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

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Published: 4 June 2021
Last updated: 1 February 2022

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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 direct
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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
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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 th
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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
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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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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 them
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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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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
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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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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 contempor
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Neuenfeldt, Karl, and Steve Mullins. "‘The Saving Grace of Social Culture’: Early Popular Music and Performance Culture on Thursday Island, Torres Strait, Queensland." Queensland Review 8, no. 2 (2001): 1–20. http://dx.doi.org/10.1017/s1321816600006796.

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This article explores the dissemination of globalised popular culture forms into the “white culture” of colonial Thursday Island (henceforth TI), the administrative centre of Torres Strait in northern Queensland. The analysis draws on a variety of media sources from approximately 1881 to 1906. It is grounded in an historical understanding of Torres Strait as a place of cultural convergence and also a society affected profoundly by the transnational flows and connections of popular culture forms, such as music, used in part to popularise British Imperialism (MacKenzie, 1992). Both “high” and “l
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Kostiuk, Ekaterina B. "Musical culture of the post-industrial society: on the problem of analyzing basic definitions." Vestnik of Saint Petersburg State University of Culture, no. 2 (47) (2021): 45–50. http://dx.doi.org/10.30725/2619-0303-2021-2-45-50.

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The article deals with the problem of definitions and boundaries of concepts widely used in modern postindustrial culture, scientific and public discourse: «mass», «popular», «academic», «classical», «elite» music. Mass music has several features that are largely determined by the specifics of the socio-cultural and technical development of society in the post-industrial era. However, the loosely applied term «popular» in relation to this direction of music is inaccurate, since not only the works of mass music become well-known, but also classical, academic. In the conditions of post-industria
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Rasolofondraosolo, Zafimahaleo, and Ulrike H. Meinhof. "Popular Malagasy music and the construction of cultural identities." AILA Review 16 (July 8, 2003): 127–48. http://dx.doi.org/10.1075/aila.16.12ras.

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This paper explores the construction of cultural identities through contemporary music from Madagascar, in particular the songs by Dama — singer-song-writer of the eponymous group of musicians- the Mahaleo. Specific focus is on the role that the discourses of and about popular Malagasy music play for the identity constructions of Malagasy people in Madagascar and abroad. Discussions about contemporary African music on the media and in the cultural studies literature, and the record industry’s own appropriation and commercialization of such music as generic ‘world music — tend to neglect the ly
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Pruitt, Cenate. "“Boys ‘Round Here”: Masculine Life-Course Narratives in Contemporary Country Music." Social Sciences 8, no. 6 (2019): 176. http://dx.doi.org/10.3390/socsci8060176.

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Country music remains one of the most popular genres in U.S. American society but is historically under-researched compared to rock, rap and other styles. This article extends the social science literature on the genre by examining themes of masculine identity in popular country hits of the current century. A content analysis of 35 top country hits from the last 15 years of the Billboard charts reveals three key masculine archetypes: the lover, the family man and particularly the country boy, which is the dominant masculine image within the last few years of the genre. Together, the three crea
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Bennett, Andy, and Catherine Strong. "Popular Music Heritage, Grass-Roots Activism and Web 2.0: The Case of the ‘Save the Palace’ Campaign." Cultural Sociology 12, no. 3 (2018): 368–83. http://dx.doi.org/10.1177/1749975518762569.

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Although the study of popular music heritage is rapidly becoming an established aspect of academic research, little attention has been focused on attempts made by groups of music fans to preserve aspects of their local popular music heritage when these are seen to come under threat. This article examines the ‘Save the Palace’ campaign in Melbourne, Australia, and argues that it provides an important illustration of the tenacity of local music fans when faced with the closure of an important venue, and their capacity to organise themselves into a cohesive campaign through social media technolog
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GRASSE, JONATHON. "Conflation and conflict in Brazilian popular music: forty years between ‘filming’ bossa nova in Orfeu Negro and rap in Orfeu." Popular Music 23, no. 3 (2004): 291–310. http://dx.doi.org/10.1017/s0261143004000182.

