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Journal articles on the topic 'White Power music'
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Futrell, Robert, Pete Simi, and Simon Gottschalk. "Understanding Music in Movements: The White Power Music Scene." Sociological Quarterly 47, no. 2 (May 2006): 275–304. http://dx.doi.org/10.1111/j.1533-8525.2006.00046.x.
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Hopkinson, Natalie. "Fluorescent Flags: Black Power, Publicity, and Counternarratives in Go-Go Street Posters in the 1980s." Communication, Culture and Critique 13, no. 3 (May 23, 2020): 275–94. http://dx.doi.org/10.1093/ccc/tcz058.
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Abstract This semiotic landscape analysis probes urban patterns of racial placement and displacement through an archive of music publicity posters. The music poster archive is a site to map the so-called “Chocolate City” of Washington, D.C., in the 1980s, explore its calendars, rhythms, textures, communication technology, history and movements of segregated black life. These posters advertising go-go music, the city's indigenous black popular music, asserted a territory of black economic, cultural and political power. They resisted the narrative of a sanitized “White City” designed for white tourists. The city's cultural entrepreneurs challenged false dominant narratives and public policies that marginalized black urban culture as dangerous and deviant. A crack-down on postering in the late 1990s was an early harbinger of gentrification.
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Alsop, Christiane. "Book Review: Reichsrock: The International Web of White-Power and Neo-Nazi Hate Music." Genocide Studies and Prevention 11, no. 3 (March 2018): 131–33. http://dx.doi.org/10.5038/1911-9933.11.3.1548.
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Ogata, Shigeki. "Human Eeg Responses to Classical Music and Simulated White Noise: Effects of a Musical Loudness Component on Consciousness." Perceptual and Motor Skills 80, no. 3 (June 1995): 779–90. http://dx.doi.org/10.2466/pms.1995.80.3.779.
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The main purpose of the present study was to investigate the psychophysiological effects of music on human EEG. For this purpose, a sound modulator was developed which simulates the sound-pressure variations of a given piece of music by white noise (sim-music). Using this apparatus, the author tested the psychophysiological effects of music on human EEG. The electroencephalograms (EEG), electrocardiograms (ECG), and electrooculograms (EOG) of eight normal volunteers were recorded for a total of 21 min., 5 sec. per session for each subject under three sound conditions: silence for 5 min., two types of music (music) or two types of simulated noise (sim-music) for 11 min., 5 sec., followed by silence for another 5 min. Each subject was exposed to a total of 10 music and 10 sim-music conditions. At the low consciousness level (drowsiness, Stage S1), higher delta component power densities were observed with sim-music than with music. Thus, even in the same Stage S1, entire physiological consciousness levels may be higher when listening to music than to sim-music. While listening to music, many subjects reported that they felt pleasantly relaxed or comfortable. However, with the sim-music, they reported feeling unpleasantly weary and sleepy. It seems that the mental set toward two sound conditions differed greatly for many subjects. In Stage S1, the differences in EEG slow components showed that the differences in consciousness had a physiological aspect and indicated differences in mental set toward both sound conditions and mental activity during the listening conditions.
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Shpenkov, O., S. Tukaiev, and I. Zyma. "EEG gamma-band spectral power changes during listening to the rock-music with reduced low-frequency level." Bulletin of Taras Shevchenko National University of Kyiv. Series: Biology 75, no. 1 (2018): 27–32. http://dx.doi.org/10.17721/1728_2748.2018.75.27-32.
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Among musicians, it is well known that depending on signals level of certain frequencies music can elicit different emotions and affect on its strength. Aim: In this study we investigate influence of low-frequency component in rock-music on emotional experience. Methods: 30 volunteers participated in this study. Four stimuli were presented: white noise, song of birds, instrumental rock-composition and rock-composition with reduced low-frequency level. EEGs were recorded during listening to the sounds and music. Results: During listening to the sounds and music the most significant EEG changes were observed mainly in beta and gamma-bands, which related to emotional and cognitive processes. There was general activation in gamma-band during listening to the rock-composition with normal frequency range, as well as during white noise session. Whereas there was increase of SP in gamma-band only in left posterior areas and in right frontal area during listening to the rock-composition with reduced low-frequency signal level. Conclusions: Lesser activation in gamma-band during listening to the second rockcomposition related to the lower level of emotional activation.
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Luke, Timothy W. "Overtures for the Triumph of the Tweet: White Power Music and the Alt-Right in 2016." New Political Science 39, no. 2 (April 3, 2017): 277–82. http://dx.doi.org/10.1080/07393148.2017.1301323.
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Martin, Toby. "Dougie Young and political resistance in early Aboriginal country music." Popular Music 38, no. 03 (October 2019): 538–59. http://dx.doi.org/10.1017/s0261143019000291.
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AbstractCountry music has a reputation for being the music of the American white working-class South and being closely aligned with conservative politics. However, country music has also been played by non-white minorities and has been a vivid way of expressing progressive political views. In the hands of the Indigenous peoples of Australia, country music has often given voice to a form of life-writing that critiques colonial power. The songs of Dougie Young, dating from the late 1950s, provide one of the earliest and most expressive examples of this use of country music. Young's songs were a type of social-realist satire and to be fully understood should be placed within the broader socio-political context of 1950s and 1960s Australia. Young's legacy was also important for Aboriginal musicians in the 1990s and the accompanying reassessment of Australia's colonial past. Country music has provided particular opportunities for minority and Indigenous groups seeking to use popular culture to tell their stories. This use of country music provides a new dimension to more conventional understandings of its political role.
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Singh, Roopa Bala. "Yoga’s Entry Into American Popular Music Is Racialized (1941–67)." Resonance 1, no. 2 (2020): 132–62. http://dx.doi.org/10.1525/res.2020.1.2.132.
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This study unearths 20th-century U.S. music histories to demonstrate that racism accompanied the entry of yoga into American “belonging” and domestication, while “Indians” were excluded. There are three yoga song sites in this study; each presents a composite of racial constructions that utilize Othering tropes long deployed to affirm White supremacy and legitimize colonial power. I analyze the sound world, lyrics, and films of (1) the 1941 popular song “The Yogi Who Lost His Will Power,” by Orrin Tucker and His Orchestra; (2) the 1960 chart-topper “Yogi,” which catapulted the Ivy Three to one-hit-wonder status; and, (3) the 1967 Elvis Presley song “Yoga Is as Yoga Does, ” from the movie Easy Come, Easy Go. Questions that guide this study include: How does racist displacement appear in historic contexts of sonic productions and U.S. proliferation in yoga? What racial stereotypes accompanied yoga’s entry into American cultural discourse? I argue the evidence supports three key findings: (1) yoga’s movement into American popular culture is inextricably tied to racism and Othering; (2) widely circulating stereotypes of Indians, yoga, and yogis in American popular music include classic racist tropes, such as the grinning Sambo, and (3) the logic of elimination operates to hide U.S. music histories of racialized yoga. I conclude that U.S. yoga and its musical and cultural productions, branded as peaceful and flexible, camouflage the settler nation and White supremacy. The article concludes with a forecast for the importance of music studies to the nascent field of critical yoga studies.
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Norris, Marisol Samantha. "A Call for Radical Imagining: Exploring Anti-Blackness in the Music Therapy Profession." Voices: A World Forum for Music Therapy 20, no. 3 (October 30, 2020): 6. http://dx.doi.org/10.15845/voices.v20i3.3167.
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This spotlight presentation explores the relationship between anti-Black violence and music therapy. Centering the recent deaths of Ahmaud Arbery, Breonna Taylor, Sean Reed, George Floyd, and Tony McDade, the speaker discusses protests taking place in the United States and throughout the world that demand justice for Black lives. In this presentation, the speaker discusses the interconnectedness of physical and social death as a continuum of oppression the field must contend with to meet social justice aims. Music therapy across the globe is situated within complex socio-political, socio-structural, socio-historical, and socio-cultural systems. It holds the vestiges of White European settler colonialism and is founded upon dominant cultural values and ideals that support its existence and simultaneously benefit and harm client communities. While, as a professional body, we aim to deepen music therapy access and conceptualize empowerment from a social justice frame, we must explore the various ways music therapy leverages proximations of power. Any calls for access and empowerment in music therapy amplify our existence within unjust systems and our participation in their perpetuation in education, theory, research, practice, and praxis. The speaker explores anti-Blackness from a Black feminist lens and discusses the radical repositioning of music therapy as we collectively strive to meet social justice aims.
