Relevant bibliographies by topics / Social justice – Songs and music

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Social justice – Songs and music'

Author: Grafiati
Published: 4 June 2021
Last updated: 14 February 2022

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Journal articles on the topic "Social justice – Songs and music"

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Abramo, Joseph Michael. "The ‘Social Justice Plot’ in learning, consuming, and (re)creating music on social media." Journal of Popular Music Education 4, no. 2 (July 1, 2020): 193–210. http://dx.doi.org/10.1386/jpme_00025_1.

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In this article, I outline what I call the ‘Social Justice Plot’ in online music-making and consumption. I suggest that some popular music follows a particular plot where social justice discourses of fighting against and triumphing against inequalities based on identity is used to form narratives and tension and release in music and other arts. In the participatory culture and participatory politics of social media, consumers of media circulate and comment on these songs as a way to perform their own social justice identities. To explicate this process, I primarily draw upon Beyoncé Knowles’s song ‘Formation’, a cover of the song by a white male artist, and commenters’ reactions on social media to this cover. Through this example, I suggest that this Social Justice Plot is the commodification of anti-oppression discourses for material and moral gain. I conclude with implications for music education research and practice.
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Guerra, Paula, Carles Feixa Pàmpols, Shane Blackman, and Jeanette Ostegaard. "Introduction: Songs that Sing the Crisis: Music, Words, Youth Narratives and Identities in Late Modernity." YOUNG 28, no. 1 (January 14, 2020): 5–13. http://dx.doi.org/10.1177/1103308819879825.

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In this special edition on popular music, we seek to explore Simon Frith’s (1978, The sociology of rock, London, UK: Constable, p. 39) argument that: ‘Music’s presence in youth culture is established but not its purpose’. ‘Songs that sing the crisis’ captures contemporary accounts, which build upon popular music’s legacy, courage and sheer determination to offer social and cultural critique of oppressive structures or political injustice as they are being lived by young people today. Young people have consistently delivered songs that have focused on struggles for social rights, civil rights, women’s rights and ethnic and sexual minorities rights through creative anger, emotion and resistance, and we know that music matters because we consciously feel the song (DeNora, 2000, Music in everyday life, Cambridge: Cambridge University Press). However, in the aftermath of the post-2008 global economic and cultural crises, young people, in particular, have faced austerity, social hardship and political changes, which have impacted on their future lives (France, 2016, Understanding youth in the global economic crisis, Bristol: Policy Press; Kelly & Pike, 2017, Neo-liberalism and austerity: The moral economies of young people’s health and well-being, London, UK: Palgrave). This special issue assesses the key contestation where popular music is a mechanism to not only challenge but to think through ordinary people’s experience and appeals for social justice. The present introduction starts by presenting the historical and theoretical background of this research field. Then, it introduces the articles about the songs that sing the crisis in Portugal, Spain, Ireland, Finland, Norway, Egypt and Tunisia through the rhythms of rap, hip-hop, fado, electronic pop, indie rock, reggaeton, metal and mahragan.
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Mohr, Richard. "Book Review: Songs Without Music: Aesthetic Dimensions of Law and Justice." Social & Legal Studies 11, no. 1 (March 2002): 146–47. http://dx.doi.org/10.1177/096466390201100113.

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Rose, Deborah. "The Rain Keeps Falling." Cultural Studies Review 11, no. 1 (August 12, 2013): 122–27. http://dx.doi.org/10.5130/csr.v11i1.3451.

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The force of disaster hit me in the heart when, as a young woman, I heard Bob Dylan sing ‘Hard Rain’. In a voice stunned by violence, the young man reports on a multitude of forces that drag the world into catastrophe. In the 1960s I heard the social justice in the song. In 2004 the environmental issues ambush me. The song starts and ends in the dying world of trees and rivers. The poet’s words in both domains of justice are eerily prophetic. They call across the music, and across the years, saying that a hard rain is coming. The words bear no story at all; they give us a series of compelling images, an account of impending calamity. The artistry of the poet—Bob (Billy Boy) Dylan—offers sequences of reports that, like Walter Benjamin’s storm from paradise, pile wreckage upon wreckage.
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Tilley, Janette. "Representations of Gender in Barbara Pentland's Disasters of the Sun." Canadian University Music Review 22, no. 2 (March 4, 2013): 77–92. http://dx.doi.org/10.7202/1014507ar.