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Popular music plays important roles in two related films portraying Brazilian slum life. Based on a 1953 play by Vinícius de Morais, Marcel Camus's 1959 film Orfeu Negro, and a 1999 feature by Brazilian director Carlos Diegues titled Orfeu, augment traditional samba styles with bossa nova and rap, respectively. Interpreting musical style as allegorical texts within fictive landscapes, this paper examines conflation and conflict among musical meanings, Brazilian social histories, and discursive identities marking the twentieth century. Broad aspects of Brazilian political and socio-cultural dev
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Born, Georgina. "For a Relational Musicology: Music and Interdisciplinarity, Beyond the Practice Turn." Journal of the Royal Musical Association 135, no. 2 (2010): 205–43. http://dx.doi.org/10.1080/02690403.2010.506265.

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What would contemporary music scholarship look like if it was no longer imprinted with the disciplinary assumptions, boundaries and divisions inherited from the last century? This article proposes that a generative model for future music studies would take the form of a relational musicology. The model is drawn from the author's work; but signs of an incipient relational musicology are found scattered across recent research in musicology, ethnomusicology, and jazz and popular music studies. In support of such a development, the article calls for a reconfiguration of the boundaries between the
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Ho, Wai-chung. "The political meaning of Hong Kong popular music: a review of sociopolitical relations between Hong Kong and the People's Republic of China since the 1980s." Popular Music 19, no. 3 (2000): 341–53. http://dx.doi.org/10.1017/s0261143000000209.

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IntroductionThe aim of this paper is to analyse shifting themes in the meanings of Hong Kong popular songs relating to ideological and political changes in Hong Kong since the 1989 Tiananmen Square incident (TSI). In particular, the paper examines the relationship between Hong Kong and the People's Republic of China (PRC) concerning the transmission of Hong Kong popular music, and argues that Chinese, Hong Kong and Taiwanese popular musics articulate fluctuating political meanings. Attention will be focused predominantly on the lyrics, but some aspects of the music are also invoked. After high
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Kocaj, Agata, and Izabela Krasińska. "Musical education from the perspective "Musical news" (1925-1926)." Edukacja Muzyczna 15 (2020): 363–77. http://dx.doi.org/10.16926/em.2020.15.20.

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In Poland, over a hundred music magazines appeared in the interwar period. They were divided into several categories: subject and methodological, social and cultural music press, music and li- turgical magazines, regional music periodicals, as well as musicological and popular science mag- azines. The final group includes the subject of this article, “Wiadomości Muzyczne” (1925–1926), edited by the music collector and journalist Edward Wrocki. The article is the first attempt at a monograph elaboration of this periodical, both in terms of the formal and publishing aspects and its content. How
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Lavengood, Megan. "What Makes It Sound ’80s?" Journal of Popular Music Studies 31, no. 3 (2019): 73–94. http://dx.doi.org/10.1525/jpms.2019.313009.

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Popular music of the 1980s is remembered today as having a “sound” that is somehow unified and generalizable. The ’80s sound is tied to the electric piano preset of the Yamaha DX7 synthesizer. Not only was this preset (E. PIANO 1) astonishingly prevalent—heard in up to 61% of #1 hits on the pop, country, and R&B Billboard charts in 1986—but the timbre of E. PIANO 1 also encapsulates two crucial aspects of a distinctly ’80s sound in microcosm: one, technological associations with digital FM synthesis and the Yamaha DX7 as a groundbreaking ’80s synthesizer; and two, cultural positioning in a
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Malm, Tobias. "The ambivalence of becoming a small business: Learning processes within an aspiring rock band." Popular Music 39, no. 3-4 (2020): 585–99. http://dx.doi.org/10.1017/s0261143020000471.

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The process of becoming a rock musician strongly relates to the organisational form of the band (Bennett 1980; Green 2002; Behr 2010). At all levels of ambition and success, membership of a band provides the musician with a natural entry point for performing to an audience and forging a potential career (Smith 2013a). The ‘micro-organisational’ (Bennett 2001) development of a band, therefore, is an important career prerequisite for rock musicians (Behr 2015). However, the social and practical challenges of musicianship seem to be continuously underemphasised within the field of popular music s
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Zhuk, Sergei I. "Popular Culture, Identity, and Soviet Youth in Dniepropetrovsk, 1959–84." Carl Beck Papers in Russian and East European Studies, no. 1906 (January 1, 2008): 72. http://dx.doi.org/10.5195/cbp.2008.143.