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Ritts, Max. "Environmentalists abide: Listening to whale music – 1965–1985." Environment and Planning D: Society and Space 35, no. 6 (June 1, 2017): 1096–114. http://dx.doi.org/10.1177/0263775817711706.
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Music can enrich geographical efforts to understand ideology as a lived experience. This paper explores the history of whale music – instrumental music that samples or thematizes whale sound. For environmentalists who came of age in the late 1960s, whale music fostered new interrogations about the identity of nature and the nature of identity, interrogations that reflected structural changes in North American society. To understand whale music’s surprising ideological power, I draw on Althusser’s formative idea of interpellation, and refine it with insights from Antonio Gramsci, John Mowitt, and Neil Smith. As examples from British Columbia’s Lower Mainland and California’s Bay Area reveal, whale music interpellated environmentalists, capturing the energies of predominantly white middle-class subjects eager to develop new relationships with nature. Whale music was not discovered, as its devotees proposed it was, but invented, through a combination of animal sounds, recording techniques, consumer trends, and ideologies of nature. It reveals environmentalism as a sonorous formation – a system that recruits listeners into sonically-mediated realms of thought, action, and subjectivity.
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Accinno, Michael. "Extraordinary voices: Helen Keller, music and the limits of oralism." Journal of Interdisciplinary Voice Studies 4, no. 2 (October 1, 2019): 139–56. http://dx.doi.org/10.1386/jivs_00002_1.
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Abstract This article examines iconic American deafblind writer Helen Keller's entræ#169;e into musical culture, culminating in her studies with voice teacher Charles A. White. In 1909, Keller began weekly lessons with White, who deepened her understanding of breathing and vocal production. Keller routinely made the acquaintance of opera singers in the 1910s and the 1920s, including sopranos Georgette Leblanc and Minnie Saltzman-Stevens, and tenor Enrico Caruso. Guided by the cultural logic of oralism, Keller nurtured a lively interest in music throughout her life. Although a voice-centred world-view enhanced Keller's cultural standing among hearing Americans, it did little to promote the growth of a shared identity rooted in deaf or deafblind experience. The subsequent growth of Deaf culture challenges us to reconsider the limits of Keller's musical practices and to question anew her belief in the extraordinary power of the human voice.
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McDonald, Mary G. "Once More, With Feeling: Sport, National Anthems, and the Collective Power of Affect." Sociology of Sport Journal 37, no. 1 (March 1, 2020): 1–11. http://dx.doi.org/10.1123/ssj.2019-0089.
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In this paper I apply insights from Sport Studies, Indigenous Studies, Music Studies, and Feminist Cultural Studies to illuminate and theorize the cultural, material, and political affective salience of national anthems staged prior to sporting events. To do so I analyze two different cases: The Aboriginal musical trio Asani’s 2014 multi-lingual performance of “O Canada” prior to an Oilers hockey game which closed Truth and Reconciliation Commission (TRC) events in Edmonton, Alberta; and the projection of hatred onto former NFL quarterback Colin Kaepernick’s kneeling protest of racism during the playing of the U.S. national anthem in 2016. Analysis suggests that these emotive, often visceral musical performances and responses are not contained within individual subjects but instead reflect contextually specific repetitive (dis)articulations across time, space, and a variety of bodies. Placed within broader colonial contexts, Asani’s version of the Canadian anthem is exemplary of the embodied sensory, but politically limited settler-oriented communitas of Canadian TRC inclusionary music as previously explicated by Robinson. Kaepernick’s anti-racist kneeling activism provides an additional case to theorize the relationship of national anthems in regards to movements for and against an imagined white nation as well as State-sanctioned colonization and hatreds.
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Safran, Benjamin. "“The Hall Does Not Make the Space”: Disrupting Concert Hall Norms in Hannibal's One Land, One River, One People." Journal of the Society for American Music 15, no. 3 (August 2021): 287–304. http://dx.doi.org/10.1017/s1752196321000183.
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AbstractHannibal's cheering and shouting along with his request for audience participation during the 2015 premiere of his composition One Land, One River, One People caused a stir and created discomfort among the Philadelphia Orchestra audience. I interpret his work as an example of a successful musical direct action within contemporary orchestral music. By exposing and subverting the traditions of the classical concert experience, One Land, One River, One People highlights social boundaries within the genre of classical music itself. I apply Robin James's (2015) concept of Multiracial White Supremacy, or MRWaSP, to contemporary orchestral classical music of the United States. Under late capitalism, MRWaSP helps to explain the potential appeal to an orchestra of commissioning Hannibal, who is known as a “genre-crossing” composer rooted in classical and jazz. Yet I argue that the way in which Hannibal performs his identity along with the piece's inclusion of audience participation allow the music to resist functioning as expected under MRWaSP. Rather than promoting a sense that—as one might expect from the title—we are all “one people,” I see the piece as revealing racial difference and as speaking truth to power.
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Smith, Maya Angela. "The Importance of Writing Reclaiming Venus." Journal of Popular Music Studies 33, no. 1 (March 1, 2021): 36–41. http://dx.doi.org/10.1525/jpms.2021.33.1.36.
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Seventy-six-year-old Alvenia Bridges is someone who could be described as forever young. While she contends with typical signs of aging such as osteoporosis and arthritis, her daily meditative walks, diet of primarily salmon and avocados, and invigorating friendships contribute to her youthful demeanor. But a healthy lifestyle can only account for so much. Her captivating storytelling is what truly keeps her young. When she recounts her ability to move throughout the world in the heyday of her youth and when she describes how music allowed her to escape a violent beginning and discover her true purpose for existing, she transports both herself and her listener to another place and time. In doing so, age loses all meaning. Furthermore, her experience as a Black woman navigating the predominantly white and male-run world of Rock and Roll bears witness to the racial and gendered dynamics that exist in the music industry, highlighting how the past informs the present. By narrating an incident that occurred when Bridges was tour-managing the Rolling Stones, this lecture explores how our ethnographic memoir entitled Reclaiming Venus: The Many Lives of Alvenia Bridges conveys the power one wields when telling a story on one’s own terms.
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Meador, Daryl. "Waltz of the Oil Field." Feminist Media Histories 6, no. 2 (2020): 148–75. http://dx.doi.org/10.1525/fmh.2020.6.2.148.
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This paper critically listens to the Oral History of the Texas Oil Industry archives, a concatenation of slightly drawling white oilmen recorded in the mid twentieth century. The uniformity of the authorial voices in this archive helps to construct a monolithic white historiography that sanitizes collective memory in Texas. The archive offers insight into the sonic qualities of power in Texas as it is mediated through an idealized Texan identity via accent. In an effort to unsettle the authority of this totalizing Texan identity and its voice, this paper also listens to the history of Creole music as it migrated into Texas and transformed in contact with the state's oil industry. Placing these two different vocal histories together, one self-assured and one characterized by stretching its own limits, interrogates how we listen to the voice in history, attuned to sonic and vocal notations of power as it has alternately been enjoyed or endured.
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Schmalenberger, Sarah. "Trendy Fascism: White Power Music and the Future of Democracy. By Nancy S. Love. Albany, NY: State University of New York, 2016." Journal of the Society for American Music 12, no. 4 (November 2018): 513–17. http://dx.doi.org/10.1017/s1752196318000408.
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Viljoen, M. "Johannes Kerkorrel en postapartheid- Afrikaneridentiteit." Literator 26, no. 3 (July 31, 2005): 65–82. http://dx.doi.org/10.4102/lit.v26i3.237.
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Johannes Kerkorrel and post-apartheid Afrikaner identity The music of Johannes Kerkorrel (Ralph Rabie, 1960-2002) gave expression to the sentiments of a young white urban generation that rebelled against the autocratic rule of the apartheid government. Kerkorrel’s songs, many of which were banned during the apartheid era, created an alternative Afrikaner voice through biting social criticism and political satire. His politicised narratives evoke collective memories and experiences that construct moral hierarchies by means of an exceptional intensity, simplicity and power. Kerkorrel’s life-story may be read as a continuous textual reconfiguration of identity throughout which an uninterrupted thread of self-remembrance is simultaneously woven. In a society in the process of constant transformation, a speculative theorising of Kerkorrel as a construct of local identity may serve as a starting point for understanding popular music representations of the postapartheid Afrikaner character.
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Venkata Rama Rao, S., A. Mallikarjuna Prasad, and Ch Santhi Rani. "Direction of Arrival Estimation of Uncorrelated Signals Using Root-MUSIC Algorithm for ULAs and UCAs." International Journal of Engineering & Technology 7, no. 4.36 (December 9, 2018): 398. http://dx.doi.org/10.14419/ijet.v7i4.36.23813.