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Barbara Pentland (1912–2000) will be remembered as a leading figure in Canadian music, but she regarded her success as hard won. She viewed her career as a struggle against sexual discrimination, and though an advocate of equal rights and social justice, Pentland nevertheless disliked discussing notions of gender and her vocation, claiming it drew attention away from her compositions: she was a composer first and a woman second. Her reticence has a single exception in her 1976 song cycle Disasters of the Sun. As her only work to explore explicitly gender relations, Disasters provides a step towards gaining greater insight into Pentland's attitudes toward gender difference and identity.
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Corn, Aaron. "Land, song, constitution: exploring expressions of ancestral agency, intercultural diplomacy and family legacy in the music of Yothu Yindi with Mandawuy Yunupiŋu." Popular Music 29, no. 1 (January 2010): 81–102. http://dx.doi.org/10.1017/s0261143009990390.

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AbstractYothu Yindi stands as one of Australia's most celebrated popular bands, and in the early 1990s became renowned worldwide for its innovative blend of rock and indigenous performance traditions. The band's lead singer and composer, Mandawuy Yunupiŋu, was one of the first university-trained Yolŋu educators from remote Arnhem Land, and an influential exponent of bicultural education within local indigenous schools. This article draws on my comprehensive interview with Yunupiŋu for an opening keynote address to the Music and Social Justice Conference in Sydney on 28 September 2005. It offers new insights into the traditional values and local history of intercultural relations on the Gove Peninsula that shaped his outlook as a Yolŋu educator, and simultaneously informed his work through Yothu Yindi as an ambassador for indigenous cultural survival in Australia. It also demonstrates how Mandawuy's personal history and his call for a constitutional treaty with indigenous Australians are further grounded in the inter-generational struggle for justice over the mining of their hereditary lands. The article's ultimate goal is to identify traditional Yolŋu meanings in Yothu Yindi's repertoire, and in doing so, generate new understanding of Yunupiŋu's agency as a prominent intermediary of contemporary Yolŋu culture and intercultural politics.
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Allsup, Randall Everett, and Eric Shieh. "Social Justice and Music Education." Music Educators Journal 98, no. 4 (June 2012): 47–51. http://dx.doi.org/10.1177/0027432112442969.

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Knobloch-Westerwick, Silvia, Paige Musto, and Katherine Shaw. "Rebellion in the Top Music Charts." Journal of Media Psychology 20, no. 1 (January 2008): 15–23. http://dx.doi.org/10.1027/1864-1105.20.1.15.

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Abstract. In spite of great public concern about offensive messages in hip-hop/rap and rock, actual quantitative prevalence is rarely examined. This investigation analyzed 260 rap/hip-hop and rock songs from the top-charts of 1993 and 2003 for rebellious messages about impulsive and hostile behaviors. Results show that the majority of top songs contain rebellious messages. Songs with messages about impulsiveness are more common than those about hostility in the rap/hip-hop genre and have increased.
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Till, Benedikt, Ulrich S. Tran, Martin Voracek, and Thomas Niederkrotenthaler. "Music and Suicidality." OMEGA - Journal of Death and Dying 72, no. 4 (March 9, 2015): 340–56. http://dx.doi.org/10.1177/0030222815575284.

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In recent years, the question whether personal suicidality is reflected in individual music preferences has been discussed. We assessed associations of preferred music genres and cumulative exposure to and rating of 50 preselected songs, including 25 suicide-related songs, with suicide risk factors in an online survey with 943 participants. Preferences for sad music were associated with high psychoticism, while fanship of music genres with predominantly joyful contents was linked to low psychoticism. There was a dose-response relationship of positive rating of suicide songs with high life satisfaction and low hopelessness. Music preferences partly reflect suicide risk factors, but enjoyment of suicide songs is negatively associated with risk factors of suicide, which may indicate a psychological defense mechanism against suicidal impulses.
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Martinelli, Dario. "Popular music, social protest and their semiotic implications." New Sound, no. 42 (2013): 41–52. http://dx.doi.org/10.5937/newso1342041m.

