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Relevant bibliographies by topics / World music

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Academic literature on the topic 'World music'

Author: Grafiati

Published: 4 June 2021

Last updated: 31 July 2024

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Journal articles on the topic "World music"

1

Volk, Terese M. "World Musics and Music Education." Update: Applications of Research in Music Education 17, no. 1 (March 1998): 9–13. http://dx.doi.org/10.1177/875512339801700103.

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Yoo, Hyesoo, Sangmi Kang, Camilo I. Leal, and Abbey Chokera. "Engaged Listening Experiences: A World Music Sampler." General Music Today 33, no. 3 (November 25, 2019): 14–20. http://dx.doi.org/10.1177/1048371319890291.

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As the U.S. population has become significantly more culturally diverse, many music educators have acknowledged the necessity to implement culturally diverse musics in music curricula. One of the challenges in teaching culturally diverse musics is designing a balance between performing-based activities and other activities such as listening, improvising, and composing activities. Despite the importance of developing students’ listening skills, listening lessons are still relatively deficient within the context of world musics. Therefore, we provide general music teachers with engaged listening strategies for implementing world music lessons in music classrooms. The lessons provided in this article are appropriate for upper elementary and secondary general music classrooms.

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Klump, Brad. "Origins and Distinctions of the "World Music" and "World Beat" Designations." Canadian University Music Review 19, no. 2 (March 1, 2013): 5–15. http://dx.doi.org/10.7202/1014442ar.

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This article traces the origins and uses of the musical classifications "world music" and "world beat." The term "world beat" was first used by the musician and DJ Dan Del Santo in 1983 for his syncretic hybrids of American R&B, Afrobeat, and Latin popular styles. In contrast, the term "world music" was coined independently by at least three different groups: European jazz critics (ca. 1963), American ethnomusicologists (1965), and British record companies (1987). Applications range from the musical fusions between jazz and non-Western musics to a marketing category used to sell almost any music outside the Western mainstream.

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Mallet, Julien. "« World Music »." Cahiers d'études africaines 42, no. 168 (January 1, 2002): 831–52. http://dx.doi.org/10.4000/etudesafricaines.168.

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Loos, Helmut. "World Music or Regionality? A Fundamental Question for Music Historiography." English version, no. 10 (October 22, 2018): 13–22. http://dx.doi.org/10.51515/issn.2744-1261.2018.10.13.

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The term “world music” is still relatively new. It came into use around the end of the twentieth century and denotes a new musical genre, one which links European-American pop music to folk and non-European music cultures. It can be seen in a larger context as a phenomenon of postmodernism in that the challenge to the strict laws and boundaries of modernism allowed for a connection between regionality and global meaning to be established. Music in the German-speaking world had previously been strictly divided into the categories of “entertainment music” (U-Musik) and “serious music” (E-Musik), the latter functioning as art-religion in the framework of modernism and thus adhering to its principles. Once these principles of modernism became more uncertain, this rigorous divide began to dissolve. For example, the “serious music” broadcast consisting of classical music, previously a staple of public radio, gradually disappeared as an institution from radio programming. A colourful mixture of various low-key, popular music was combined with shorter classical pieces, so that the phenomenon known as “crossover”, a familiar term in popular music since the middle of the twentieth century, then spread to the realm of classical music. This situation differs fundamentally from the circumstances that once dominated the public consciousness from the nineteenth century well into the twentieth century and that indeed remain influential in certain parts of the population to this day. Historical-critical musicology must adapt to this transformed state of consciousness. Doing so will allow for a number of promising perspectives to unfold.

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Dawe, Kevin. "Minotaurs or musonauts? ‘World Music’ and Cretan Music." Popular Music 18, no. 2 (May 1999): 209–25. http://dx.doi.org/10.1017/s0261143000009053.

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In a recent issue of Popular Music devoted to the music of the Middle East, Martin Stokes and Ruth Davis note that ‘the movement of Middle Eastern sounds into Western cultural spaces … has largely been ignored’ (1996, p. 255) and that ‘Middle Eastern popular musics will probably continue to mark an unassimilable and unwelcome “otherness” for most Europeans and Americans’ (ibid, p. 257). In this paper, written partly in response to these remarks, I examine the movement of contemporary Middle Eastern sounds into Greek cultural space and Greek musical culture, a musical culture that has an affinity with ‘Eastern’ musics but also a strong sense of its own identity. Middle Eastern music can indeed take on the form of an ‘unwelcome “otherness”’ in Greece and I shall provide examples of this from my own fieldwork on the Greek island of Crete. Greece and the Greek islands are outposts, on the European periphery, on the frontier between ‘the East’ and ‘the West’, where a history of confrontations, invasions and forced exchanges in political, economic and demographic terms with the Middle East has ensued for millenia. Greece and Turkey still remain in dispute over territory from the Thracian borderlands to the smaller islands of the Eastern Aegean Sea.