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In this paper, Root-MUSIC algorithm for direction of arrival (DOA) estimation of uncorrelated signals is explored both for uniform linear and uniform circular arrays. The basic problem in Uniform Linear Arrays (ULAs) is Mutual coupling between the individual elements of the antenna array. This problem is reduced in Uniform Circular Arrays (UCAs) because of its symmetric structure. The DOA estimation of uncorrelated signals that have different power levels is simulated on a MATLAB environment. And the noise consider is white across all the array elements. The factors considered for simulation are number of number of snapshots, array elements, radius of circular array, array length, and signal to noise ratio.
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Marasabessy, Syeikha Annisa, and Lucia Lusi Ani Handayani. "Musical Aspects for Empowering the Black Characters in the Movie Get Out (2017)." Resital: Jurnal Seni Pertunjukan 20, no. 2 (August 27, 2019): 70–80. http://dx.doi.org/10.24821/resital.v20i2.2594.
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In this 21st century, the representation of Black people in many U.S. movies is still problematic, for the movies do not omit the stereotypical representations of Black people, which are often depicted being disrespectful and unintelligent compared to other races. Many movies have been trying to change them into another perspective, yet they are still unable to completely get rid of those stereotypes. By looking through the cinematic aspects, the dialogues, and the symbols along with the sounds and music used, this paper examines the stereotypes of Black characters the movie Get Out (2017) by Jordan Peele using discourse analysis. The paper observes that the representation of the movie still distinguishes Black from White in the aspects of body over mind in Black masculinity, incivility, and distinctive racial labor. As a result, Black characters are seen inferior compared to White characters despite the movie’s effort to empower them. The use of music also emphasizes the power relation difference between the two races. Overall finding of the paper reveals that the existence of Black stereotypical depiction is still found in a movie empowering Black people showing that race representation should be monitored thoroughly.
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Sackl-Sharif, Susanne. "The dark side of blogging: Digital metal communities and metal influencers." Metal Music Studies 7, no. 2 (June 1, 2021): 237–55. http://dx.doi.org/10.1386/mms_00047_1.
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At the 2016 Dimebash event, Phil Anselmo made a Nazi salute and shouted ‘White power!’ at the end of his performance of the Pantera song ‘Walk’ onstage. The attendant YouTuber Chris R shared a video of the incident and thus provoked a discussion about racism in metal that also included widely discussed statements of Robb Flynn and Scott Ian, who both labelled Anselmo’s actions as racist. This is one of many examples that demonstrate changing information flows and increasingly fast-paced communication processes on social media platforms, including metal communities. Online platforms such as YouTube or Facebook not only enable musicians and bands to share videos, songs, tour dates or band gossip, but also to directly engage in discussions with their fans, which may also involve social and political issues. To provide an illustration of metal bands’ possibilities for online interaction, I have created a digital metal landscape that includes a set of digital tools, platforms and applications for different music- and non-music-related activities. Against this background, I discuss here contemporary metal musicians’ political and social engagement on social media and the reach of their comments within metal communities. Based on an analysis of Robb Flynn’s online presence in his The General Journals: Diary of a Frontman and Varg Vikernes’ Thulean Perspective, I will show that in the digital age, it is possible for metal musicians to become important influencers not only regarding music but also regarding social and political issues.
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Santos, Elaine, Mahdi Khosravy, Marcelo A. A. Lima, Augusto S. Cerqueira, Carlos A. Duque, and Atsushi Yona. "High Accuracy Power Quality Evaluation under a Colored Noisy Condition by Filter Bank ESPRIT." Electronics 8, no. 11 (November 1, 2019): 1259. http://dx.doi.org/10.3390/electronics8111259.
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Due to the highly increasing integration of renewable energy sources with the power grid and their fluctuations, besides the recent growth of new power electronics equipment, the noise in power systems has become colored. The colored noise affects the methodologies for power quality parameters’ estimation, such as harmonic and interharmonic components. Estimation of signal parameters via rotational invariance techniques (ESPRIT) as a parametric technique with high resolution has proven its efficiency in the estimation of power signal components’ frequencies, amplitudes, and phases for quality analysis, under the assumption of white Gaussian noise. Since ESPRIT suffers from high computational effort, filter bank ESPRIT (FB-ESPRIT) was suggested for mitigation of the complexity. This manuscript suggests FB-ESPRIT as well for accurate and robust estimation of power signal components’ parameters in the presence of the colored noise. Even though the parametric techniques depend on the Gaussianity of contaminating noise to perform properly, FB-ESPRIT performs well in colored noise. The FB-ESPRIT superiority compared with the conventional ESPRIT and MUSIC techniques was demonstrated through many simulations runs on synthetic power signals with multiple harmonics, interharmonics, and subharmonic components in the presence of noises of different colors and different SNR levels. FB-ESPRIT had a significant efficiency superiority in power quality analysis with a wide gap distance from the other estimators, especially under the high level of colored noise.
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Medley, Mark S. "Subversive song: Imagining Colossians 1:15–20 as a social protest hymn in the context of Roman empire." Review & Expositor 116, no. 4 (October 21, 2019): 421–35. http://dx.doi.org/10.1177/0034637319878790.
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A connection exists between the Christological hymn of praise and protest in Col 1:15–20 and popular protest music. The connection is the lyrical ability to transform political and socio-cultural realities, as well as to empower and mobilize protest and resistance against imperial power and coercive structures of domination. A special focus is on Billie Holiday’s song, “Strange Fruit,” a contemporary model of a protest song in comparison to Col 1:15–20. In the comparison, the Colossians hymn draws upon the political ideology and imagery of the Roman Empire in the form of a counter-discourse, as was Jewish resistance poetry, in ways analogous to how Holiday’s “Strange Fruit” evokes the imagery of white racial terror for the sake of raising political consciousness.
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Spohr, Arne. "“Mohr und Trompeter”: Blackness and Social Status in Early Modern Germany." Journal of the American Musicological Society 72, no. 3 (2019): 613–63. http://dx.doi.org/10.1525/jams.2019.72.3.613.
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By the end of the seventeenth century, black trumpeters and kettledrummers were employed at many courts of the Holy Roman Empire as symbols of princely magnificence. Their legal and social position within the court hierarchy, and within German society as a whole, has been debated among historians. According to a commonly held view, black performers who had been bought on the international slave market were considered legally free and fully integrated into German society once they had completed a two-year apprenticeship and entered court service. Membership in the Imperial Trumpeters' and Kettledrummers' Guild (requiring proof of free birth) is usually cited as evidence of their free legal status, social integration into German society, and privileged position at court. Drawing on insights from social, religious, and legal history, history of race, and music sociology, my article reevaluates the notion of the frictionless integration of black trumpeters and drummers into Germany's estate-based society by focusing on two case studies: Christian Real (fl. 1643–74) and Christian Gottlieb (fl. 1675–90). As my study of their little-known yet well-documented careers demonstrates, the social position of these black trumpeters was far more fragile than that of their white colleagues. The tension between their blackness, associated with their previous slave status, and their visible roles as court trumpeters associated with princely power sometimes led to conflict and even physical violence. Both case studies suggest that black trumpeters and drummers were more susceptible to discrimination and violence whenever they moved out of the courtly sphere in which they were privileged and protected.
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Raposo, Ana, and Russ Bestley. "Designing fascism: The evolution of a neo-Nazi punk aesthetic." Punk & Post-Punk 9, no. 3 (November 1, 2020): 467–98. http://dx.doi.org/10.1386/punk_00039_1.
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This article explores the design strategies of four record labels associated with the growth of an explicitly far-right sub-genre of punk in the United Kingdom between 1979 and the early 2000s: Rock-O-Rama Records, White Noise Records, Rebelles Européens and ISD Records. While Rock-O-Rama saw the inclusion of the genre as simply an extension of their existing business model, the other labels were established specifically to support the activities of a small number of explicitly far-right groups who were blacklisted by mainstream producers and distributors within the music industry. These labels were also able to develop independent, do-it-yourself approaches to marketing, promotion and distribution that bear striking similarity to other sub-genres of punk and post-punk in the United Kingdom and Europe, particularly the politically activist hardcore and anarcho-punk scenes. Earlier examples of record covers that employed ambiguous visual metaphors to evoke a mythical Aryan identity were eventually superseded by the emergence of a more extreme form of visual communication that utilized overtly racist images alongside symbols with specific coded meanings to demonstrate a commitment to the white nationalist cause. These visual strategies were to become more explicit as far-right punk scenes moved to embrace fascist ideologies in the 1990s and beyond, as connotations of brotherhood, persecution, endurance, Norse mythology and the nation eventually gave way to direct calls-to-arms and pledges of allegiance with White Power and neo-Nazi terrorist groups.
