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

Author: Grafiati

Published: 4 June 2021

Last updated: 14 February 2022

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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11

Salvador, Karen, and Jacqueline Kelly-McHale. "Music Teacher Educator Perspectives on Social Justice." Journal of Research in Music Education 65, no. 1 (February 15, 2017): 6–24. http://dx.doi.org/10.1177/0022429417690340.

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Given the shifting demographics in American education, the rising likelihood of students with special needs being taught in inclusive classrooms, and the increasing openness with which students are challenging gender and sex norms, social justice has become a prevalent research topic in music education. This survey sought to investigate the perspectives of music teacher educators with regard to social justice, music education, and music teacher education. Many of the 361 respondents indicated engagement with social justice and shared methods for addressing social justice topics in music teacher education as well as describing limitations that prevented them from doing more. However, about 50% of respondents defined social justice in “difference-blind” terms. A further 10% to 15% of respondents rejected the need to address social justice topics in music teacher education, stated it was not their job, and/or described social justice as a waste of instructional time that should be spent on content. In contrast, 10% to 15% of respondents expressed a desire for assistance understanding more about social justice in school music settings and/or suggestions how to teach about social justice topics in undergraduate music teacher education. This article concludes with a discussion of these findings and suggestions for future research.

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12

Rajan, Rekha S. "Social Justice in the General Music Classroom." General Music Today 33, no. 1 (September 22, 2019): 3. http://dx.doi.org/10.1177/1048371319875445.

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13

Alan, Suna. "Kurdish music in Turkey." Memory Studies 12, no. 5 (October 2019): 589–92. http://dx.doi.org/10.1177/1750698019870713.

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Musician and journalist Suna Alan gives an account of some of the songs she performs and loves. These are mainly Kurdish music. Suna describes the Dengbej tradition to which much of the music belongs. However, her summary of some songs, and excerpts from the lyrics, also draws on music by Sephardi Jews and the Armenians, other cultural groups who lived, like the Kurds, under the Ottoman Empire. The lyrics and Suna’s contextualization of them in terms of the history they tell and from which they emerge reveal the oppression and suffering of these transcultural groups under the Ottoman Empire, but also their fight against injustice. The music remembers their loves as well as their losses.

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14

Dahal, Bishnu Prasad. "Nepalese Nation, Nationalism and Identities in Patriotic Songs." International Journal of Learning and Development 10, no. 4 (December 31, 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 accepted by Nepalese citizens as a part of their national identity and such affinities are supported by the songs’ repeated broadcast and consumption on Radio Nepal, various other Radios, Nepal Television, private television channels and social media platforms. It is found form the research that patriotic music provides a means for social cohesion, not via the propagation of dogmatic patriotic content, but through the personal and intimate associations that such songs solicit from individual citizens.

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15

Curtis, Sandra Lynn. "Music therapy and social justice: A personal journey." Arts in Psychotherapy 39, no. 3 (July 2012): 209–13. http://dx.doi.org/10.1016/j.aip.2011.12.004.

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16

Vaillancourt, Guylaine. "Music therapy: A community approach to social justice." Arts in Psychotherapy 39, no. 3 (July 2012): 173–78. http://dx.doi.org/10.1016/j.aip.2011.12.011.

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17

Cockrell, Dale, and Roy Palmer. "The Sound of History: Songs and Social Comment." Notes 47, no. 4 (June 1991): 1169. http://dx.doi.org/10.2307/941657.

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18

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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19

Reynolds, Geoffrey. "Ghanaian Folk Songs: Training Ground for Music and Social Skill Development." General Music Today 19, no. 1 (October 2005): 17–21. http://dx.doi.org/10.1177/10483713050190010105.

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20

Glen, Nancy L. "Why Do We “Skip to My Lou,” Anyway? Teaching Play Party Songs in Historical Context." General Music Today 30, no. 2 (July 24, 2016): 4–10. http://dx.doi.org/10.1177/1048371316655845.

