role of African-based popular music genres such as bomba and plena as ways of negotiating narratives about Puerto Rican society. Popular music encompasses diverse meanings. Puerto Rican folk music’s subjectivity provides narratives that distance Puerto Ricans from an individualistic cosmovision, allowing us to understand the social and political dimensions of this complex Caribbean culture. The events of the summer of 2019, which culminated in the ousting of governor Ricardo Rosselló from his position, illustrate how music can foster social change.

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Szőnyei, Tamás. "Kept on File: The Secret Service's Activities against Popular Music in Hungary, 1960–1990." East Central Europe 38, no. 2-3 (2011): 199–220. http://dx.doi.org/10.1163/174552411x600095.

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AbstractThe study shows that in the People's Republic of Hungary, within the frames of the mono-party system, the state security service—functioning according to the directives of the ruling communist party—was keen on trying to hinder the influence of Western ideologies from corrupting the youth through popular music. This fight was going on from the early '60s through 1990, the year that brought about the change of the political system, the transition from dictatorship to plural democracy, from planned economy to free market. To achieve their goal, to influence the functioning of the institutional system of popular music and to break the popularity of several beat/rock/folk/punk groups considered subversive, the secret service used—among other means—a web of informants. In doing so they could have some success, but in the end—due to the lucky turns of world politics—they just were not able to stop the collapse of the system. For the historian, however, these reports give a fascinating insight into the life of the young generation under state socialism and the moral ambiguities of resistance, co-existence and collaboration.

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Dissertations / Theses on the topic "Popular music Popular music Music Social change Hungary"

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Szemere, Anna. "Pop culture, politics, and social transition /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC IP addresses, 1998. http://wwwlib.umi.com/cr/ucsd/fullcit?p9820881.

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Torres, Nora Gamez. "Living in transition : popular music and social change in contemporary Cuba." Thesis, City University London, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.544452.

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Erenrich, Susan J. "Rhythms of Rebellion: Artists Creating Dangerously for Social Change." Antioch University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=antioch1286560130.

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Senger, Saesha. "Gender, Politics, Market Segmentation, and Taste: Adult Contemporary Radio at the End of the Twentieth Century." UKnowledge, 2019. https://uknowledge.uky.edu/music_etds/150.

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This dissertation explores issues of gender politics, market segmentation, and taste through an examination of the contributions of several artists who have achieved Adult Contemporary (AC) chart success. The scope of the project is limited to a period when many artists who figured prominently in both the broader mainstream of American popular music and the more specific Adult Contemporary category were most commercially viable: from the mid-1980s through the 1990s. My contention is that, as gender politics and gendered social norms continued to change in the United States at this time, Adult Contemporary – the chart, the format, and the associated music – was an important, if overlooked or even trivialized, arena in which these shifting gender dynamics played out. This dissertation explores the significance of the Adult Contemporary format at the end of the twentieth century through analysis of chart performance, artist image, musical works, marketing, and contextual factors. By documenting these relevant social, political, economic, and musical factors, the notable role of a format and of artists neglected by scholars becomes clear. I explore these issues in the form of lengthy case studies. Examinations of how Adult Contemporary artists such as Michael Bolton, Wilson Phillips, Matchbox Twenty, David Gray, and Mariah Carey were produced and marketed, and how their music was disseminated, illustrate record and radio industry strategies for negotiating the musical, political, and social climate of this period. Significantly, musical and lyrical analyses of songs successful on AC stations, and many of their accompanying promotional videos highlight messages about musical genre, gender, race, and age. This dissertation ultimately demonstrates that Adult Contemporary-oriented music figured significantly in the culture wars, second and third wave feminism, expressions of masculinity, Generation-X struggles, postmodern identity, and market segmentation. This study also illustrates how the record and radio industries have managed audience composition and behavior to effectively and more predictably produce and market music in the United States. This dissertation argues that, amid broader social determinations for taste, the record industry, radio programmers, and Billboard chart compilers and writers have helped to make and reinforce certain assumptions about who listens to which music and why they do so. In addition, critics have weighed in on what different musical genres and artists have offered and for whom, often assigning higher value to music associated with certain genres, socio-political associations, and listeners while claiming over-commercialization, irrelevance, aesthetic insignificance, and bad taste for much other music.

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Millington, Aliese. "Subject to change: nine constructions of the crossover between Western art and popular musics (1995-2005)." 2008. http://hdl.handle.net/2440/48832.