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Hunka, George. "A Bookshelf of Brecht." PAJ: A Journal of Performance and Art 38, no. 2 (May 2016): 123–28. http://dx.doi.org/10.1162/pajj_r_00324.
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Last December, actress Tonya Pinkins abandoned a Classic Stage Company production of Bertolt Brecht's Mother Courage and Her Children just days before it was scheduled to open; Pinkins and the white director of the play, Brian Kulick, had sparred over Pinkins's interpretation of the role, and apparently the creative differences became irreconcilable. In a statement released by Playbill, Pinkins said, When Black bodies are on the stage, Black perspectives must be reflected. This is not simply a matter of “artistic interpretation”; race and sex play a pivotal role in determining who holds the power to shape representation. A Black female should have a say in the presentation of a Black female on stage. … As we enter 2016, the collective White creative community has a responsibility to bring as many ‘others’ into the room, both onstage and offstage, before, during and after decisions are made. Only then will the beauty of global humanity be heard, seen, and finally understood, so that the truth wipes away the misconceptions and misappropriations that cause the fear which foments violence around the globe.
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Khusnah, Khotimatul, and Vita Vendityaningtyas. "THE NARRATOR’S VOICE OF FREEDOM IN RALPH ELLISON’S INVISIBLE MAN: A STUDY OF POSTCOLONIAL LITERATURE." English Teaching Journal : A Journal of English Literature, Language and Education 4, no. 1 (May 24, 2019): 1. http://dx.doi.org/10.25273/etj.v4i1.4355.
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<p>The purpose of this research is to<strong> </strong>describe<strong> </strong>the position of Black people as the folk who get discrimination in America and explain the Narrator’s voice as the Black people in conveying the equality between Black and White people in America that is represented in<em> Invisible Man</em> novel. This research uses qualitative research. The researcher needs postcolonial literature by Lois Tyson to get evidences the effects and goals of the author in creating a story. The analysis reveals that Black people include subordinate people, oppressed minority group, and lower class that always suppressed and exploited by superior people who have power. Black people try to fight against superior to show their feeling of freedom for getting the same position and equality as White by conveying their voice through protest. The conclusion shows that inferiority makes Black people who have lower position in society get oppression that cause physical and mental disturbance from superior and the Narrator tries to struggle and get confession of Black people from the domination of White in order to survive their existence in society by conveying the voice with non-violence way through speech, action and music.</p>
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Brunow, Dagmar. "Manchester’s Post-punk Heritage: Mobilising and Contesting Transcultural Memory in the Context of Urban Regeneration." Culture Unbound 11, no. 1 (April 12, 2019): 9–29. http://dx.doi.org/10.3384/cu.2000.1525.20191119.
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Urban memories are remediated and mobilised by different - and often conflicting - stakeholders, representing the heritage industry, municipal city branding campaigns or anti-gentrification struggles. Post-punk ‘retromania’ (Reynolds 2011) coincided with the culture-led regeneration of former industrial cities in the Northwest of England, relaunching the cities as creative clusters (Cohen 2007, Bottà 2009, Roberts & Cohen 2014, Roberts 2014). Drawing on my case study of the memory cultures evolving around Manchester‘s post-punk era (Brunow 2015), this article shows how narratives and images travel through urban space. Looking at contemporary politics of city branding, it examines the power relations involved in adapting (white homosocial) post-punk memories into the self-fashioning of Manchester as a creative city. Situated at the interface of memory studies and film studies, this article offers an anti-essentialist approach to the notion of ‘transcultural memory’. Examining the power relations involved in the construction of audiovisual memories, this article argues that subcultural or popular memories are not emancipatory per se, but can easily tie into neoliberal politics. Moreover, there has been a tendency to sideline or overlook feminist and queer as well as Black and Asian British contributions to post-punk culture. Only partially have such marginalised narratives been observed so far, for instance in Carol Morley’s documentary The Alcohol Years (2000) or by the Manchester Digital Music Archive. The article illustrates how different stakeholders invest in subcultural histories, sustaining or contesting hegemonic power relations within memory culture. While being remediated within various transmedia contexts, Manchester’s postpunk memories have been sanitised, fabricating consensus instead of celebrating difference.
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Srinivasan, R., Tessy Thomas, and Bopanna Lakshmi. "Power Spectral Density Computation and Dominant Frequencies Identification from the Vibration Sensor Output under Random Vibration Environment." Defence Science Journal 70, no. 6 (October 12, 2020): 692–700. http://dx.doi.org/10.14429/dsj.70.15535.
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The objective of the modal and spectral analysis is to determine the vibration characteristics of structures such as natural frequencies, dominant frequencies and mode shapes. Such modal and spectral analyses have major relevance to the study of the dynamic properties of the structures undergoing dynamic vibration. Methods for the estimation of the power spectral density and identification of the dominant frequencies from the sensor responses under random vibrating environment are presented in this paper. Periodogram using FFT, Welch Method and MUSIC algorithm are used to analyse the known frequency sinusoids with additive white noise and output of the vibration sensor mounted on the test object. The resultant spectra obtained using the methods and their corresponding errors with the reference spectrum are analysed. The Welch method is further studied with three different windows, namely, Hann, Hamming and Blackman-Harris and with three different overlapping criteria viz. 0%, 25% and 50%. The same algorithm and methodology were adopted and compared in two different platforms: Mathematical Model Simulation and Hardware-In-Loop-Simulation. It is observed from the results that Welch Method with 25% overlap used in combination either with Hann or Blackman-Harris window yields more accurate results, compared to other combinations. Also, 25% overlap provides better execution time trade-off compared to 50% overlap.
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Taylor, Janette Y., and Ezra C. Holston. "An Exploratory Study Using Cortisol to Describe the Response of Incarcerated Women IPV Survivors to MAMBRA Intervention." Nursing Research and Practice 2016 (2016): 1–8. http://dx.doi.org/10.1155/2016/7068528.
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Objective. To determine if incarcerated women survivors of IPV had a physiological response to the Music and Account-Making for Behavioral-Related Adaptation (MAMBRA) intervention, as measured by cortisol levels.Methods. A single-group repeated measures designed exploratory study was used to pilot-test MAMBRA. A convenience sample (n=33) was recruited in a Midwestern women’s correctional facility. Serving as their own control, participants provided demographics and pre-/post-MAMBRA salivary samples while attending four MAMBRA sessions. Baseline data were compared to participants’ data collected over the remaining 3 MAMBRA sessions. Data were analyzed with descriptive and univariate statistics with an alpha of .05 and post-hoc power of .65.Results. Participants were predominantly White (52%), single (80%), and early middle-aged (x-AGE=38.7±9.4), with a history of physical/nonphysical spousal abuse. Using a subsample (n=26), salivary cortisol decreased between the pre-/post-MAMBRA over the sessions (F(3,75)=4.59,p<.01).Conclusion. Participants had a physiological response to the MAMBRA intervention as evidenced by the decreased cortisol between the pre-/post-MAMBRA. This is the first step in examining MAMBRA’s clinical utility as an intervention for female IPV survivors. Future longitudinal studies will examine MAMBRA’s effectiveness given this change in cortisol.
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Bradling, Björn. "‘We are the Others’: A literary analysis of the rise, fall and resurrection of Ultima Thule’s Viking-rock." Punk & Post-Punk 00, no. 00 (August 20, 2021): 1–28. http://dx.doi.org/10.1386/punk_00109_1.
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Viking-rock grew out of the diminishing Swedish punk scene in the early 1980s and is lyrically linked to British Oi! and the far-right ‘Rock against Communism’ (RAC) scene. Previous research on Viking-rock either emphasizes the genre as a cultural expression of the Swedish white power milieu of the 1990s or as a product of the skinhead subculture. However, critical analyses of Viking-rock lyrics are scarce. This study emphasizes the development of the Other, as expressed in the lyrics of Viking-rock flagship band Ultima Thule from the 1980s to the 2010s, in relation to the development of the political party the Sweden Democrats. The lyrics are analyzsed from a comparative literature perspective that draws upon both borealism and the concept of the subaltern as an anti-intellectual voice of power as well as the idea that long-lasting political change is preceded by cultural change. The results suggest that Ultima Thule’s lyrical Other has gone from vague to distinct characterization. Ultima Thule also makes use of self-victimization when confronting journalism and intellectualism, much like the Sweden Democrats’ own view of themselves as political outcasts. Ultimately, the lyrics toe the party line and describe nationalists as an outcast Other in an alleged, politically correct, discourse.