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This article focuses on teaching play party songs in a general music curriculum, using their authentic form and historical context. The history of play party songs is discussed, as well as the social conditions in America during the time they were used in the late 19th to mid-20th century. Descriptions of the songs include variations in lyrics and movements, with three examples of popular play party songs discussed in detail. Tips for teachers who wish to teach play party songs in their original historical context are offered, and a case is made for using them as a component of interdisciplinary teaching between the music specialist and the classroom teacher. At the end of the article, a sample list of popular play party songs are presented, as well as a list of resources to support the music specialist in learning more about these songs.

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21

Ruth, Nicolas. "“Where is the love?” Topics and prosocial behavior in German popular music lyrics from 1954 to 2014." Musicae Scientiae 23, no. 4 (March 21, 2018): 508–24. http://dx.doi.org/10.1177/1029864918763480.

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Many content analyses have investigated the content of popular music, but as yet no one has looked for references to prosocial behavior in the lyrics. There are no quantitative content analyses of prosocial content in popular music, although we know that many musicians are concerned with social engagement, the environment, equal rights, and many other prosocial behaviors. To investigate which topics are the most prevalent in popular music lyrics and how frequently these refer to prosocial behavior, a content analysis was performed on 588 songs appearing in the German yearly charts from 1954 to 2014. The major interest of songwriters seems to be love, which was found in 57% of the songs; this was the most common topic found. References to prosocial behavior were found in 3.74% of the songs. Prosocial behavior usually appeared in songs dealing with social or political topics.

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22

Hess, Juliet. "Equity in Music Education: Why Equity and Social Justice in Music Education?" Music Educators Journal 104, no. 1 (September 2017): 71–73. http://dx.doi.org/10.1177/0027432117714737.

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23

Rosenblatt, Elizabeth L. "Social Justice and Copyright's Excess." Texas A&M Journal of Property Law 6, no. 1 (October 2020): 5–22. http://dx.doi.org/10.37419/jpl.v6.i1.2.

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My life is real. So when I hear about an editor asking: What’s up with my output? I’m like: What’s up with you even commenting on my life? Niggas don’t know my life. That’s the bourgeoisie approach that I get offended by because this ain’t no bubble. This ain’t no vacuum we doing this music out of. That’s why people connect to the pain in it. Because it’s real. That’s the part they should respect. These radio hits, these charts, they don’t validate the truth and the message. That’s when I start to be like, “Okay, you ain’t got a record on radio. You ain’t put an album out officially, so you’re an underachiever.” That’s where I get offended because let’s restart this whole situation. The metrics and the gauge of success, and of impact on the culture. It don’t got shit to do with Billboard, it don’t got shit to do with SoundScan. It don’t got shit to do with any of these platforms that the business created. This shit is a culture. This shit is our life. You understand? So in between my projects does it take a year or two, or another artist that live a real life? Does it take them a year to put a project out? Because he wants to retain ownership. He wants to do what they refuse to let you do and that’s control his own destiny. He don’t wanna be exploited by the music industry that been traditionally exploitive to our creators. Then he end up on lists like the Top 25 Underachievers.

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MapurangaChitando, TapiwaEzra. "Songs of Healing and Regeneration: Pentecostal Gospel Music in Zimbabwe." Religion and Theology 13, no. 1 (2006): 72–89. http://dx.doi.org/10.1163/102308012x13397496507667.

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AbstractThis study examines the texts of Zimbabwean gospel music to illustrate images of hope, healing, and regeneration. By analysing songs that were recorded between the late 1990s and 2005, the study highlights the importance of the social context to religious music performance. The study provides a description of the socio-economic context in which gospel music in Zimbabwe has been performed. The message of hope found in selected gospel songs is outlined, the theme of healing in gospel music is examined and the theme of Africa's renewal in Zimbabwean gospel music is highlighted. The study also describes how artists look forward to a new era of Africa's prosperity and progress. Throughout, reference is made to specific biblical passages that have inspired the different songs.