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Exchange between musical cultures has always occurred, but in the age of the global music industry, marketing categories have multiplied and often created boundaries between musics. Today the term “crossover” is attached to many of the musical exchanges that occur across these boundaries. One such exchange is represented by the intersection between Western art music string instruments and popular musics. A well-known commercial niche, this particular crossover is often discussed in popular media, but has been examined by relatively few music scholars. By way of addressing this gap, this study considers the crossover between Western art music string instruments and popular musics in the context of extra-musical promotion and critical reception. It examines four artists in the period 1995 to 2005. These four examples are: U.K./Australian string group bond; Australian string group FourPlay; U.K. violinist Nigel Kennedy; and U.K. violinist Vanessa-Mae. It also draws on other relevant cases to illuminate the discussion. The primary aim of the study is to discover and analyse the complex ways that parties engage, consciously or unconsciously, with the term “crossover”. The inherent complexity of the term is not commonly captured by scholarly musical writing since crossover is often regarded simply as a marketing term. The study begins by establishing the scholarly and popular context of the crossover between the Western art music string tradition and popular forms. Nine constructions or layers of meaning evoked by the term “crossover” are then identified. In the context of each of these nine constructions, the work continues by exploring how the term “crossover” is used in the promotion and critical reception of the examples. It is argued that crossover is constructed as a marketing category, to mark individuality, to provide media shortcuts and signposts, to evoke associations of prestige and of credibility, to increase accessibility, to encourage confrontation and to take part in larger musical debates. This research thus identifies multiple layers of meaning evoked by the term that are “subject to change” and that, in turn, illuminate deeper social and cultural implications of “crossingover”, ones which no doubt themselves continue to change.<br>http://proxy.library.adelaide.edu.au/login?url= http://library.adelaide.edu.au/cgi-bin/Pwebrecon.cgi?BBID=1338922<br>Thesis (Ph.D.) -- University of Adelaide, Elder Conservatorium of Music, 2008

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Books on the topic "Popular music Popular music Music Social change Hungary"

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Claiming space: Discourses on gender, popular music, and social change. Academy of Music and Drama, University of Gothenburg, 2011.

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Highlife Saturday night: Popular music and social change in urban Ghana. Indiana University Press, 2013.

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Barendregt, Bart, Peter Keppy, and Henk Schulte Nordholt. Popular Music in Southeast Asia. Amsterdam University Press, 2017. http://dx.doi.org/10.5117/9789462984035.

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From the 1920s on, popular music in Southeast Asia was a mass-audience phenomenon that drew new connections between indigenous musical styles and contemporary genres from elsewhere to create new, hybrid forms. This book presents a cultural history of modern Southeast Asia from the vantage point of popular music, considering not just singers and musicians but their fans as well, showing how the music was intrinsically bound up with modern life and the societal changes that came with it. Reaching new audiences across national borders, popular music of the period helped push social change, and at times served as a medium for expressions of social or political discontent.

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Up from the underground: The culture of rock music in postsocialist Hungary. Pennsylvania State University Press, 2001.

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DeWitt, M. Ross. Beyond equilibrium theory: Theories of social action and social change applied to a study of power sharing in transition. University Press of America, 2000.

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Renaud, foulard rouge, blouson de cuir, etc.: Construction d'un personnage social, 1975-1996. Harmattan, 2007.

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Haenfler, Ross. Straight edge: Clean-living youth, hardcore punk, and social change. Rutgers University Press, 2006.

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Straight edge: Clean-living youth, hardcore punk, and social change. Rutgers University Press, 2005.

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We all want to change the world: Rock and politics from Elvis to Eminem. Taylor Trade Pub., 2005.

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Rumba: Dance and social change in contemporary Cuba. Indiana University Press, 1995.

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Book chapters on the topic "Popular music Popular music Music Social change Hungary"

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Travis, Raphael, and Scott W. Bowman. "Hip-Hop Culture and Social Change." In Understanding Society through Popular Music. Routledge, 2017. http://dx.doi.org/10.4324/9781315751641-8.

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Gildart, Keith. "Class, Nation and Social Change in the Kinks’ England." In Images of England through Popular Music. Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137384256_8.

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Wilkinson, David. "Agents of Change: Cultural Materialism, Post-Punk and the Politics of Popular Music." In Youth Culture and Social Change. Palgrave Macmillan UK, 2017. http://dx.doi.org/10.1057/978-1-137-52911-4_7.