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Walsh, Taylor. "Small Fires Burning: Bruce Nauman and the Activation of Conceptual Art." October 163 (March 2018): 21–48. http://dx.doi.org/10.1162/octo_a_00316.
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In 1968, a year of mounting opposition to the Vietnam War, a young Bruce Nauman laid waste to a work of contemporary art. His antagonism was unleashed on Various Small Fires (1964) by Ed Ruscha, a booklet of fifteen black-and-white photos of harmless, domestic-scaled flames. After ripping out and igniting each page, Nauman photographed and rebound the charred remnants to form a new text, Burning Small Fires. Here Ruscha's volume supplies the fodder for its own assault, as Nauman cannibalizes a work of Conceptual art to expose its limitations and blind spots. For although it has never been read as such, Nauman's book was a timely project: both an explicit dialogue with the work of a peer and an implicit response to the events of the day. While Ruscha's static images treat burning as “absolutely neutral”—an “introverted” and “meaningless” subject—Nauman restores the sense of ritual power that fire then held in the culture of protest. This essay measures the distance in tone and technique between the original work and its destructive double, as an early-1960s aesthetic of relentless banality gave way to more volatile forces.
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Selvan, Preethi, Katherine Myers-Coffman, Karolina Bryl, Jasmine Tenpa Lama, Brigette Sutton, Jacelyn Biondo, Carrie Cottone, et al. "Recruiting patients with advanced cancer to participate in a non-opioid intervention for chronic pain management." Journal of Clinical Oncology 38, no. 15_suppl (May 20, 2020): e14085-e14085. http://dx.doi.org/10.1200/jco.2020.38.15_suppl.e14085.
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e14085 Background: Chronic pain related to advanced cancer is difficult to treat. In addition to traditional analgesics, non-pharmacological interventions, such as music therapy, may help alleviate pain in this population. Research studies to test the efficacy of these non-pharmacological interventions are necessary and important. However, recruiting patients with advanced cancer to participate in such interventions can be challenging. Identifying effective sources of referrals and barriers to participation may help increase recruitment rates in the future. Methods: We recruited patients with advanced cancer (stage III or IV) with chronic pain from two major hospital systems to participate in a pain management interventional study. The experimental group received individualized music therapy, while the control group received talk therapy. Participants attended six weekly sessions at the hospital and were compensated for time and travel. Recruitment methods included referrals from care teams, advertisement through flyers and posters, EMR chart reviews, and in-person recruitment at multiple infusion centers. Missing data was excluded from analyses. Chi-square tests assessed significant differences between groups. Results: Of 594 patients that were referred to the study, 7% enrolled (n = 40), 35% declined (n = 208), and 58% were ineligible (n = 346). Forty-seven percent (n = 19) of enrolled participants were female; race/ethnic distributions were the following: African American/Black (55%; n = 22), Caucasian/White (28%; n = 11), or other (17%; n = 7). The most effective recruitment method was through self-referral; of the 40 patients enrolled in the study, 9 (23%) were enrolled through this method. There were no statistically significant differences between referral source and enrollment. The top three reasons patients declined to participate included lack of interest (32%; n = 67), lack of time and/or energy (28%; n = 59), and lack of transportation (16%, n = 34). Conclusions: Although there were no differences in referral sources, more patients were enrolled through self-referral or in-person recruitment, showing the power of personal motivation and personal touch. While lack of participation due to interest, time, or energy are hard to overcome, future research should consider campaigns to reach patients who are motivated to participate. In addition to referrals, resources for in-person recruitment and transportation to help alleviate barriers to research participation should be considered.
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Klotz, Kelsey A. K. "Dave Brubeck's Southern Strategy." Daedalus 148, no. 2 (April 2019): 52–66. http://dx.doi.org/10.1162/daed_a_01742.
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In January 1960, white jazz pianist Dave Brubeck made headlines for cancelling a twenty-five-date tour of colleges and universities across the American South after twenty-two schools had refused to allow his black bassist, Eugene Wright, to perform. This cancellation became a defining moment in Brubeck's career, forever marking him as an advocate for racial justice. This essay follows Brubeck's engagement with early civil rights–era protests, examining the moments leading up to Brubeck's cancellation of his 1960 tour of the South. In doing so, I uncover new details in Brubeck's steps toward race activism that highlight the ways in which Brubeck leveraged his whiteness to support integration efforts, even as he simultaneously benefited from a system that privileged his voice over the voices of people of color. While Brubeck has been hailed as a civil rights advocate simply for cancelling his 1960 tour, I argue that Brubeck's activism worked on a deeper level, one that inspired him to adopt a new musical and promotional strategy that married commercial interests with political ideology. Brubeck's advocacy relied on his power and privilege within the mainstream music industry to craft albums and marketing approaches that promoted integration in the segregationist South. Ultimately, this period in Brubeck's career is significant because it allows deep consideration of who Brubeck spoke for and above, who listened, and for whom his actions as a civil rights advocate were meaningful.
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Liu, Lydia H. "The Ghost of Arthur H. Smith in the Mirror of Cultural Translation." Journal of American-East Asian Relations 20, no. 4 (2013): 406–14. http://dx.doi.org/10.1163/18765610-02004004.
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Arthur H. Smith’s Chinese Characteristics (1890) remained the most widely read American book on China until Pearl Buck’s The Good Earth (1931). Smith’s collection of pungent and humorous essays, originally written for white expatriates in Asia, was accepted by Americans at home as a wise and authentic handbook. The book was soon translated into Japanese (1896), classical Chinese (1903), and at least three more times into Chinese since 1990. The characteristics Smith identified reflect his conception of the American Way of Life, racial hierarchy, the idea of progress, and the middle-class values with which he was brought up. He used race and “national character” to explain Chinese food, dress, body care, music, art, language, and architecture, as well as politics and religion. Lu Xun, the preeminent Chinese cultural critic of the early twentieth century, pondered why his country had been defeated and came to believe that the character of his countrymen was the key to their future survival. Smith’s criticisms were valuable for this task of introspection but Lu Xun took him to task for misunderstanding the concept of “face” because he did not grasp it in the social context of unequal power. The ghost of Arthur Smith thus haunts both Chinese and Americans.
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Skelly, Julia. "The Phantasmagoric World of Thierry Mugler." Fashion Studies 2, no. 1 (2019): 1–13. http://dx.doi.org/10.38055/fs020108.
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This review of Thierry Mugler: Couturissime approaches the exhibition through a feminist art-historical lens and attends to the various ways that both Mugler’s clothing and the Montreal Museum of Fine Arts’ curatorial team has framed and constructed the powerful, threatening woman as a complex figure who is hard, cold, sensual, strong, hard-working, and spectacular, among many other valences. The exhibition, which had its world premiere at the MMFA in March 2019, is organized as a fashion opera in six acts, and each room illuminates disparate yet interconnected parts of Mugler’s body of work: his costumes for a 1985 performance of Macbeth in Paris; the decadent and excessive clothing worn and worshipped by past and present celebrities; the black-and-white power dressing that Helmut Newton and others have canonized in fashion photography; the astounding creations inspired by insects and reptiles; and finally, the cyborgian fembots that have been presented in both Vogue and music videos. The inclusion of photographs and videos — not a new strategy in blockbuster fashion exhibitions — is essential to the success of Thierry Mugler: Couturissime, as they reveal that while these clothes are works of art, they were made to be worn and mobilized. Although not explicitly a feminist exhibition, for viewers who are looking for feminist, political inspiration wherever they can find it Mugler’s warrior women and formidable clothing — whether made of metal, latex or feathers — provide a powerful reminder that clothing is just one of the many weapons in our arsenal.
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Sutton, Matthew Daniel. "Motion and the Noise." JAAAS: Journal of the Austrian Association for American Studies 1, no. 2 (December 30, 2020): 317–29. http://dx.doi.org/10.47060/jaaas.v1i2.131.
