Relevant bibliographies by topics / Popular music – Social aspects – Zimbabwe

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Academic literature on the topic 'Popular music – Social aspects – Zimbabwe'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Popular music – Social aspects – Zimbabwe"

1

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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2

Powell, Bryan. "Community music interventions, popular music education and eudaimonia." International Journal of Community Music 00, no. 00 (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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FAIRCHILD, CHARLES. "The medium and materials of popular music: ‘Hound Dog’, turntablism and muzak as situated musical practices." Popular Music 27, no. 1 (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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4

SCANNELL, PADDY. "Music, radio and the record business in Zimbabwe today." Popular Music 20, no. 1 (2001): 13–27. http://dx.doi.org/10.1017/s0261143001001283.

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Radio and the recording business have, since the beginning of the last century, had a profound impact upon existing musical life whenever and wherever they have decisively and irreversibly established themselves. Their arrival restructures and redefines the social relations of music in many aspects of its production, performance and reception. Radio and recording technologies have had a significant impact on the livelihoods of all those who one way or another try to make a living from music (composers, performers and - in Europe - publishers, for instance). Performance itself is transformed as new norms are set in place which call for new levels of technique and interpretation. Finally the conditions of musical reception are reconfigured and new `taste publics' emerge, potentially in conflict with each other, as musical life is totalised into a new and complex unity.
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5

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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6

Mabuto, Kudzai, and Umali Saidi. "Locating the nihilistic culture within Zimdancehall in contemporary Zimbabwe." DANDE Journal of Social Sciences and Communication 2, no. 2 (2018): 57–74. http://dx.doi.org/10.15641/dande.v2i2.46.

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A fusion of the Caribbean, African American and Zimbabwean music genres into the infamous glocalized Zimdancehall music has dulled the significance of other traditionalist Zimbabwean music genres. Dancehall culture has caused much controversy in Zimbabwean society, being blamed for the country’s increase in crime, violence and believed to encourage misogynistic attitudes among Zimbabwean youths through its negative themes. Using appraisal and dramatism theories the article shows the existential crisis the youth in Zimbabwe face due to economic as well as other social forces and thus align themselves to rather destructive misogynistic behaviours which somehow characterises contemporary Zimbabwe. Established in the article is the extent to which language used in Zimdancehall music is socially charged as well as globalized thus influencing youth feelings, emotions and behaviors. The article analyses lyrics of selected songs as well as makes references to selected musical videos from Zimdancehall artistes such as Soul Jah Love, Winky D, Lady Bee and Killer T as prominent artists revealing what has come to be considered contemporary ‘ghetto culture’ within popular culture in Zimbabwe. It is further argued that Zimdancehall has come to shape, inform behaviors, perceptions and aspirations of the Zimbabwean youth largely due to its nature of production as well as dissemination.
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7

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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8

Temperley, David. "Syncopation in rock: a perceptual perspective." Popular Music 18, no. 1 (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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9

Thomson, Raymond A. "Dance bands and dance halls in Greenock, 1945–55." Popular Music 8, no. 2 (1989): 143–55. http://dx.doi.org/10.1017/s0261143000003330.

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The Americanisation of British popular culture has been the subject of intensive study and debate. Most of this, however, has had a national focus. It is the purpose of this article to examine aspects of a popular culture at a local level in order to discover the extent to which people were, or felt themselves to be, dominated by America. The history of popular culture is the history of the little people, how they passed their time and recreated themselves. Discoveries made here should cast illumination on the more global claims made by social historians.
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10

Spanu, Michael. "Sacred Languages of Pop: Rooted Practices in Globalized and Digital French Popular Music." Open Cultural Studies 3, no. 1 (2019): 195–206. http://dx.doi.org/10.1515/culture-2019-0018.

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Abstract Nowadays, popular music artists from a wide range of cultures perform in English alongside other local languages. This phenomenon questions the coexistence of different languages within local music practices. In this article, I argue that we cannot fully understand this issue without addressing the sacred dimension of language in popular music, which entails two aspects: 1) the transitory experience of an ideal that challenges intelligibility, and 2) the entanglement with social norms and institutions. Further to which, I compare Latin hegemony during the Middle Ages and the contemporary French popular music, where English and French coexist in a context marked by globalisation and ubiquitous digital technologies. The case of the Middle Ages shows that religious control over Latin led to a massive unintelligible experience of ritual singing, which reflected a strong class divide and created a demand for music rituals in vernacular languages. In the case of contemporary French popular music, asemantical practices of language are employed by artists in order to explore alternative, sacred dimensions of language that challenge nationhood.
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