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This paper explores the connections between cultural consumption, ideology, and identity formation in one particular city of the Soviet Ukraine during the Brezhnev era before perestroika. This industrial city, Dniepropetrovsk, was closed to foreigner visits by the KGB in 1959 because it became the location for one of the biggest missile factories in the Soviet Union. Given its closed, sheltered existence, Dniepropetrovsk became a unique Soviet social and cultural laboratory in which various patterns of late socialism collided with the new Western cultural infl uences. Using archival documents,
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Junior, Valdemar Valente. "O popular e o erudito: a música nos contos de Machado de Assis." Scriptorium 4, no. 2 (2019): 174. http://dx.doi.org/10.15448/2526-8848.2018.2.32183.

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Este artigo tem por objetivo identificar elementos referentes à criação musical do século XIX na obra de Machado de Assis. Para esse fim, escolhemos os contos “O machete”, “Um homem célebre” e “Cantiga de esponsais”, que abordam a presença da música a partir de leituras distintas que têm em comum o aprofundamento de conflitos, em vista da música como elemento subjetivo capaz de mover as paixões interiores e instigar os instintos humanos. Além disso, esses três contos cumprem com extrema correção o papel de determinar os espaços referentes à música em suas vertentes popular e erudita, corporifi
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Drozda, Jacek. "Grime jako muzyka i etnografia kryzysu." Kultura Popularna 3, no. 53 (2018): 31–40. http://dx.doi.org/10.5604/01.3001.0010.8264.

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This article provides the reader with an overview of selected aspects of cultural significance of grime music and related phenomena. This musical genre creates an explicit background of contemporary social relations existing in multicultural, popular neighbourhoods of British cities. Grime’s relations with the media and the political surrounding partly resemble some features of the 1990’s “cultural boom”. However, grime and its network of relations live in the times of crisis. The overview of grime’s attributes presented hereinafter is an introduction to a wider study, currently in the process
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Magosvongwe, Ruby. "MATHIAS MHERE’S FUNCTIONAL USES OF GOSPEL MUSIC IN THE ZIMBABWEAN POST-2000 MALADIES." Imbizo 6, no. 1 (2017): 67–79. http://dx.doi.org/10.25159/2078-9785/2798.

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The article critiques Mathias Mhere’s gospel music from an Afrocentric perspective within the context of complexities and maladies that have impacted negatively on the majority’s livelihoods in Zimbabwe’s post-2000 period. The maladies have seen society marshalling different strategies and oral art forms to keep people’s spirits buoyant. Oral art forms have always been at the centre of African experience, constituting a repository of the philosophy of life as desired, imagined, and treasured among most indigenous families and communities. In the absence of the oral folklore and oral ar
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Street, John, Matthew Worley, and David Wilkinson. "‘Does it threaten the status quo?’ Elite responses to British punk, 1976–1978." Popular Music 37, no. 2 (2018): 271–89. http://dx.doi.org/10.1017/s026114301800003x.

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AbstractThe emergence of punk in Britain (1976–1978) is recalled and documented as a moment of rebellion, one in which youth culture was seen to challenge accepted values and forms of behaviour, and to set in motion a new kind of cultural politics. In this article we do two things. First, we ask how far punk's challenge extended. Did it penetrate those political, cultural and social elites against which it set itself? And second, we reflect on the problem of recovering the history and politics of moments such as punk, and on the value of archives to such exercises in recuperation. In pursuit o
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Dahal, Bishnu Prasad. "Nepalese Nation, Nationalism and Identities in Patriotic Songs." International Journal of Learning and Development 10, no. 4 (2020): 77. http://dx.doi.org/10.5296/ijld.v10i4.18135.

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The main purpose of this study is to investigate the different aspects of Nepalese patriotic songs. Here, lyrics of patriotic songs are reviewed and their contents are analyzed. This study is focused on how these patriotic songs assist to promote Nepalese nationalism, national beauties, national identities and national unity. It is the representative expression of all national songs and patriotic songs all over the country. Music in the form of the national songs and patriotic songs were and remain essential components of national identity and national unity. These songs are popular and accept
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Borecky, Andrew. "Dungeons, Dragons, and Music." Journal of Sound and Music in Games 2, no. 1 (2021): 46–64. http://dx.doi.org/10.1525/jsmg.2021.2.1.46.