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The goal of this article is to discuss the relationship between popular music (song writing, in particular) and issues of social protest, as portrayed in the various repertoires. The interface of the analysis is of a semiotic type, and the steps will follow a path that goes from problematizing the issue as such (with an emphasis on the current difficulties of identifying protest songs in terms of "genre"), to the definition of those stylistic elements pertaining to the context (in/for which these songs are written and/or played), the themes (as appearing from the lyrics) and the music itself (with the implication that the latter aspect is normally underrated in its significance, within such a process).
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Dissertations / Theses on the topic "Social justice – Songs and music"

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Hathaway, Christopher M. "Themes of Social Justice in the Choral Music of Jake Runestad." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1248404/.

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With his thought-provoking and socially relevant music, American composer Jake Runestad has quickly become one of the most performed choral composers of the 21st century. Although music and social justice have been tied together for centuries, there is a new movement bringing social justice to American choral music in a noticeably increased manor, and Jake Runestad is a leading composer in this movement. In this paper, I provide a detailed analysis into the social justice themes employed by Runestad, interviews with him and several well-respected American choral directors programming and commissioning his music, as well as compositional devices employed within his compositions. The purpose of this study is to show Jake Runestad's place as an American choral composer by offering a historical overview of the social justice themes in American music and Western choral music separately. I will then narrow the scope to Jake Runestad, who since 2013 has been using his choral music to bring awareness to human inequalities within the United States today.
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Eaddy, Jack A. Jr. "Social Consciousness in Wind Band Music of the Early 21st Century, Represented through a Study of Three Wind Band Works: Symphony No. 2-Migration by Adam Schoenberg, Silver Lining-Concerto for Flute and Wind Ensemble by Frank Ticheli, and Of Our New Day Begun by Omar Thomas." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1538741/.

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The wind band provides an outlet for composers to use their platform to reach performers, enlighten audiences, and heal communities. This document is an analysis of three composers' approach to incorporate social consciousness in their wind band music. Adam Schoenberg, Omar Thomas, and Frank Ticheli work with specific social justice issues to respond to specific events, allowing them to reach and empower performers and audiences, to heal, thrive and build past these events. The chapters contain each composer's biographical information, then provide detailed information of the three works; background and cursory information, the composer's use and understanding of the social justice issue and an extensive analysis of each work. The composers use compositional design techniques to convey their intent to share a specific message. This document provides insight through each composer's techniques and thought processes, providing a better understanding of the works. The knowledge gained will help conductors and performers understand social consciousness in wind band music.
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Manderson, Desmond. "Songs without music, aesthetic dimensions of law and justice." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq30435.pdf.

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Lanci, Michael P. "Songs for Joe Hill." University of Cincinnati / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ucin149580760300849.

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Kruger, Jaco Hentie. "A cultural analysis of Venda guitar songs." Thesis, Rhodes University, 1994. http://hdl.handle.net/10962/d1002309.

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This thesis focuses on the articulation in music of human worldviews, and the social contexts in which they emerge. It suggests that people project various forms of social reality through symbolic systems which operate dynamically to maintain and recreate cultural patterns. The symbolic system investigated in support of this suggestion is that constituted by Venda guitar songs. In the performance of these songs, social reality emerges in a combination of symbolic forms: verbal, musical and somatic. The combination of these symbolic forms serves as a medium for individual self-awareness basic to the establishment of social reality and identity, and the drive for social power and legitimacy. A study of these symbolic forms and their performance indicates that musicians invoke the potential of communal music to increase social support for certain principles on which survival strategies in a turbulently changing society might be based. The discourse of Venda guitar songs incorporates modes of popular expression and consciousness, and thus attempts to invoke states of intensified emotion to promote these survival strategies. Performance occasions emerge as a focus for community orientation and the exploration of social networks. They promote stabilizing social and economic interaction, and serve as a basis for moral and cooperative action. Social reality also emerges in musical style, which is treated as the audible articulation of human thought and emotion. Stylistic choices are treated as integral to the conceptualization of contemporary existence. A study of these choices reveals varying degrees of cultural resistance and assimilation, ranging from musical styles which are essentially rooted in traditional social patterns, to styles which integrate traditional and adopted musical elements as articulations of changing self-perceptions, social aspirations, and quests for new social identity.
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Artiss, Thomas Murdoch. "A social life of songs : Inuitness and music in Nain, Labrador." Thesis, University of Cambridge, 2014. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.707941.