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Hadi, Sumasno, and Sulisno Sulisno. "Popular Banjar Song: Study on Music Form and Media Culture." Harmonia: Journal of Arts Research and Education 21, no. 1 (June 7, 2021): 168–77. http://dx.doi.org/10.15294/harmonia.v21i1.29349.

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Technological developments in society and their social practices contribute to the popularity of folk songs. In this regard, this study aims: (1) to analyze the form of popular Banjar song music, and (2) to analyze the discourse and culture-media context that underpins the popularity of the Banjar song. This research was conducted using qualitative methods with data collection strategies including observation, document studies, questionnaires, and interviews. In the aspect of content, analysis of the form of music is carried out in stages: (1) notating the popular Banjar song document; (2) analyzing the form/structure of the music; (3) presenting the elements of the music form, and (3) making conclusions. Meanwhile, in studying the culture-media discourse on popular Banjar songs, it is carried out using the Pierre Bourdieu’s social practice approach which focuses on the concepts of habitus, capital, and the cultural field. Based on the analysis that has been carried out, it is known that popular Banjar songs have basic forms with three variations, namely the form of one part (A), two parts (AB), and three parts (ABC). However, it shows that most of the songs that exist are in the form of two parts, with a tendency to use major tonality. This finding confirms that the popular Banjar song is a product of mass culture, namely artworks produced from the popular culture ecosystem. In this study, it is also found that social and symbolic capital in the popularity of the Banjar song becomes a social practice that takes place in the cultural field of the people of South Kalimantan. The cultural field is a social space for cultural agents to actualize the popularity of the Banjar song.

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26

Parkins, Lisa. "Popular Music and Social Justice in the Dialogical Classroom." International Journal of Arts Education 14, no. 1 (2019): 35–44. http://dx.doi.org/10.18848/2326-9944/cgp/v14i01/35-44.

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Gould, Elizabeth. "Social justice in music education: the problematic of democracy." Music Education Research 9, no. 2 (June 4, 2007): 229–40. http://dx.doi.org/10.1080/14613800701384359.

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28

Lee, R. M. "Angelic Airs, Subversive Songs: Music as Social Discourse in the Victorian Novel." Genre 36, no. 1-2 (January 1, 2003): 211–14. http://dx.doi.org/10.1215/00166928-36-1-2-211.

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29

Salganik, Matthew J., and Duncan J. Watts. "Leading the Herd Astray: An Experimental Study of Self-fulfilling Prophecies in an Artificial Cultural Market." Social Psychology Quarterly 71, no. 4 (December 2008): 338–55. http://dx.doi.org/10.1177/019027250807100404.

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Individuals influence each others' decisions about cultural products such as songs, books, and movies; but to what extent can the perception of success become a “self-fulfilling prophecy”? We have explored this question experimentally by artificially inverting the true popularity of songs in an online “music market,” in which 12,207 participants listened to and downloaded songs by unknown bands. We found that most songs experienced self-ful- filling prophecies, in which perceived—but initially false—popularity became real over time. We also found, however, that the inversion was not self-fulfilling for the market as a whole, in part because the very best songs recovered their popularity in the long run. Moreover, the distortion of market information reduced the correlation between appeal and popularity, and led to fewer overall downloads. These results, although partial and speculative, suggest a new approach to the study of cultural markets, and indicate the potential of web-based experiments to explore the social psychological origin of other macrosocio- logical phenomena.

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30

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

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

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Ender, Tommy. "Incorporating the Critical Music Framework: An Autoethnographic Reflection." International Journal of Multicultural Education 23, no. 1 (April 30, 2021): 146. http://dx.doi.org/10.18251/ijme.v23i1.2447.

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I articulate an autoethnographic narrative of using different songs to counter dominant interpretations of gender, class, immigration, slavery, and education in the social studies classroom. Framing it as the Critical Music Framework, the practice of using music addressing social issues and historical representations of women and people of color provided secondary students with reflective, learning opportunities. The resulting conversations illustrate the importance of music not just on the personal, but also the academic aspects of individuals.