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Ho, Wai-Chung. "The Rise of Individualistic Values, Social Change, Popular Culture, and Depoliticization: Challenge to Music Education." In Culture, Music Education, and the Chinese Dream in Mainland China. Springer Singapore, 2018. http://dx.doi.org/10.1007/978-981-10-7533-9_6.

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"‘Revolution’: Social change, conscience rock and identity politics." In Understanding Popular Music Culture. Routledge, 2012. http://dx.doi.org/10.4324/9780203094358-19.

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"‘Revolution’: Social change, conscience rock, and identity politics." In Understanding Popular Music Culture. Routledge, 2016. http://dx.doi.org/10.4324/9781315694870-20.

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Ho, Wai-Chung. "Popular Songs and Social Change." In Advances in Multimedia and Interactive Technologies. IGI Global, 2016. http://dx.doi.org/10.4018/978-1-5225-0270-8.ch004.

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This Chapter aims to present a review of the research literature on music information seeking and its application to popular songs and social change, with particular reference to Shanghai. Owing to its history as an immigrant city with strong foreign influence, it has developed a unique culture that combines West and East. The chapter aims to present how the history of popular songs in Shanghai shows how individual and collective identities have been constructed in interaction with contending local, national and international forces and influences. In a historical analysis, four areas are discussed in regard to music information needs: (1) a literature review on the East-West cultural exchange, (2) an examination of the expression of China's national humiliations, (3) an exploration of how cultural hegemony is exercised through the use of the Shanghainese dialect to promote Shanghai's popular songs in the local context, and (4) how Western and Asian popular songs have been promoted by and incorporated into Shanghai's contemporary society.

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"Ambushed from All Sides: Rock Music as a Force for Change in China." In The Routledge History of Social Protest in Popular Music. Routledge, 2013. http://dx.doi.org/10.4324/9780203124888-36.

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Moss, Gemma. "Popular Culture." In The Edinburgh Companion to D. H. Lawrence and the Arts. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474456623.003.0012.

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Lawrence wanted his writing to be widely read, but he also wanted it to be an antidote to the problems he thought were exacerbated by popular culture. This chapter examines cinema in The Lost Girl (1920) and music in St. Mawr (1925), where Lawrence's ideas about the harmful effects of popular culture share much with T. W. Adorno’s arguments about how repetitive popular cultural forms constrain critical thinking and the desire for social change. Pornography and Obscenity (1929) contains Lawrence's most direct attack on popular culture, which he claims transmits repressive ideas about sex to the public and limits people’s capacities for independent thought. In the aftermath of the censorship of Lady Chatterley's Lover (1929), Pornography and Obscenity asks its readers to engage in dialectical thinking: could things that are sanctioned and approved - like popular culture - in fact be harmful?

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"Chapter 11. The impact of localization and globalization on popular music in the context of social change in Taiwan." In East-West Identities. BRILL, 2007. http://dx.doi.org/10.1163/ej.9789004151697.i-404.94.

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Conference papers on the topic "Popular music Popular music Music Social change Hungary"

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Tyszka, Konrad, and Michał Jagosz. "Polish music press in the face of systemic change in 1989 as an example of cultural transformation in post-communist countries." In 6th International e-Conference on Studies in Humanities and Social Sciences. Center for Open Access in Science, Belgrade, 2020. http://dx.doi.org/10.32591/coas.e-conf.06.09103t.

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The systemic transformation has significantly increased and diversified the music press market. Liquidation of the monopoly, privatization, censorship abolition and media pluralism are just some of the factors that contributed to shaping new cultural policy in Poland. The research material used for this paper’s analytical purposes consists of Polish music magazines; based on a query covering over 110 journals being published since 1946 to the present, a historical and comparative analysis was made. It allowed to determine what new solutions the publishers started to put into practice to make their magazines more attractive. Moreover, it showed a clear fragmentation of the market. After ’89, popular music magazines began to prevail; there are also many specialist journals devoted to a specific topic. A look at cultural transformation from the perspective of the music press is therefore an innovative idea, combining knowledge from the borderline of musicology, cultural studies, and press studies.

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Tyszka, Konrad, and Michał Jagosz. "Polish music press in the face of systemic change in 1989 as an example of cultural transformation in post-communist countries." In 6th International e-Conference on Studies in Humanities and Social Sciences. Center for Open Access in Science, Belgrade, 2020. http://dx.doi.org/10.32591/coas.e-conf.06.09103t.