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Haas, Benjamin D. "Singing Songs of Social Significance: Children's Music and Leftist Pedagogy in 1930s America." Thesis, connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-9777.

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Safran, Benjamin. "SOUNDING STRATEGY: COMPOSERS’ USES OF SOCIAL JUSTICE AND POLITICAL THEMES IN CONTEMPORARY CLASSICAL CONCERT MUSIC." Temple University Libraries, 2019. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/570955.

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Music Composition
Ph.D.;
Contemporary classical concert music could be part of the solution to build a just and sustainable future. My research demonstrates that such music, despite its niche, elitist positioning in contemporary American society, can contribute to social movements and change the world in meaningful, tangible ways when attention is paid to social movement strategy and structures of power. To reconsider the potential power of this music, I apply a range of methodologies from ethnography to hermeneutic analysis to nonviolent direct action strategy, drawing on the work of musicologists, ethnomusicologists, and social movement theorists. Given the elitism of the classical concert hall, it is a non-obvious genre in which to convey a social justice or leftist political theme, yet many composers try to do so. I examine five of these composers in depth: Laura Kaminsky, David Lang, Curt Cacioppo, Ludovico Einaudi, and Hannibal (who goes by other names but used the mononym Hannibal in the concert which I discuss). Concurrently with my research, I composed a large-scale experimental work to be used in a protest to demonstrate the potential for contemporary classical music to support nonviolent movements. I organized a pilot performance that brought together music students and community members in the lobby of a large utility headquarters as part of an ongoing campaign for local green jobs in Philadelphia.
Temple University--Theses
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Laux, Katie M. "Songs in the key of protest how music reflects the social turbulence in America from the late 1950s to the early 1970s /." Oxford, Ohio : Miami University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1184767254.

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Vaillancourt, Guylaine. "Mentoring Apprentice Music Therapists for Peace and Social Justice through Community Music Therapy: An Arts-Based Study." [Yellow Springs, Ohio] : Antioch University, 2009. http://etd.ohiolink.edu/view.cgi?acc_num=antioch1255546013.

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Thesis (Ph.D.)--Antioch University, 2009.
Title from PDF t.p. (viewed March 26, 2010). Advisor: Carolyn Kenny, Ph.D. "A dissertation submitted to the Ph.D. in Leadership and Change program of Antioch University in partial fulfillment of the requirements for the degree of Doctor of Philosophy 2009."--from the title page. Includes bibliographical references (p. 263-277).
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Books on the topic "Social justice – Songs and music"

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Rebel musics: Human rights, resistant sounds, and the politics of music making. Montréal: Black Rose Books, 2003.

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Songs without music: Aesthetic dimensions of law and justice. Berkeley, Calif: University of California Press, 2000.

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Ed, Emery, ed. Songs of the Greek underworld: The Rebetika tradition. London: Saqi, 2000.

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Levitin, Daniel J. The World in Six Songs. New York: Penguin USA, Inc., 2009.

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Songs of the Vietnam conflict. Westport, Conn: Greenwood Press, 2001.

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Advance Interdisciplinary Research in Singing (Project), ed. Island songs: A global repertoire. Lanham, Md: Scarecrow Press, 2012.

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Cooder, Ry. Buena Vista Social Club. [Red Bank, N.J.]: World Circuit, 1997.

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Howard, Keith. Bands, songs, and shamanistic rituals: Folk music in Korean society. 2nd ed. Seoul: Royal Asiatic Society Korea Branch, 1990.

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Smith, Martin. The art of compassion: Stories of music and justice from. London: Hodder & Stoughton, 2008.

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The sound of history: Songs and social comment. Oxford, [England]: Oxford University Press, 1988.

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Book chapters on the topic "Social justice – Songs and music"

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Martinelli, Dario. "Songs of Social Protest and Music." In Give Peace a Chant, 53–67. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-50538-1_4.