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Jackson, Myles. "Harmonious Investigators of Nature: Music and the Persona of the German Naturforscher in the Nineteenth Century." Science in Context 16, no. 1-2 (March 2003): 121–45. http://dx.doi.org/10.1017/s0269889703000759.

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ArgumentDuring the early nineteenth century, the German Association of Investigators of Nature and Physicians (Versammlung Deutscher Naturforscher und Ärzte) drew upon the cultural resource of choral-society songs as a way to promote male camaraderie and intellectual collaboration. Investigators of nature and physicians wished to forge a unified, scientific identity in the absence of a national one, and music played a critical role in its establishment. During the 1820s and 30s, Liedertafel and folk songs formed a crucial component of their annual meetings. The lyrics of these tunes, whose melodies were famous folk songs, were rewritten to reflect the lives of investigators of nature and physicians. Indeed, the singing of these Liedertafel songs played an important part in the cultivation of the Naturforschers’ persona well into the twentieth century.

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Guerra, Paula. "The Song Is Still a ‘Weapon’: The Portuguese Identity in Times of Crises." YOUNG 28, no. 1 (May 9, 2019): 14–31. http://dx.doi.org/10.1177/1103308819829603.

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This article examines a set of Portuguese songs that ‘sing’ the economic, financial and social crises in Portugal in the post-2008 period. This work underlies a heuristic principle: to demonstrate how artistic manifestations—in this case, the songs in several (sub-)genres of popular music—are themselves a means and an object of social intervention, demarcating a specific, defined space in the acknowledgment and revelation of social problems, and in the contestation, deconstruction and accusation of problems that deal with social reality. We demonstrate that these songs seek to denounce and sometimes incite social change with the aim of creating transformation. They are therefore signs of a specific space—identity producers—and not just an echo of social reality. Insurgent songs instigate readings, narratives and deconstructions of reality, and they are simultaneously significant elements of a collective identity.

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MAGEE, JEFFREY. "“Everybody Step”: Irving Berlin, Jazz, and Broadway in the 1920s." Journal of the American Musicological Society 59, no. 3 (2006): 697–732. http://dx.doi.org/10.1525/jams.2006.59.3.697.

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Abstract In his four Music Box Revues (1921–24), Irving Berlin introduced a series of songs that many construed as jazz. That view has not prevailed, but the jazz label becomes more intelligible through efforts to restore its original milieu, including the songs' distinctive musical and linguistic elements, their theatrical context, and the cultural commentary surrounding Berlin and his work in that period. At a time when the term jazz had only recently entered public discourse, and when its meaning, content, and value remained in flux, Berlin deployed a variety of ragtime and blues figures that may be described as black topics, and combined them in such a way as to produce a jazz trope, a musical construct created by juxtaposing disparate or even contradictory topics. When repeatedly set to lyrics that celebrate illicit behavior, the music gains further associations with things that jazz was thought to abet. Theatrical setting further reinforced the songs' links to jazz. Berlin wrote many of the numbers for a flapper-style sister act, often placed them in a climactic program position, and juxtaposed them with sentimental and nostalgic songs that lacked jazz flavor and whose lyrics, in some cases, pointedly denied jazz's attractions. Beyond the stage, the songs and their theatrical presentation flourished within an emerging perspective that identified Jewish Americans, such as Berlin and George Gershwin, as the key figures in jazz and musical theater. Berlin's Broadway jazz stands as an influential and revealing intersection of musical, linguistic, theatrical, and social elements in the early 1920s.

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Perkins. "Student Perceptions of a Choral-Dialoguing Social Justice Course." Bulletin of the Council for Research in Music Education, no. 221 (2019): 72. http://dx.doi.org/10.5406/bulcouresmusedu.221.0072.

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Oliven, Ruben George. "Comparing Brazilian and North American songs about money." Vibrant: Virtual Brazilian Anthropology 9, no. 1 (June 2012): 239–73. http://dx.doi.org/10.1590/s1809-43412012000100009.