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Cooper, Shelly. "World Musics in the General Music Classroom." General Music Today 25, no. 1 (August 30, 2011): 1. http://dx.doi.org/10.1177/1048371311414882.

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van der Lee, Pedro. "Sitars and bossas: World Music influences." Popular Music 17, no. 1 (January 1998): 45–70. http://dx.doi.org/10.1017/s0261143000000489.

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Popular music is sometimes discussed from a rather ethnocentric viewpoint, lacking awareness of, or not acknowledging, influences assimilated from non-Western musics, while in the field of ethnomusicology, issues such as the preservation of traditional styles (see Baumann 1992, pp. 11–15) remain important, but there is an increased interest in the processes of change and the effects of technology (see, for example, Wallis and Malm 1984). As Western and traditional styles interact, changes occur, and as Frith puts it: ‘popular music study rests on the assumption that there is no such thing as a culturally “pure” sound’ (1989, p. 3).

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Yoo, Hyesoo, Sangmi Kang, and Victor Fung. "Personality and world music preference of undergraduate non-music majors in South Korea and the United States." Psychology of Music 46, no. 5 (July 14, 2017): 611–25. http://dx.doi.org/10.1177/0305735617716757.

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We investigated contributors of undergraduate nonmusic majors’ preferences for world musics, specifically those from Africa, Asia, and Latin America. Drawing upon the reciprocal feedback model as a theoretical framework, we determined the extent to which predictor variables (familiarity with the music, personality, and music absorption) were related to music preference. Participants were 401 undergraduate nonmusic majors from South Korea ( n = 208) and the USA ( n = 183). Participants took an online survey via Qualtrics that included demographic information, the World Musics Preference Rating Scale, the Big-Five Inventory, and the Absorption in Music Scale. Results indicated that, familiarity, followed by openness to experience, was the strongest predictor of participants’ preferences for world musics. For the U.S. participants, familiarity, followed by openness to experience, was the strongest predictor of participants’ preference for musics from each continent. By contrast, for the South Korean participants, although familiarity was also the strongest predictor for African, Latin American, and Asian musics, openness to experience was not consistently the second strongest contributor. For African music, openness to experience was ranked second; for Latin American and Asian music, agreeableness and music absorption were ranked second, respectively.

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Ehrlich, Cyril, Roger Wallis, and Krister Malm. "World Music Business." Musical Times 126, no. 1703 (January 1985): 28. http://dx.doi.org/10.2307/962442.

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Dissertations / Theses on the topic "World music"

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Taylor, Timothy D. "World Music Revisited." Bärenreiter Verlag, 2012. https://slub.qucosa.de/id/qucosa%3A71782.

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Johnson, Sherry Anne. "High-school music teachers' meanings of teaching world musics." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp04/mq22326.pdf.

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Panteli, Maria. "Computational analysis of world music corpora." Thesis, Queen Mary, University of London, 2018. http://qmro.qmul.ac.uk/xmlui/handle/123456789/36696.

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The comparison of world music cultures has been considered in musicological research since the end of the 19th century. Traditional methods from the field of comparative musicology typically involve the process of manual music annotation. While this provides expert knowledge, the manual input is timeconsuming and limits the potential for large-scale research. This thesis considers computational methods for the analysis and comparison of world music cultures. In particular, Music Information Retrieval (MIR) tools are developed for processing sound recordings, and data mining methods are considered to study similarity relationships in world music corpora. MIR tools have been widely used for the study of (mainly) Western music. The first part of this thesis focuses on assessing the suitability of audio descriptors for the study of similarity in world music corpora. An evaluation strategy is designed to capture challenges in the automatic processing of world music recordings and different state-of-the-art descriptors are assessed. Following this evaluation, three approaches to audio feature extraction are considered, each addressing a different research question. First, a study of singing style similarity is presented. Singing is one of the most common forms of musical expression and it has played an important role in the oral transmission of world music. Hand-designed pitch descriptors are used to model aspects of the singing voice and clustering methods reveal singing style similarities in world music. Second, a study on music dissimilarity is performed. While musical exchange is evident in the history of world music it might be possible that some music cultures have resisted external musical influence. Low-level audio features are combined with machine learning methods to find music examples that stand out in a world music corpus, and geographical patterns are examined. The last study models music similarity using descriptors learned automatically with deep neural networks. It focuses on identifying music examples that appear to be similar in their audio content but share no (obvious) geographical or cultural links in their metadata. Unexpected similarities modelled in this way uncover possible hidden links between world music cultures. This research investigates whether automatic computational analysis can uncover meaningful similarities between recordings of world music. Applications derive musicological insights from one of the largest world music corpora studied so far. Computational analysis as proposed in this thesis advances the state-of-the-art in the study of world music and expands the knowledge and understanding of musical exchange in the world.