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Motion, Judy. "Environmental protest songs and justice perspectives." In Popular Culture and Social Change, 102–16. New York : Routledge, 2020. | Series: Routledge new directions in PR & comm research: Routledge, 2020. http://dx.doi.org/10.4324/9781315203515-8.

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Sunderland, Naomi, Natalie Lewandowski, Dan Bendrups, and Brydie-Leigh Bartleet. "Introduction: Exploring Music for Social Justice and Health Equity." In Music, Health and Wellbeing, 1–15. London: Palgrave Macmillan UK, 2017. http://dx.doi.org/10.1057/978-1-349-95284-7_1.

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Riddle, Stewart, and David Cleaver. "Finding Myself at Music Industry College." In Alternative Schooling, Social Justice and Marginalised Students, 49–70. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-58990-9_3.

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Riddle, Stewart, and David Cleaver. "A Day in the Life at an Alternative Music School." In Alternative Schooling, Social Justice and Marginalised Students, 1–24. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-58990-9_1.

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Coessens, Kathleen, Karen François, and Jean Paul Van Bendegem. "Math and Music: Slow and Not For Profit." In Educational Research: Ethics, Social Justice, and Funding Dynamics, 73–90. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-73921-2_6.

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Murphy, Regina, and Francis Ward. "Connecting social justice education with the teaching of music." In Teaching for Social Justice and Sustainable Development Across the Primary Curriculum, 106–23. Abingdon, Oxon ; New York, NY : Routledge, 2021.: Routledge, 2021. http://dx.doi.org/10.4324/9781003003021-7.

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Hesser, Barbara, and Harry N. Heinemann. "Achieving Health Equity and Social Justice Through Music: Music as a Global Resource." In Music, Health and Wellbeing, 227–46. London: Palgrave Macmillan UK, 2017. http://dx.doi.org/10.1057/978-1-349-95284-7_12.

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Parkinson, Clive. "Weapons of Mass Happiness: Social Justice and Health Equity in the Context of the Arts." In Music, Health and Wellbeing, 269–88. London: Palgrave Macmillan UK, 2017. http://dx.doi.org/10.1057/978-1-349-95284-7_14.

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Benedict, Cathy. "Politics of Song." In Music and Social Justice, 105–24. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190062125.003.0007.

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Music has always been intertwined with social movements. People use songs, and they are mediated by songs. Music shapes society, and society is shaped by music and musicking. Elementary students are more than able to grapple with concepts such as identity construction and representation in song. Music as protest, propaganda, and resistance is also well within their cognitive, if not visceral, understanding. This chapter serves to remind us that listening to and performing music can lead toward a heightened awareness of social inequities. With the help of John Lennon and Sly and the Family Stone, this chapter discusses the ways in which music gets used as well as what happens to musics that were intended for a socially driven purpose but become used in ways that undermine their previous social significance.
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Conference papers on the topic "Social justice – Songs and music"

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Qu, Defang. "Research on the Value of Art Songs for Music Education Teaching of Preschool Education Major." In Proceedings of the 2018 5th International Conference on Education, Management, Arts, Economics and Social Science (ICEMAESS 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icemaess-18.2018.173.

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Zhang, Chunjing. "Grotesque and Gaudy World of Music, Indispensable Narrative Pen- Study on The Narrative Strategy of Modern Chinese Pop Songs Lyrics." In International Academic Workshop on Social Science (IAW-SC-13). Paris, France: Atlantis Press, 2013. http://dx.doi.org/10.2991/iaw-sc.2013.1.

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Batyrshina, Gulnara. "ALGORITHMIC TRAINING OF STUDENTS � FUTURE MUSIC TEACHERS WHO ARE LEARNING TO PLAY BY EAR USING THE TATAR FOLK SONGS." In 4th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS Proceedings. STEF92 Technology, 2017. http://dx.doi.org/10.5593/sgemsocial2017/34/s13.002.

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"Usage Habits in Music Streaming Applications and Their Influence on Privacy Related Issues [Research in Progress]." In InSITE 2019: Informing Science + IT Education Conferences: Jerusalem. Informing Science Institute, 2019. http://dx.doi.org/10.28945/4272.