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This article compares Brazilian and North American popular music. If focuses on the lyrics of songs composed mainly in the first half of the twentieth century when an intense process of national building was taking place in Brazil and the United States. Several of those compositions became classics. Those songs were and still are very popular because they echoed and continue to echo the social imaginary of both countries. It is for this reason that popular music is so crucial for the understanding of both societies.

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Ben Moussa, Mohamed. "Rap it up, share it up: Identity politics of youth “social” movement in Moroccan online rap music." New Media & Society 21, no. 5 (May 2019): 1043–64. http://dx.doi.org/10.1177/1461444818821356.

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This study examines the discursive and artistic expression of Moroccan youth identity politics through the production and consumption of rap music online, particularly on YouTube. Drawing on multimodal discourse analysis (MDA), the study explores textual, visual, and reception modes and discourses of Moroccan rap songs mediated through songs’ lyrics, video clips, and user comments on the video sharing platform. Focusing on four levels of discourse, namely, narrative and interpersonal representation, genre, modality, and style, the study examines the following key questions: What are the discourses that emerge from the production, circulation, and consumption of online rap music by Moroccan youth? How do online rap production and reception contribute to identity formation among Moroccan youth? To what extent does online rap music contribute to the development of a progressive and alternative social youth movement that challenges dominant cultural and political power relations?

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Silverman, Marissa. "Sites of social justice: community music in New York City." Research Studies in Music Education 31, no. 2 (December 2009): 178–92. http://dx.doi.org/10.1177/1321103x09344384.

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GILBERT, SHIRLI. "Songs Confront the Past: Music in KZ Sachsenhausen, 1936–1945." Contemporary European History 13, no. 3 (August 2004): 281–304. http://dx.doi.org/10.1017/s0960777304001730.

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This article considers the role of music among German, Polish and Jewish prisoners in Sachsenhausen, the Nazi concentration camp. It focuses primarily on the songs that were composed and sung in the camp, of which at least 350 are known. The article uses song as a lens through which to examine the diversity of the camp's social landscape, and places particular emphasis on the distinctive ways in which prisoner groups chose to interpret and respond to the experience of incarceration.

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Gildart, Keith. "Book Review: Songs of the Factory: Pop Music, Culture and Resistance." Cultural Sociology 10, no. 2 (May 9, 2016): 293–94. http://dx.doi.org/10.1177/1749975516641809d.

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Sprankle, Eric L., and Christian M. End. "The Effects of Censored and Uncensored Sexually Explicit Music on Sexual Attitudes and Perceptions of Sexual Activity." Journal of Media Psychology 21, no. 2 (January 2009): 60–68. http://dx.doi.org/10.1027/1864-1105.21.2.60.

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The effects of censored versus uncensored sexually explicit music on undergraduate students’ attitudes toward premarital sex, perception of peer sexual activity, and attitudes toward women were examined. Under the guise of a lyrical memory task, the experiment involved groups of participants who were randomly assigned to listen to an uncensored sexually explicit song, a censored version of the same song, a nonsexual song by the same artist, or no music. The lyrical content did not have a significant impact the participants’ self-reported sexual attitudes and perceptions of peer sexual activity. Additionally, the music (or lack of) did not significantly alter attitudes toward premarital sex, perceptions of peer sexual activity, or attitudes toward women. The nonsignificant difference between the sexually explicit songs and the nonsexual songs challenges the psychological and lay theories that exposure to sexually explicit music instigates attitudinal change.

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Bucciferro, Claudia. "Songs of Exile: Music, Activism, and Solidarity in the Latin American Diaspora." JOMEC Journal, no. 11 (July 6, 2017): 65. http://dx.doi.org/10.18573/10.18573/j.2017.10147.