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William Faulkner's dislike of unwanted sound is well documented. The acoustic environment of rural Mississippi amplified irreversibly after the introduction of the automobile, airplane, and automated farm machinery. In his Intruder in the Dust (1948), the jukebox and radio absorb pointed criticism for producing "canned" sounds outside of their "proper" environment. The narrowing gap between town square and dance hall signifies encroaching chaos, as noise drowns out the attenuated "harmony" that keeps elite whites in power and Intruder's African American protagonist Lucas Beauchamp out of the hands of the lynch mob. For Faulkner, the shift in the auditory environment presents both a disruption and an impediment to a system built on white bourgeois ideals. However, Faulkner's pessimism is counterpointed by sociological studies undertaken by Fisk University researchers. The Fisk study identifies the emergence of a blues culture in the Delta whose energy and boundary-crossing impulses illustrate the liberating possibilities of an expanding soundscape. By juxtaposing Faulkner's damning descriptions of "the motion and the noise" with the Fisk University researchers' illuminating fieldwork, this essay interprets a transformative period in the constantly shifting soundscape of the U.S. South. In line with Jacques Attali's dictum that "our music foretells our future," Intruder in the Dust anticipates the cultural upheaval that would energize the Civil Rights Movement. Both in fiction and in fact, the "noise" emanating from jukeboxes and radios in 1940s Mississippi accelerated social change at a volume much higher and a tempo much faster than Faulkner and other gradualists desired.
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Avery, Tamlyn. "“Split by the Moonlight”: Beethoven and the Racial Sublime in African American Literature." American Literature 92, no. 4 (October 6, 2020): 623–52. http://dx.doi.org/10.1215/00029831-8780863.
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Abstract As Nathan Waddell has recently argued of the literary modernists whose aesthetic incorporation of the Beethovenian legend complicates the dominant view of modernism as an antitraditionalist enterprise, Ludwig van Beethoven’s music has in fact left a more significant and complicated mark on African American literature relating to the sublime properties of his musical aesthetic than has previously been recognized. As a point of departure, I apply Michael J. Shapiro’s definition of the racial sublime as a confrontation with the “still vast oppressive structure that imperils black lives” to the setting of twentieth-century African American literature, where Beethoven’s Romantic sublime often stands in for the racial sublime. This transference, I argue, is not an expression of the artist’s repressed instinctual conflict, the mere sublimation of their devotion to “white” culture and the cult of genius, as Amiri Baraka once suggested. Rather, Beethoven’s music formed a persistent and powerful political allegory of the racial sublime for many prominent twentieth-century authors in their literary works, where the sublime constitutes a sublimation of direct forms of power into a range of aesthetic experiences. This can be observed in the Beethovenian ekphrasis featured in prose works by James Weldon Johnson, Langston Hughes, James Baldwin, and Ralph Ellison—four writers whose works have also been considered indebted to blues and jazz musical influences and who approach the racial sublime not through language but by appealing to music’s nonsignifying suggestiveness, in order to capture the intensities that radiate out of these encounters. As this article reveals, their allegorical uses for Beethoven are not unitary. The forcefield of the racial sublime is registered allegorically through the performative sublime of Sonata “Pathétique” in Johnson’s The Autobiography of an Ex-Colored Man (1912); the sublime melancholy of the “Moonlight” Sonata in Hughes’s tragic short story “Home” (1934); the spiritual sublime of Beethoven’s piano concerti and the Ninth Symphony in Baldwin’s short story “Previous Condition” (1948); and the heroic sublime of the Fifth Symphony in Ellison’s bildungsroman Invisible Man (1952).
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Asare, Masi. "The Black Broadway voice: calls and responses." Studies in Musical Theatre 14, no. 3 (December 1, 2020): 343–59. http://dx.doi.org/10.1386/smt_00047_7.
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Black musical theatre artists in New York City share and theorize their experiences with industry expectations around racialized vocal performance. Musical director John Bronson, actor/singer Jamal James, composer/music director Dionne McClain-Freeney, composer/writer Khiyon Hursey, actor/singer Rheaume Crenshaw, actor/singer/voice teacher Elijah Caldwell, and actor/singer Zonya Love Johnson comprise the group. The artists grapple with the conundrum of sounding ‘Black enough’, how the demand for uniform Black vocalization confounds historical accuracy in period shows, and the fantasy of the generic, idealized ‘Black Broadway voice’. The group details unspoken, misguided industry assumptions that Black singers do not produce multiple kinds of belt sounds, do not use the vocal mix sound, and sing only in a heavy (power) sound virtuosically ornamented with riffs that evokes for (white) listeners a misleadingly monolithic idea of ‘the Black church’. As these artists point out, ‘We do not all go to the same church’; in fact, the ability to fluidly move between more classical (legit) and gospel vocal sounds may actually arise from a singer’s training in the church choir. Collectively these artists have worked on multiple Broadway and off-Broadway shows from The Color Purple to Hamilton and A Strange Loop, major tours and regional productions of shows such as Hair, Ain’t Misbehavin’, and Waitress, and hold songwriting credits from the prestigious BMI musical theatre writing workshop to Netflix. This conversation took place in October 2019.
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Davis, John R. "I want something new: Limp Records and the birth of DC punk, 1976‐80." Punk & Post Punk 9, no. 2 (June 1, 2020): 177–204. http://dx.doi.org/10.1386/punk_00030_1.
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Recountings of the Washington, DC punk rock scene’s history often start with the founding of Dischord Records in 1980 and focus on the subsequent ascent of Dischord co-owner Ian MacKaye’s bands like Minor Threat and Fugazi. As seminal as Dischord remains in the narrative of DC punk ‐ a community still thriving today ‐ the years just prior to the label’s founding generated the scene’s true incunabula. Beginning with the self-released debut EP from the Slickee Boys in 1976, this first wave of DC bands ‐ also including Razz, Nurses, White Boy and others ‐ combined elements of art rock, surf, proto-punk, pub rock and power pop together to craft a protean version of punk that embraced eccentricity and humour, serving as the city’s own defiant rebuke of the staid state of 1970s rock music. No record label was more central to the nascent punk scene in DC than Limp Records. Operated by Skip Groff, Limp provided the punk community with its first proper record label. Rather than a label that centred around the efforts of a single band ‐ as most other new DC punk labels did ‐ Limp issued singles for several groups, collaborating with the fledgling Dacoit and O’Rourke labels to co-release defining singles for the Slickee Boys and Razz. DC punk would not have taken shape the way it did without Groff’s efforts, particularly considering his connections with bands like Bad Brains and the Slickee Boys and his musical and entrepreneurial influence on local teenage punks like MacKaye, Jeff Nelson and Henry Rollins. This article is a history of DC punk record labels from 1976 to 1980 and seeks to establish this overshadowed era of the scene as one of the most critical in the community’s 43-year existence. Considering the outsize influence the DC scene ultimately had on punk culture ‐ whether through the eponymous clean living philosophy inspired by the Minor Threat song ‘Straight Edge’, the unwaveringly independent business model of Dischord or the pacesetting music reliably turned out each decade by participants in the scene ‐ the impact of Groff and his first wave DC punk peers must be acknowledged.
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Grigore, Claudia. "Healing Music in Pericles, the Winter’s Tale and The Tempest." Romanian Journal of English Studies 16, no. 1 (November 1, 2019): 42–53. http://dx.doi.org/10.1515/rjes-2019-0006.
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AbstractThis essay examines the scenes in Shakespeare’s romances in which music has a healing and revitalizing power, but it also contains its own subversion. In Pericles, in the palace at Pentapolis, Pericles asks for a musical instrument, which he plays while he sings to himself. The wise doctor Cerimon revives Thaisa’s apparently dead body with the help of music in Pericles. In the final reunion scene with his daughter, Marina, the music of her voice has healing power for her father. In The Winter’s Tale, Hermione’s apparently lifeless statue is brought to life while music is playing. Finally, The Tempest is one of Shakespeare’s most musical plays, with songs and music and a masque reviving the action. Shakespeare used songs to establish the character or the mental state of the singer. Music and allusions to music in these plays’ scripts can be interpreted as forms of indirect and covert propaganda, attuned to the politics of the time, but also as individual musical parts, in which music has healing power over the mind. They are like the music of the soul, suggesting interiority. Music is used, therefore, to achieve theatrical effect.
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KITLV, Redactie. "Book Reviews." Bijdragen tot de taal-, land- en volkenkunde / Journal of the Humanities and Social Sciences of Southeast Asia 162, no. 4 (2008): 523–94. http://dx.doi.org/10.1163/22134379-90003665.