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Since 1974, Dungeons & Dragons (D&D) has existed on the fringes of popular culture alongside many other tabletop roleplaying games. In recent years, however, D&D and other RPGs have emerged at the forefront of gaming culture. The allure of fantasy and magic draws players into creating and roleplaying characters in a mediated fantasy space through social interaction. Though largely untheorized, Dungeons & Dragons has been examined through sociological and philosophical lenses, though these studies often ignore the performative aspects of the game itself. During gameplay, Dungeon
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Hadi, Sumasno. "Estetika Lagu Banjar Populer: Suatu Representasi Kultural, Pengalaman Eksistensial, dan Nilai Sosial Masyarakat Banjar." KAMBOTI: Jurnal Sosial dan Humaniora 1, no. 2 (2021): 106–13. http://dx.doi.org/10.51135/kambotivol1iss2pp106-113.

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Abstract The philosophical aspects of art (aesthetics) explored in this study refer to the popular Banjar songs (with a sample of 14 song titles). Therefore, the vision of discussing the aesthetics of the popular Banjar song is appropriate to expose, extract, and uplift its ontological, epistemological and axiological values. This study is a qualitative-descriptive type of research with aesthetic study approach (wetland environmental aesthetics), with the object of popular Banjar songs. From this design, the data analysis method uses two approaches, namely: music analysis and art philosophy an
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Piech, Magdalena. "Regionalism in the Virtual Era." Politeja 16, no. 2(59) (2019): 195–206. http://dx.doi.org/10.12797/politeja.16.2019.59.13.

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The symbolic concept of kashmiriyat, dated back to 16th century, generally covers most of the aspects of Kashmiri Muslims’ culture perceived as traditional. However, in the modern era of globalization and rapid growth of the media, particularly the Internet, the world is changing really fast, together with local cultures and identities. The budding influence of social media on the culture of participation, opens a new field for artistic activity. It is especially the younger generation, prone to rebel against the existing reality, who make use of those aims to express oneself. One of the most
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Ye, Ye, and Erxin Wang. "Yuan-Ming Sanqu Songs as Communal Texts: Discovering Their Literary Vitality from a New Research Perspective." Journal of Chinese Literature and Culture 8, no. 1 (2021): 113–38. http://dx.doi.org/10.1215/23290048-8898648.

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Abstract When examining songs in Chinese literature, we can distinguish among literary, musical, and communal aspects of their circulation. Sanqu songs became popular in the form of musical texts in the Yuan and Ming dynasties, but the ci song lyrics, by the Southern Song dynasty (1127–1279) if not earlier, had already become a form of communal text in a broad sense. While relying on musical and literary aspects in the early stages of circulation, such ci song lyrics also became increasingly meaningful as social artifacts characterized by diverse forms of usage and participation, and they have
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Milanovic, Biljana. "Music and collective identities." Muzikologija, no. 7 (2007): 119–34. http://dx.doi.org/10.2298/muz0707119m.

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This paper presents some introductory observations on the ways in which the opposition between the modern and post-modern understanding of social identities can be overcome in the context of musicology. It is based on the consideration of identities as dynamic and changeable categories, as well as on the importance of the relation between individual and collective positionings, on the complexities of the multiple identifications and on the understanding of music as a social construction of identity. Due attention is paid to basic theoretical and methodological aspects in the interdisciplinary
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Yu, Jiang Xiao. "Research on TikTok APP Based on User-Centric Theory." Applied Science and Innovative Research 3, no. 1 (2019): 28. http://dx.doi.org/10.22158/asir.v3n1p28.

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<p><em>TikTok App, as a music short video social platform, has become a popular style in short video field in 2018, dues to its huge user base and vast amount of content. From the perspective of user centric theory, TikTok optimizes the user experience in the aspects of UCD design, content production and form innovation, personalized service and so on. It satisfies the user’s needs and achieves the user’s goals. In terms of user experience, TikTok has optimized the experience in terms of interface design, human-computer interactive, UGC and PGC and OGC content production model, con
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Moretto, Luiz. "Folia and Baile de Rabecada: Aural Narratives in a Brazilian Quilombo." Brasiliana: Journal for Brazilian Studies 8, no. 1-2 (2019): 91–116. http://dx.doi.org/10.25160/bjbs.v8i1-2.114912.