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Aim/Purpose: In this exploratory study we examine personal information management within music streaming applications. Also, we investigate the sense of ownership over songs being played on music streaming applications and whether the use of these services may be considered a social activity. In a later stage, we intend to test privacy related issues in music streaming applications and the factors that influence privacy concerns when using these services. Methodology: This is examined by using a mixed methodology and consists of two phases: qualitative and quantitative. The qualitative stage includes semi-structured interviews with 10 music streaming application users in order to explore the possible change in personal information management, following the emergence of these applications (e.g. change in classification methods and song retrieval methods). The quantitative phase includes the distribution of closed ended questionnaires among 200-250 users of music streaming applications, aiming to explore personal information management issues and privacy related issues that emerge while using these applications (e.g. privacy concerns). Currently, a pilot of the qualitative stage was issued. Findings: We found that users still rely on traditional methods of personal information management, rather than making use of the newer features available by the innovative music streaming applications. The same applies to the use of these applications as part of a social activity. In addition, it seems that the emergence of music streaming applications influenced the sense of ownership over songs in personal music libraries and made it ambiguous among music consumers. Contribution: As far as we know, this is the first academic research to investigate the issue of personal music management among music streaming applications and the also the first to use a mixed methods approach to examine digital music consumption. In addition, it is the first study that takes into account privacy related issues among the users of music streaming applications.
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Stramkale, Ligita. "The Independence of Primary School Students in Learning Music at a Distance during Covid-19 Pandemic." In 14th International Scientific Conference "Rural Environment. Education. Personality. (REEP)". Latvia University of Life Sciences and Technologies. Faculty of Engineering. Institute of Education and Home Economics, 2021. http://dx.doi.org/10.22616/reep.2021.14.022.

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As a result of the Covid-19 pandemic, the primary school students were forced to study at a distance of two and a half months starting from mid-March 2020. There was a situation where students had to learn music independently more than they had done so far. The study aims to determine 2nd and 3rd grade students’ perspectives on independent distance learning of music during the Covid-19 pandemic. To achieve the aim of the study, previous researches on this issue were analysed, as well as an empirical study was carried out. The study involved 105 (N=105) primary school students in grades 2-3 and occurred in the second term of the 2019/2020 school year in a public primary school located in Riga. A questionnaire consisting of 20 statements was conducted to determine students’ perspectives on music distance learning independently. The twenty statements were divided into four groups: students’ independence, provision of technical aids, difficulties and attitude. The study revealed that the students’ skills to find and complete the tasks that are given by the teacher in the E-class are at a middle level. The students assessed their ability to learn to sing songs and perform music listening tasks independently at a high level. The students mostly used computers or mobile phones when they learned music at a distance. However, the majority of students faced a lack of technical aids. The study found out that complete music listening task was the easiest for the students, but a little harder was learning to sing songs. The most difficult part of learning for students was to complete a writing task because the possibility of printing it was limited. The students rated their attitude towards music distance learning independently at a middle level. Many students missed the presence of their teachers and longed for social activities in the classroom. The study concluded that there is a significant difference between 2nd and 3rd grade students’ skills to find independently the tasks sent by the teacher. Moreover, the 3rd grade students wanted to learn music independently at a distance more than the 2nd grade students did. The study provides evidence-based data on primary school students’ readiness to learn music independently at a distance.
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Weinberger, Maor, and Dan Bouhnik. "The Emergence of Music Streaming Applications and Its Effect on Changes in Personal Information Management and Privacy Related Issues [Abstract]." In InSITE 2020: Informing Science + IT Education Conferences: Online. Informing Science Institute, 2020. http://dx.doi.org/10.28945/4523.