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I Wayan Arka, Malcolm Ross (eds); The many faces of Austronesian voice systems; Some new empirical studies (René van den Berg) H.W. Dick; Surabaya, city of work; A socioeconomic history, 1900-2000 (Peter Boomgaard) Josiane Cauquelin; The aborigines of Taiwan: the Puyuma; From headhunting to the modern world. (Wen-Teh Chen) Mark Turner, Owen Podger (with Maria Sumardjono and Wayan K. Tirthayasa); Decentralisation in Indonesia; Redesigning the state (Dorian Fougères) Jérôme Samuel; Modernisation lexicale et politique terminologique; Le cas de l’Indonésien (Arndt Graf) Nicholas J. White; British business in post-colonial Malaysia, 1957-70: neo-colonialism or disengagement? (Karl Hack) Chin Peng; Alias Chin Peng; My side of history; As told to Ian Ward and Norma Miraflor (Russell Jones) C.C. Chin, Karl Hack (eds); Dialogues with Chin Peng; New light on the Malayan Emergency (Russell Jones) Saw Swee-Hock; Population policies and programmes in Singapore (Santo Koesoebjono) Domenyk Eades; A grammar of Gayo; A language of Aceh, Sumatra (Yuri A. Lander) Derek Johnson, Mark Valencia (eds); Piracy in Southeast Asia; Status, issues, and responses (Carolyn Liss) Niclas Burenhult; A grammar of Jahai (James A. Matisoff) Ann R. Kinney, Marijke J. Klokke, Lydia Kieven (photographs by Rio Helmi); Worshiping Siva and Buddha; The temple art of East Java (Dick van der Meij) Ruben Stoel; Focus in Manado Malay; Grammar, particles, and intonation (Don van Minde) Pamela J. Stewart, Andrew Strathern (eds); Expressive genres and historical change; Indonesia, Papua New Guinea and Taiwan. (Dianne van Oosterhout) Johszua Robert Mansoben; Sistem politik tradisional di Irian Jaya, Indonesia; Studi perbandingan (Anton Ploeg) Timothy B. Barnard (ed.); Contesting Malayness; Malay identities across boundaries (Nathan Porath) Joel Bradshaw, Francisc Czobor (eds); Otto Dempwolff’s grammar of the Jabêm language in New Guinea (Ger Reesink) Jon Fraenkel; The manipulation of custom; From uprising to intervention in the Solomon Islands (Jaap Timmer) Clive Moore; Happy isles in crisis; The historical causes for a failing state in Solomon Islands, 1998-2004 (Jaap Timmer) Peter Burns; The Leiden legacy; Concepts of law in Indonesia (Bryan S. Turner) Terry Crowley; Bislama reference grammar (Kees Versteegh) REVIEW ESSAY Matthew Isaac Cohen; Transnational and postcolonial gamelan Lisa Gold; Music in Bali Margaret J. Kartomi; The Gamelan Digul and the prison camp musician who built it; An Australian link with the Indonesian revolution Marc Perlman; Unplayed melodies; Javanese gamelan and the genesis of music theory Ted Solís (ed.); Performing ethnomusicology; Teaching and representation in world music ensembles Henry Spiller; Gamelan; The traditional sounds of Indonesia Andrew N. Weintraub; Power plays; Wayang golek theater of West Java REVIEW ESSAY Victor T. King; People and nature in Borneo Tim Bending; Penan histories; Contentious narratives in upriver Sarawak Rajindra K. Puri; Deadly dances in the Bornean rainforest; Hunting knowledge of the Penan Benalui, 2005 Reed L. Wadley (ed.); Histories of the Borneo environment; Economic, political and social dimensions of change and continuity In: Bijdragen tot de Taal-, Land- en Volkenkunde no. 162 (2006), no: 4, Leiden
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Eischeid, Susanne A., Julia Kneer, and Birte Englich. "Peace of mind: The impact of metal gestures on stress and power." Metal Music Studies 5, no. 2 (June 1, 2019): 137–50. http://dx.doi.org/10.1386/mms.5.2.137_1.
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Findings on metal research show an action-oriented, socially competent and less stressed community, opposing the assumption that metal reduces well-being and induces depression. Our study aimed to investigate the stress-reducing effects of metal for its fans and if this is influencing power experience. The idea is based on findings that indicate positive psychological and physical effects of music in general as well as the stress-reducing effects found for open, expansive gestures (e.g. ‘Metal gestures’). After stress was raised, participants listened either to metal or to classical music. While music was played, movements of half of the participants were blocked, thus, metal gestures were not possible. Metal music led to stress reduction of such blocked movements while classical music was found only to reduce stress when movements were not blocked. Stress reduction predicted the experience of power, but metal music and movements did not.
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van den Elzen, Nadja, Vera Daman, Merel Duijkers, Kim Otte, Esmée Wijnhoven, Hans Timmerman, and Marcel Olde Rikkert. "The Power of Music: Enhancing Muscle Strength in Older People." Healthcare 7, no. 3 (June 27, 2019): 82. http://dx.doi.org/10.3390/healthcare7030082.
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Sarcopenia is a major problem occurring in the aging population. Based on previous research, music appears to have a positive influence on many aspects of life, including physical performance. This led to the question of whether listening to self-selected favorite music could improve peripheral muscle strength in older people. In this crossover study, community-dwelling people aged 65 and older were included. All participants performed handgrip strength measurements in three different circumstances: while listening to their favorite music, their most disliked music, and no music at all. As the primary outcome measurement, the within-person differences in maximum handgrip strength between the three music conditions were analyzed. A total of 153 participants (aged 73.0 ± 6 years) were included. Listening to favorite music resulted in an increase in maximum handgrip strength of +0.87 kgf (0.54–1.21, p < 0.001) compared to no music, and of +0.97 kgf (0.56–1.37, p < 0.001) compared to least favorite music. Thus, listening to favorite music has a positive effect on handgrip strength in older people. Apart from its implications for scientific grip strength measurements, this effect may be used as a fun and innocent stimulant in rehabilitation and workout classes with seniors, which could be further tested in a range of older people.
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KITLV, Redactie. "Book Reviews." New West Indian Guide / Nieuwe West-Indische Gids 62, no. 1-2 (January 1, 1988): 51–101. http://dx.doi.org/10.1163/13822373-90002046.
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-Brenda Plummer, Carol S. Holzberg, Minorities and power in a black society: the Jewish community of Jamaica. Maryland: The North-South Publishing Company, Inc., 1987. xxx + 259 pp.-Scott Guggenheim, Nina S. de Friedemann ,De sol a sol: genesis, transformacion, y presencia de los negros en Colombia. Bogota: Planeta Columbiana Editorial, 1986. 47 1pp., Jaime Arocha (eds)-Brian L. Moore, Mary Noel Menezes, Scenes from the history of the Portuguese in Guyana. London: Sister M.N. Menezes, RSM, 1986. vii + 175 PP.-Charles Rutheiser, Brian L. Moore, Race, power, and social segmentation in colonial society: Guyana after slavery 1838-1891. New York; Gordon and Breach, 1987. 310 pp.-Thomas Fiehrer, Virginia R. Dominguez, White by definition: social classification in Creole Louisiana. Rutgers, New Jersey: Rutgers University Press, 1986. xviii + 325 pp.-Kenneth Lunn, Brian D. Jacobs, Black politics and urban crisis in Britain. Cambridge, London, New Rochelle, Melbourne and Sydney: Cambridge University Press, 1986. vii + 227 pp.-Brian D. Jacobs, Kenneth Lunn, Race and labour in twentieth-cenruty Britain, London: Frank Cass and Co. Ltd., 1985. 186 pp.-Kenneth M. Bilby, Dick Hebdige, Cut 'n' mix: culture, identity and Caribbean Music. New York: Metheun and Co. Ltd, 1987. 177 pp.-Riva Berleant-Schiller, Robert Dirks, The black saturnalia: conflict and its ritual expression on British West Indian slave plantations. Gainesville, Fl.: University of Florida Press, Monographs in Social Sciences No. 72. xvii + 228.-Marilyn Silverman, James Howe, The Kuna gathering: contemporary village politics in Panama. Austin, Texas: University of Texas Press, 1986. xvi + 326 pp.-Paget Henry, Evelyne Huber Stephens ,Democratic socialism in Jamaica: the political movement and social transformation in dependent capitalism. Princeton, N.J.: Princeton University Press, 1985. xx + 423 pp., John D. Stephens (eds)-Bridget Brereton, Scott B. Macdonald, Trinidad and Tobago: democracy and development in the Caribbean. New York, Connecticut, London: Praeger Publishers, 1986. ix + 213 pp.-Brian L. Moore, Kempe Ronald Hope, Guyana: politics and development in an emergent socialist state. Oakville, New York, London: Mosaic Press, 1985, 136 pp.-Roland I. Perusse, Richard J. Bloomfield, Puerto Rico: the search for a national policy. Boulder and London: Westview Press, Westview Special Studies on Latin America and the Caribbean, 1985. x + 192 pp.-Charles Gilman, Manfred Gorlach ,Focus on the Caribbean. 1986. Amsterdam/Philadelphia, John Benjamins., John A. Holm (eds)-Viranjini Munasinghe, EPICA, The Caribbean: survival, struggle and sovereignty. Washington, EPICA (Ecumenical Program for Interamerican Communication and Action), 1985.-B.W. Higman, Sidney W. Mintz, Sweetness and power: the place of sugar in modern history. New York: Elisabeth Sifton Books, Viking Penguin Inc., 1985. xxx + 274 pp.