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This article addresses the connection between music and social activism in Latin America, centering on a discussion of ‘the music of exile’ as a cultural artifact of historical and conceptual significance for diasporic Latin American communities. The music produced by artists who were persecuted during the years of military rule was characterized by an engagement with social and political affairs, and often helped bring people together in the struggle for democratization. Despite censorship laws and other repressive measures enacted by the dictatorships, the music not only endured, but traveled across nations and continents, carried by the millions of people who were displaced due to State-sponsored violence. Now distributed through new media platforms such as YouTube, this music functions as a repository of memory and an emblem of solidarity that connects dispersed Latin American communities. Using Cultural Studies as a theoretical framework and employing an interpretive methodology, this study focuses on a selection of songs written between 1963 and 1992, presenting an analysis that centers on their lyrics and connects their meanings to larger social processes.

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RUSSELL, DAVE. "Abiding memories: the community singing movement and English social life in the 1920s." Popular Music 27, no. 1 (December 13, 2007): 117–33. http://dx.doi.org/10.1017/s0261143008001505.

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AbstractThe community singing movement was a distinctive feature of English popular musical life in the mid-1920s. Although initiated by individuals who saw it as essentially educational, it was rapidly appropriated by sections of the press, and especially the Daily Express, as an instrument in the circulation wars of the period. It was typified by a restricted range of music comprising ‘national’ songs, hymns (with the performance of ‘Abide with Me’ at the FA Cup Final singing particularly important), and songs of the First World War. This mixture and the concomitant neglect of modern popular song reflects the rather nostalgic thrust behind activities, with calls for community singing to recreate a ‘Merrie England’ that would heal the deep social divisions of the 1920s. Whether the singers were fully aware of these various musical and socio-political agendas is unclear, but community singing undoubtedly enjoyed a period of considerable popularity, with the music appreciated for allowing displays of individual and collective emotion.

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Parsons, Donna S. "Angelic Airs, Subversive Songs: Music as Social Discourse in the Victorian Novel (review)." Victorian Studies 46, no. 2 (2004): 347–49. http://dx.doi.org/10.1353/vic.2004.0100.

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Liu, Chen, and Rong Yang. "Consuming popular songs online: Phoenix Legend’s audiences and Douban Music." cultural geographies 24, no. 2 (January 3, 2017): 295–310. http://dx.doi.org/10.1177/1474474016684125.

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This article explores the creative consumption of popular music and explains how audiences involve their place-based emotions within their representations of popular music in an everyday setting, drawing on a qualitative study on people’s interpretations of Phoenix Legend (a popular music duo in mainland China) and its music. We collected the texts created by Phoenix Legend’s audiences from Douban Music ( http://music.douban.com/ ), a Chinese online music forum. Our analysis focuses on how fans, non-fans and anti-fans interpret and re-write the meanings of Phoenix Legend and its songs emotionally and how these interpretations shape and are shaped by these audiences’ senses of self and place. The key finding of this article argues that through the consumer-to-consumer network provided by social media (Douban Music), the rural–urban division, ethnic cultures and the role of Chinese nationalism in the global marketplace are generated by audiences’ creative writings and their interactions with other consumers. Moreover, we suggest that anti-fans’ and non-fans’ emotional engagement within music consumption and their interactions should be paid more attentions to.

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Grębowiec, Jacek. "A jeśli nie "wrocławska piosenka", to co?" Kultura Popularna 3, no. 53 (February 26, 2018): 41–50. http://dx.doi.org/10.5604/01.3001.0010.8265.

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The topic of the article is music that is strongly connected to the history of post-war, Polish again, Wroclaw — the city and its cultural, social and political landscape. This includes not only songs composed by artists from Wroclaw, but also songs dedicated to this city. In the article, songs from different timespans are analysed: the ones composed in the 1950s, in the pioneering period of restoration, as well as countercultural songs from the 1980s. The paper is complemented by an analysis of the newest songs that pretend to be hits or anthems of Wroclaw, although they have never gained the same fame as classical songs written by Maria Koterbska or new-wave band Klaus Mitffoch.

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Carless, David. "“Throughness”: A Story About Songwriting as Auto/Ethnography." Qualitative Inquiry 24, no. 3 (April 17, 2017): 227–32. http://dx.doi.org/10.1177/1077800417704465.