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 This article describes the music of baile de rabecada and folia da bandeira from the perspective of two rabeca players who are leaders in a rural Afro- Brazilian community. Their narratives rely on repertoire and music examples that are part of the aural tradition of these practices in the quilombo. Adopting as its focus specific music pieces, this study reveals that baile de rabecada features rhythmic patterns indicating a mixture of Iberian and Afro-Brazilian aspects, to a much greater extent than literature suggests. My ethnographic work on these two rabeca players high
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Faria, Erick de Oliveira, Victor Pouillaude, Valentine Crépel, and Manuella Biagioni Barbosa Teixeira. "Tourist Festivals and Territorial Development: a case study on the Jazz in Marciac Festival." Revista de Turismo Contemporâneo 8, no. 1 (2020): 1–16. http://dx.doi.org/10.21680/2357-8211.2020v8n1id18098.

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From the year 1982, new possibilities were given to the spatial organization of the French territory. In these spaces, the actions of social groups are recognized. Therefore, the social group builds the territory but the environment in which it lives also influences it. This paper studies the case of the Jazz in Marciac festival as an example of territorial development associated with the dimension of the voluntary commitment of the population towards a common objective and a source of debate. This jazz festival takes place at the village of Gers, Marciac and is guided by the principles of pop
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Đorđević, Ana. "“The soundtrack of their lives”: The Music of Crno-bijeli svijet." AM Journal of Art and Media Studies, no. 17 (October 16, 2018): 25. http://dx.doi.org/10.25038/am.v0i17.267.

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Crno-bijeli svijet [Black-White World, HRT, 2015–] is an on-going Croatian television series set in the early 1980s depicting the then-current pop music scene in Zagreb. The storyline follows several characters whose lives are intertwined by complex family relations, while also following the beginnings of new wave/punk rock bands and artists, and their influence on the Yugoslav youth who almost religiously listened to their music, like some of the series’ characters do.The role of music in television series is a complicated question that caught the attention of film music scholars in recent ye
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Wari, Tantri Nindyas. "EKSISTENSI PERTUNJUKAN DAN KONSEP DALAM BERKARYA SOLO BEATBOX COMMUNITY." Sorai: Jurnal Pengkajian dan Penciptaan Musik 12, no. 1 (2019): 21–30. http://dx.doi.org/10.33153/sorai.v12i1.2620.

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The music carried by the Solo Beatbox Community has its own attraction in the form of a musical imitation of a show. Imitating the sound of musical instruments with mouth, i.e. playing music without using real musical instruments, the sound produced was almost indistinguishable to that of the original instrument. This uniqueness raises the aspects regarding the existence of the group’s performances whose by all means are inseparable from the works presented to the audience. Social media plays an important role in the development of their community, from promotions to publications on the Solo B
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Tettey, Naa-Solo, Khizar Siddiqui, Hasmin Llamoca, Steven Nagamine, and Soomin Ahn. "Purple Drank, Sizurp, and Lean: Hip-Hop Music and Codeine Use, A Call to Action for Public Health Educators." International Journal of Psychological Studies 12, no. 1 (2020): 42. http://dx.doi.org/10.5539/ijps.v12n1p42.

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The opioid epidemic continues to create various public health challenges in the United States. Non-medical use of opioids is increasing at alarming rates and has been glamorized through popular media including television, movies, and music. One particular area of concern is the promotion in hip-hop music of the use of codeine mixed with promethazine, also known as “lean.” In recent years, this drug combination has proven to be lethal with many hip-hop artists dying from overdoses involving lean while others have suffered from adverse health consequences such as seizures. Be
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Nowak, Tomasz. "The Myth of Polishness in Polish Dances. How Ideologies Interpret Phenomena Related to Music and Movement." Musicology Today 15, no. 1 (2018): 62–76. http://dx.doi.org/10.2478/muso-2018-0007.

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Abstract The article discusses the myth of Polishness in the context of dances which gained the social status of ‘national’ ones, i.e. those incorporated into the canon of national culture. I shall start by establishing the terminology and chronology related to the phenomenon of ‘national dance’, and sum up Mieczysław Tomaszewski’s comments on the ways of expressing nationality in music, including dance, and the various aspects of this phenomenon. Methodologically speaking, the present paper is based on the concept of myth as presented by Joseph Campbell, Leszek Kołakowski and Maria Janion, as
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Nugroho, Bhakti Satrio. "American Cultural Imperialism in 1960s Japan as Seen in Haruki Murakami’s Norwegian Wood." Jurnal Lingua Idea 11, no. 1 (2020): 1. http://dx.doi.org/10.20884/1.jli.2020.11.1.2361.