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Bonini, Tiziano, and Alessandro Gandini. "“First Week Is Editorial, Second Week Is Algorithmic”: Platform Gatekeepers and the Platformization of Music Curation." Social Media + Society 5, no. 4 (October 2019): 205630511988000. http://dx.doi.org/10.1177/2056305119880006.
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This article investigates the logics that underpin music curation, and particularly the work of music curators, working at digital music streaming platforms. Based on ethnographic research that combines participant observation and a set of interviews with key informants, the article questions the relationship between algorithmic and human curation and the specific workings of music curation as a form of platform gatekeeping. We argue that music streaming platforms in combining proprietary algorithms and human curators constitute the “new gatekeepers” in an industry previously dominated by human intermediaries such as radio programmers, journalists, and other experts. The article suggests understanding this gatekeeping activity as a form of “algo-torial power” that has the ability to set the “listening agendas” of global music consumers. While the power of traditional gatekeepers was mainly of an editorial nature, albeit data had some relevance in orienting their choices, the power of platform gatekepeers is an editorial power “augmented” and enhanced by algorithms and big data. Platform gatekeepers have more data, more tools to manage and to make sense of these data, and thus more power than their predecessors. Platformization of music curation then consists of a data-intense gatekeeping activity, based on different mixes of algo-torial logics, that produces new regimes of visibility. This makes the platform capitalistic model potentially more efficient than industrial capitalism in transforming audience attention into data and data into commodities.
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Karow, Morgan C., Rebecca R. Rogers, Joseph A. Pederson, Tyler D. Williams, Mallory R. Marshall, and Christopher G. Ballmann. "Effects of Preferred and Nonpreferred Warm-Up Music on Exercise Performance." Perceptual and Motor Skills 127, no. 5 (June 3, 2020): 912–24. http://dx.doi.org/10.1177/0031512520928244.
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This study investigated the effects of preferred and non-preferred warm-up music listening conditions on subsequent exercise performance. A total of 12 physically active male and female participants engaged in a crossover, counterbalanced research design in which they completed exercise trials after 3 different warm-up experiences of (a) no music (NM), (b) preferred music (PREF), and (c) nonpreferred music (NON-PREF). Participants began warming up by rowing at 50% of of age-predicted heart rate maximum (HRmax) for 5 minutes while exposed to the three music conditions. Immediately following the warm-up and cessation of any music, participants completed a 2000-m rowing time trial as fast as possible. Relative power output, trial time, heart rate, rating of perceived exertion, and motivation were analyzed. Results indicated that, compared with NM, relative power output was significantly higher ( p = .018), trial time was significantly lower ( p = .044), and heart rate was significantly higher ( p = .032) during the PREF but not the NON-PREF condition. Rating of perceived exertion was not altered, regardless of music condition ( p > .05). Motivation to exercise was higher during the PREF condition versus the NM ( p = .001) and NON-PREF ( p < .001) conditions. Listening to preferred warm-up music improved subsequent exercise performance compared with no music, while nonpreferred music did not impart ergogenic benefit.
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Mualem, Raed. "Improvements in Cognition and Educational Attainment as a Result of Integrating Music into Science Teaching in Elementary School." Neuroscience and Neurological Surgery 8, no. 05 (March 19, 2021): 01–08. http://dx.doi.org/10.31579/2578-8868/161.
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BACKGROUND AND OBJECTIVE: This study examines the effect on third-grade students’ academic achievement and their pleasure and interest in lessons as a result of the incorporation of music into science classes. MATERIAL AND METHODS: Sixty third grade Arab school children were studied before and after listing a Mozart Concerto. Their pleasure and interest in the lesson was evaluated using the 20-statement Barak questionnaire. Comparison was made between an initial 6 lessons without music and subsequent 6 lessons with music. In another study at the Institute of Neurology and Neurosurgery in Havana, Cuba, continuous electroencephalographic monitoring (CEEG) was performed in 15 third-grade school children during 10 minutes at basal condition and for 10 minutes while listening to the same piece of music. RESULTS: Assessment scores in the science examination were significantly higher overall after listening to music. A clear increment of alpha and gamma absolute powers was found when listening to music, although for the alpha band this augmentation was significantly greater. An increment of the alpha band power was related to significantly better performance of spatial–temporal tasks when listening to music. Changes in the gamma frequency band represent cognitive processes. Hence, CEEG analysis adds to evidence that listening to music can increase enjoyment and improve academic achievement among elementary school students. CONCLUSION: We propose that music stimulates the formation of neural networks that prime the brain for learning. We recommend that teachers of core subjects, especially mathematics, science and languages, begin their lessons with 5 minutes of calm music.
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Werner, Ann, Tami Gadir, and Sam De Boise. "Broadening research in gender and music practice." Popular Music 39, no. 3-4 (December 2020): 636–51. http://dx.doi.org/10.1017/s0261143020000495.
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AbstractThis article builds on research about gender in music practice, concerned with skewed musical canons, ratios and quotas of gender representation, unfair treatment and power dynamics, and the exclusionary enmeshment with music technologies. The aim is to critically discuss what ‘gender’ is understood to be, how it has been studied and how gendered power has been challenged, in order to suggest new routes for research on gender and music practice. While we count ourselves among the scholars working in the field and critically investigate our own work as well as that of others, the article addresses some additional concerns to those of previous studies by examining how gender is ontologically constructed in these studies, how intersectional approaches can enrich analyses of gender in music practice and how the material dimensions of music practice can be actively addressed. The conclusions outline suggestions for broadening research in gender and music practice.
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Tsipursky, Gleb. "Jazz, Power, and Soviet Youth in the Early Cold War, 1948−1953." Journal of Musicology 33, no. 3 (2016): 332–61. http://dx.doi.org/10.1525/jm.2016.33.3.332.
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Examining the history of jazz in the Soviet Union between 1948 and 1953, this essay sheds light on the role of popular music in the cultural competition of the early Cold War. While the Soviet authorities pursued a tolerant policy toward jazz during World War II because of its wartime alliance with the United States, the outbreak of the Cold War in the late 1940s led to a decisive turn against this music. The Communist Party condemned jazz as the music of the “foreign bourgeoisie,” instead calling for patriotic Soviet music. Building on previous studies of the complex fate of western music in the USSR during the postwar decades, this article highlights a previously unexamined youth counterculture of jazz enthusiasts, exploring the impact of anti-jazz initiatives on grassroots cultural institutions, on the everyday cultural practices of young people, and on the Cold War’s cultural front in the USSR. It relies on sources from central and regional archives, official publications, and memoirs, alongside oral interviews with jazz musicians and cultural officials.
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Fakhredine, Mohamed, Zahra Jaish, and Houssein Ibrahim. "Analyzing Brain Activities in Response To Music and Video Stimulants." International Journal of Computer Applications Technology and Researc 10, no. 01 (January 1, 2021): 014–21. http://dx.doi.org/10.7753/ijcatr1001.1004.
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Studying the effects of different stimulants on the brain is an ongoing research aiming to discover the activities and reactions of the brain. In this sake, we propose a study to show the impact of external stimuli on the human brain. The implementation includes 50 subjects exposed to four various stimuli while recording EEG. First, a control experiment is done where EEG is recorded in the absence of any stimulation. Then, EEG is recorded while the subjects are watching two consecutive sections from nature and violence videos, listening to sections of classical music and then heavy music. The recorded signals are analysed through EEGLAB. The power spectral densities are computed and an analysed. The results showed a decrease in alpha absolute power was observed in 68.1% subjects when watching the nature movie, and in 72.34% subjects when watching the violence video. An increase in alpha and beta absolute power was detected in 70.45% of subjects when listening to the heavy music. Relative power spectral density showed a significant increase of delta rhythm upon watching the video of natural scenes, and a significant increase of alpha rhythm when listening to classical music. ANOVA test is also used to verify if any effect of the stimuli can be observed on each frequency bands. The results showed that the delta rhythm’s highest values were obtained in reaction to the natural scenes video and that there is a significant relationship between alpha rhythms and the stimulus due to Classical music.