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A recent special issue of Qualitative Inquiry (December 2016) throws a welcome spotlight on the place of songs within qualitative research. In this essay, I share a story that contributes to the gathering conversation around music and songs as a (perhaps unique) form of qualitative inquiry. My contribution focuses specifically on song writing as a form of research, which has received limited attention to date within the qualitative inquiry literature. The story is inspired by recent explorations of songwriting as reflexive practice, and I share it with the aim of expanding understanding and inviting further dialogue on the processes of writing (songs as) qualitative research.

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Grenier, Line. "Radio broadcasting in Canada: the case of ‘transformat’ music." Popular Music 9, no. 2 (May 1990): 221–33. http://dx.doi.org/10.1017/s0261143000003925.

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What do Michel Rivard's ‘Un trou dans les nuages’ and Marjo's ‘Les chats sauvages’ have in common? Both songs were released in 1987 by two well-known French-speaking Québécois artists; they sold over 500,000 copies each and remained on the Top-Ten chart of Radio-Activité for over seventy weeks. These songs were played repeatedly on AM and FM radio stations in Quebec. However, unlike most other hits, Rivard's middle of the road (MOR) ballad was even heard on dance-music radios and Marjo's slow-beat rock appeared on the regular playlist of stations devoted primarily to easy-listening music! In fact, these songs are two examples of ‘transformat’ radio music, that is songs that get airplay on various stations which according to their respective operating license, should specialise in different musical genres and display contrasting programming styles. Using examples drawn from an exploratory study of radio music in private (commercial) FM stations in the Eastern Townships (Québec), this article will address some of the issues raised by transformat music. After a brief analytical portrait of Canada's radio policies and format regulations, I shall examine contrasting explanations of this phenomenon which focus on genre/style, state policy and business/industry. In the closing section, I shall present outlines of an alternative approach which rests upon the acknowledgement of the specific contribution of radio to the social production of popular music and addresses transformats as the outcome of creative repetition broadcasting devices.

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Cardany, Audrey Berger. "Mitigating death anxiety: Identifying music’s role in terror management." Psychology of Music 46, no. 1 (February 1, 2017): 3–17. http://dx.doi.org/10.1177/0305735617690600.

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Based on the ideas of social-anthropologist Ernest Becker, Terror Management Theory (TMT) explains human behavior as being motivated by conscious and unconscious mortality salience. This article examines the role of music in the denial of death and catalogues related literature in the music and social psychology fields. Categories include: TMT and art, music used as control condition in TMT research, and songs and TMT. A brief description of Becker’s theory and TMT and a discussion of the functions of music in culture precede the literature review. Analysis of the literature suggests that (a) music provides a safe window frame through which to examine death, (b) music created for community purposes may buffer death anxiety more readily than that created for individual purposes, and (c) songs prompt mortality salience and simultaneously buffer death anxiety depending on individual music preferences, cultural worldviews, and perceptions of famous others. The review further identifies limitations in TMT studies regarding music and terror management and highlights the need for additional empirical research to untangle the complexity of music’s role in mitigating death anxiety growing out of mortality salience.

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Millar, Stephen R. "Let the people sing? Irish rebel songs, sectarianism, and Scotland's Offensive Behaviour Act." Popular Music 35, no. 3 (September 14, 2016): 297–319. http://dx.doi.org/10.1017/s0261143016000519.

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AbstractIrish rebel songs afford Scotland's Irish diaspora a means to assert, experience and perform their alterity free from the complexities of the Irish language. Yet this benign intent can be offset by how the music is perceived by elements of Scotland's majority Protestant population. The Scottish Government's Offensive Behaviour Act (2012) has been used to prosecute those singing Irish rebel songs and there is continuing debate as to how this alleged offence should be dealt with. This article explores the social function and cultural perception of Irish rebel songs in the west coast of Scotland, examining what qualities lead to a song being perceived as ‘sectarian’, by focusing on song lyrics, performance context and extra-musical discourse. The article explores the practice of lyrical ‘add-ins’ that inflect the meaning of key songs, and argues that the sectarianism of a song resides, at least in part, in the perception of the listener.

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