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The systemic transformation has significantly increased and diversified the music press market. Liquidation of the monopoly, privatization, censorship abolition and media pluralism are just some of the factors that contributed to shaping new cultural policy in Poland. The research material used for this paper’s analytical purposes consists of Polish music magazines; based on a query covering over 110 journals being published since 1946 to the present, a historical and comparative analysis was made. It allowed to determine what new solutions the publishers started to put into practice to make their magazines more attractive. Moreover, it showed a clear fragmentation of the market. After ’89, popular music magazines began to prevail; there are also many specialist journals devoted to a specific topic. A look at cultural transformation from the perspective of the music press is therefore an innovative idea, combining knowledge from the borderline of musicology, cultural studies, and press studies.

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Reports on the topic "Popular music Popular music Music Social change Hungary"

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Yatsymirska, Mariya. SOCIAL EXPRESSION IN MULTIMEDIA TEXTS. Ivan Franko National University of Lviv, 2021. http://dx.doi.org/10.30970/vjo.2021.49.11072.

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The article investigates functional techniques of extralinguistic expression in multimedia texts; the effectiveness of figurative expressions as a reaction to modern events in Ukraine and their influence on the formation of public opinion is shown. Publications of journalists, broadcasts of media resonators, experts, public figures, politicians, readers are analyzed. The language of the media plays a key role in shaping the worldview of the young political elite in the first place. The essence of each statement is a focused thought that reacts to events in the world or in one’s own country. The most popular platform for mass information and social interaction is, first of all, network journalism, which is characterized by mobility and unlimited time and space. Authors have complete freedom to express their views in direct language, including their own word formation. Phonetic, lexical, phraseological and stylistic means of speech create expression of the text. A figurative word, a good aphorism or proverb, a paraphrased expression, etc. enhance the effectiveness of a multimedia text. This is especially important for headlines that simultaneously inform and influence the views of millions of readers. Given the wide range of issues raised by the Internet as a medium, research in this area is interdisciplinary. The science of information, combining language and social communication, is at the forefront of global interactions. The Internet is an effective source of knowledge and a forum for free thought. Nonlinear texts (hypertexts) – «branching texts or texts that perform actions on request», multimedia texts change the principles of information collection, storage and dissemination, involving billions of readers in the discussion of global issues. Mastering the word is not an easy task if the author of the publication is not well-read, is not deep in the topic, does not know the psychology of the audience for which he writes. Therefore, the study of media broadcasting is an important component of the professional training of future journalists. The functions of the language of the media require the authors to make the right statements and convincing arguments in the text. Journalism education is not only knowledge of imperative and dispositive norms, but also apodictic ones. In practice, this means that there are rules in media creativity that are based on logical necessity. Apodicticity is the first sign of impressive language on the platform of print or electronic media. Social expression is a combination of creative abilities and linguistic competencies that a journalist realizes in his activity. Creative self-expression is realized in a set of many important factors in the media: the choice of topic, convincing arguments, logical presentation of ideas and deep philological education. Linguistic art, in contrast to painting, music, sculpture, accumulates all visual, auditory, tactile and empathic sensations in a universal sign – the word. The choice of the word for the reproduction of sensory and semantic meanings, its competent use in the appropriate context distinguishes the journalist-intellectual from other participants in forums, round tables, analytical or entertainment programs. Expressive speech in the media is a product of the intellect (ability to think) of all those who write on socio-political or economic topics. In the same plane with him – intelligence (awareness, prudence), the first sign of which (according to Ivan Ogienko) is a good knowledge of the language. Intellectual language is an important means of organizing a journalistic text. It, on the one hand, logically conveys the author’s thoughts, and on the other – encourages the reader to reflect and comprehend what is read. The richness of language is accumulated through continuous self-education and interesting communication. Studies of social expression as an important factor influencing the formation of public consciousness should open up new facets of rational and emotional media broadcasting; to trace physical and psychological reactions to communicative mimicry in the media. Speech mimicry as one of the methods of disguise is increasingly becoming a dangerous factor in manipulating the media. Mimicry is an unprincipled adaptation to the surrounding social conditions; one of the most famous examples of an animal characterized by mimicry (change of protective color and shape) is a chameleon. In a figurative sense, chameleons are called adaptive journalists. Observations show that mimicry in politics is to some extent a kind of game that, like every game, is always conditional and artificial.

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