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Haruki Murakami is mostly well-known for his many works and is considered as one of the most influential writers in Japan. One of his greatest works is a nostalgic novel Norwegian Wood which named after The Beatles song, Norwegian Wood (This Bird Has Flown) in their album Rubber Soul (1965). It becomes #1 bestselling novel in Japan. This novel resembles many aspects of “Americanization” of Japanese young adult life in the 1960s Japan which was strongly influenced by American popular culture. Many Japanese in this novel adopt Western culture which was popular in the United States. Hollywood and
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Milanovic, Biljana. "Politics in the context of the “Opera question” in the national theatre before the first world war." Muzikologija, no. 12 (2012): 37–61. http://dx.doi.org/10.2298/muz120202002m.

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Part of the history of the National Theatre in Belgrade in the decade before the First World War relates to processes of discontinuity in the professionalization and modernization of the musical section in this institution and its repertoire. It had to do with abrupt changes reflected in three short-lived phases: improvements in musical ensemble and opera performances (1906-1909), the annulment of these efforts and results with a return to the old repertoire, and then again a new beginning once more with a fresh attempt to establish the Opera (1913-14). These dynamics were affected by the soci
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Kreutziger-Herr, Annette. "Postmodern Middle Ages: Medieval Music at the Dawn of the Twenty-First Century." Florilegium 15, no. 1 (1998): 187–205. http://dx.doi.org/10.3138/flor.15.010.

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In the October 1995 issue of Good Housekeeping, there appears an advertisement for a new "Barbie Collector's Series," featuring for the first time a doll called "Medieval Lady Barbie." Clad in a precious garment of the high Gothic style, this icon of our time is a dramatic representation of how the Middle Ages are perceived in popular culture at the end of the twentieth century. Medieval Lady Barbie is certainly not meant to function as an historically accurate document: she is first of all a toy, one of Mattel's many collector's series toys (compare Ebersole/Peabody 16, and Rand 164), and the
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Faric, Nuša, Henry W. W. Potts, Adrian Hon, et al. "What Players of Virtual Reality Exercise Games Want: Thematic Analysis of Web-Based Reviews." Journal of Medical Internet Research 21, no. 9 (2019): e13833. http://dx.doi.org/10.2196/13833.

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Background Physical activity (PA) is associated with a variety of physical and psychosocial health benefits, but levels of moderate-to-vigorous intensity PA remain low worldwide. Virtual reality (VR) gaming systems involving movement (VR exergames) could be used to engage people in more PA. Objective This study aimed to synthesize public reviews of popular VR exergames to identify common features that players liked or disliked to inform future VR exergame design. Methods We conducted a thematic analysis of 498 reviews of the 29 most popular exergames sold in the top 3 VR marketplaces: Steam (V
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Ho, Rainbow Tin Hun. "The Holistic Impact of Using Arts-Based Intervention for Elderly With Dementia." Innovation in Aging 4, Supplement_1 (2020): 567. http://dx.doi.org/10.1093/geroni/igaa057.1874.

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Abstract The use of creative arts on supporting elderly with dementia has been becoming popular due to its safe and engaging process. This non-pharmacological approach can complement with other treatment methods to support elderly with dementia on various aspects, including physical, cognitive and social functioning. In our randomized controlled trial on dance movement therapy (DMT) for 204 community dwelling elders with mild dementia, we found DMT could significantly reduce the level of depression, loneliness and negative mood (β=0.33-0.42, p<.01), and also the diurnal cortisol slope (
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Cheruiyot, Chemutai Beatrice, Christopher Okemwa, and Nyangemi Bwocha. "Social Strategies Used by the Kipsigis Women to Contest Patriarchal Structures as Highlighted in the Songs of Diana Chemutai Musila and Babra Chepkoech." East African Journal of Interdisciplinary Studies 2, no. 1 (2020): 100–112. http://dx.doi.org/10.37284/eajis.2.1.215.