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Aim/Purpose: In this exploratory study we examine personal information management within music streaming applications. Also, we investigate the sense of ownership over songs being played on music streaming applications and whether the use of these services may be considered a social activity. In addition, we explore the extent of user privacy concern in using music streaming applications. Background: This paper represents the second phase of the article titled Usage Habits in Music Streaming Applications and their Influence on Privacy Related Issues [Research in Progress] (Weinberger & Bouhnik, 2019). Methodology: The research is conducted using a mixed methodology and consists of two phases: qualitative and quantitative. The qualitative stage is a pilot which includes semi-structured interviews with three music streaming application users in order to explore the possible change in personal information management, following the emergence of these applications (e.g., changes in classification and song retrieval methods). The quantitative phase includes the distribution of closed ended questionnaires among 192 users of music streaming applications (Male – 72.9%, Female – 27.1%; Age: 18-58), aiming to explore personal information management issues and privacy related issues that emerge while using these applications. Contribution: As far as we know, this is the first academic research to investigate the issue of personal information management among music streaming applications and the also the first to use a mixed methods approach to examine digital music consumption. In addition, it is the first study that takes into account privacy related issues among the users of music streaming applications. Findings: We found major changes between personal musical information management in the past and in the present. As most of the participants (85.4%) prefer nowadays to sort musical items in playlists or not to sort them at all. Out of the participants who chose to sort in folders in the past, only 42.7% still do it at present and out of the participants who chose to sort by alphabetical order in the past, only 15.7% do it at present. Also, we found that the participants have medium sense of ownership over the songs being stored on their streaming applications (M=2.78, SD=1.46) and medium sense that those applications may be used as social activity (M=2.75, SD=1.25). Interestingly, the choice of "sophisticated" genres (e.g. Blues, Jazz or Classical) as favorite music genre predicts the perception of using music streaming applications as part of social activity (R2=0.044, p<0.05). As for privacy concern, it was found that although the participants are moderately concerned about privacy within music streaming applications (M=2.67, SD=1.15), they are willing to pay for higher privacy protection services if they will be offered to them (r=0.49, p<0.001). In general, participants were found to be moderately willing to pay for premium services (M=2.44, SD=1.01), with ad-free service (M=3.07, SD=1.54) being the highest ranked premium service. Impact on Society: The research may drive music streaming applications operators to offer premium services that provide various benefits, such as: ad-free usage, higher privacy protection or better social features, as participants are willing to pay for those features. They may also personalize their users by preferred music genres, to adapt the specific service being offered to them.
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Huber, Annegret. "Die Pianistin spricht. Überlegungen zur Epistemologie von Vertonungsanalysen und ihrer Funktion in musikwissenschaftlicher Forschung." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.83.

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There is nothing fundamentally wrong with the premise that a pianist like Clara Wieck/Schumann ‘speaks’ in her song compositions. This, however, raises a number of epistemological questions that will be discussed in this article. First of all, an explicit distinction is made between the examination of the ‘technical’ aspects of her compositional practice – in German: Praktik – (which may allow conclusions to be drawn about the pianist’s implicit knowledge) on the one hand, and the social aspects of her discursive practice – in German: Praxis – on the other. Thus, it is also necessary to discuss the criteria that the structural-analytical methodology must satisfy, as well as to consider to whom the pianist is actually speaking: to us music researchers of the 21st century? Or should we ask ourselves whether our analysis is not rather a “reading of traces” in the sense of Sybille Krämer, through which we invent the ‘producer’ of the analyzed ‘trace’ in the first place? Or to put it another way epistemologically: how do we make the pianist speak? What function does our ‘speaking’ of her compositions – namely the piano parts in her songs – have in scholarly argumentations?
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Reports on the topic "Social justice – Songs and music"

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Manhiça, Anésio, Alex Shankland, Kátia Taela, Euclides Gonçalves, Catija Maivasse, and Mariz Tadros. Alternative Expressions of Citizen Voices: The Protest Song and Popular Engagements with the Mozambican State. Institute of Development Studies (IDS), November 2020. http://dx.doi.org/10.19088/ids.2020.001.

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This study examines Mozambican popular music to investigate three questions: Are notions of empowerment and accountability present in popular music in Mozambique? If so, what can these existing notions of empowerment and accountability reveal about relations between citizens and state institutions in general and about citizen-led social and political action in particular? In what ways is popular music used to support citizen mobilisation in Mozambique? The discussion is based on an analysis of 46 protest songs, interviews with musicians, music producers and event promoters as well as field interviews and observations among audiences at selected popular music concerts and public workshops in Maputo city. Secondary data were drawn from radio broadcasts, digital media, and social networks. The songs analysed were widely played in the past two decades (1998–2018), a period in which three different presidents led the country. Our focus is on the protest song, conceived as those musical products that are concerned with public affairs, particularly public policy and how it affects citizens’ social, political and economic life, and the relationship between citizens and the state.
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