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Many women in Kenya, and in particular those in the Kipsigis community, are still faced with many challenges due to the patriarchal nature of their society, although the new Kenya constitution passed in 2010 provides a framework for attaining gender equality. Among the many methods of protest, art has been used in many societies as an instrument for contesting social ills including patriarchy. This has also been true to the Kipsigis community. Therefore, this research aimed to investigate the use of selected popular Kipsigis songs of Diana Chemutai Musila (Chelele) and Babra Chepkoech to conte
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Nuri, Nurhaida. "Peranan Bahasa Dalam Berkesenian: Pemberdayaan Lirik Lagu sebagai Sarana Pembentukan Karakter Bangsa." JURNAL ARBITRER 1, no. 1 (2013): 58. http://dx.doi.org/10.25077/ar.1.1.58-67.2013.

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Language has important role in supporting the activities of art of music.This support can be seen from the lyrics composing the song.Language is used as the media to express the artisticness of the music.The harmonious esthetical lyrics with the rhyme give certain meaning to the music lovers. Without proper lyrics, the music composed will lose their soul, except instrumentalities which have no lyrics. The language in this lyric is categorized as literary words because it is ambiguous and full of expression. This kind of language may be used for several purposes, like persuading, to unite, to s
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Sathiyajith, Thushyanthi. "The importance of Vasanthan Kooththu (Art Form) songs in revealing the existence of human social and professional life." International Research Journal of Tamil 3, no. 2 (2021): 56–64. http://dx.doi.org/10.34256/irjt2128.

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The culture of a community plays a major role in narrating the history and life of that particular community. This culture includes various aspects such as religion, ritual, faith, food, customs or practices as well as art and culture. Among these aspects, art is not only for entertainment; but it is also for exposing the social character and tradition of that particular community. The undeniable thing here is the factor that art forms in every country, and in every region are not only to create entertainment but also to preserve the antiquity of their existence up to now. In that respect, Vas
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Grinina, E. A., and T. M. Balmatova. "On the Question of the Relationship of Collective and Individual Principles in the Flamenco Culture (mid-XVIII — first quarter of the XX century)." Concept: philosophy, religion, culture 5, no. 1 (2021): 178–92. http://dx.doi.org/10.24833/2541-8831-2021-1-17-178-192.

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The flamenco culture, an original composition of music, poetry, dance and costume, was born in Andalusia, over time has become one of Spain’s «brands», and has now spread well beyond the Iberian Peninsula. Flamenco is full of contradictions that’s why flamenco studies and cultural studies researchers have been working on it for centuries, both in its homeland and abroad. The purpose of this article is to study the relationship between individual and collective elements in the flamenco culture and to analyze various aspects of its formation and existence basing on the literary and historical so
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Handayani, Diah. "Political Identity, Popular Culture, and Ideological Coercion: The Discourses of Feminist Movement in the Report of Ummi Magazine." Jurnal Pemberdayaan Masyarakat: Media Pemikiran dan Dakwah Pembangunan 5, no. 1 (2021): 185–210. http://dx.doi.org/10.14421/jpm.2021.051-08.

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This research examines the rise of Islamic populism in Indonesia and understands it as an instrument to clear a new pathway for populism movement into popular culture. Ummi magazine is one of the religious media used to be political vehicles of stablishing constituencies, especially for the Tarbiyah movement in the Soeharto era to the current tendency to popularize the Tarbiyah identity as a new lifestyle. Historically, The Tarbiyah movement in Indonesia is a social and political movement among Indonesian Muslimah students, especially activists in the Suharto period. Muslim middle class entrep
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Smolskaya, E. P., and A. S. Barteneva. "Poetry and its Audience in the Digital Age." Concept: philosophy, religion, culture 5, no. 1 (2021): 157–68. http://dx.doi.org/10.24833/2541-8831-2021-1-17-157-168.

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The study assesses the influence that new technologies, relative to the poetic content and poetry as art, have on the field of public relations. The main trends in the development of modern poetry as an object of online promotion, the ties connecting the digital format as such to this specific genre and the methods of modern media promotion are concerned as the key research areas. Digital technologies have produced profound changes in society and in the sphere of media. The impact of online tools and infrastructure both on poetry itself and for the methods on its promotion is also relevant. On
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