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Sarkar, Mihir Ph D. Massachusetts Institute of Technology. "World music technology : culturally sensitive strategies for automatic music prediction." Thesis, Massachusetts Institute of Technology, 2012. http://hdl.handle.net/1721.1/77812.

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Thesis (Ph. D.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2012.
Cataloged from PDF version of thesis.
Includes bibliographical references (p. 103-112).
Music has been shown to form an essential part of the human experience-every known society engages in music. However, as universal as it may be, music has evolved into a variety of genres, peculiar to particular cultures. In fact people acquire musical skill, understanding, and appreciation specific to the music they have been exposed to. This process of enculturation builds mental structures that form the cognitive basis for musical expectation. In this thesis I argue that in order for machines to perform musical tasks like humans do, in particular to predict music, they need to be subjected to a similar enculturation process by design. This work is grounded in an information theoretic framework that takes cultural context into account. I introduce a measure of musical entropy to analyze the predictability of musical events as a function of prior musical exposure. Then I discuss computational models for music representation that are informed by genre-specific containers for musical elements like notes. Finally I propose a software framework for automatic music prediction. The system extracts a lexicon of melodic, or timbral, and rhythmic primitives from audio, and generates a hierarchical grammar to represent the structure of a particular musical form. To improve prediction accuracy, context can be switched with cultural plug-ins that are designed for specific musical instruments and genres. In listening experiments involving music synthesis a culture-specific design fares significantly better than a culture-agnostic one. Hence my findings support the importance of computational enculturation for automatic music prediction. Furthermore I suggest that in order to sustain and cultivate the diversity of musical traditions around the world it is indispensable that we design culturally sensitive music technology.
by Mihir Sarkar.
Ph.D.

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Vogelgesang, Anna Ruye. "An Investigation of Philosophy and Practice: Inclusion of World Musics in General Music Classes." Bowling Green State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1554376600823459.

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Chatwin, Fiona Lilian Hooey Steven Henderson Moya Beckett Alison. "A challenge of world premieres /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2006. http://wwwlib.umi.com/cr/ucsd/fullcit?p3236637.

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Thesis (D.M.A.)--University of California, San Diego, 2006.
Vita. Material related to a thesis recital on April 9, 2006. Accompanying sound recording shelved in Music Department Tape Archive as: 06 IV 09. Appendix includes scores of Sirens in December by Steven Hoey, Divers by Moya Henderson, and Four dollars and fifteen cents by Alison Beckett.

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Degirmenci, Koray. "Turkish World Music: Multiple Fusions And Authenticities." Phd thesis, METU, 2008. http://etd.lib.metu.edu.tr/upload/3/12610077/index.pdf.

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This dissertation investigates the case of world music in Turkey as an illustration of the discursive mechanisms involved in the production of a global cultural form from what the globality has defined as the &lsquo
local&rsquo
. The study attempts to show the complicated nature of the process by examining how the musical forms and themes supposedly belonging to the &lsquo
local&rsquo
are incorporated into and appropriated in the discourses associated with world music and into the corresponding strategies of the actors. The discursive compilations, articulations and dislocations taking place in the subspecies of the commercial category of world music in a particular locality are investigated by mapping the discursive topographies on the imaginary continuum from the global to the local. This study views locality as a space where a repertoire of discourses are contested and articulated in the production and consumption of global cultural commodities. In line with this understanding, this dissertation also investigates what is the local as it is produced through the particular brand of world music in Turkey. The study also aims to contribute to the theoretical discussions in the literature on the interaction between the global and the local by looking at the production of a global cultural form in a particular locality.

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North, Adrian C. "Responses to music in the real world." Thesis, University of Leicester, 1996. http://hdl.handle.net/2381/9224.

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This thesis concerns aesthetic responses to music, and is divided into four main parts, with each comprising an initial literature review and subsequent empirical studies. Part A describes 5 studies which employed conventional laboratory techniques to investigate how theories of aesthetic response might be extended to explanations of emotional responses to music and liking for musical styles. This part of the thesis also discusses how these theories might be reconciled. In contrast, Parts B-D of the thesis provide several examples of how responses to music in the real world are not made in the 'social vacuum' of conventional laboratory research, but are instead linked inextricably to the context of musical behaviour. Part B reports 7 studies which investigate the relationship between music and the immediate listening situation. These demonstrate that through variables such as 'appropriateness', musical preference may interact with the environment in which it is experienced. Part B also investigates the relative roles of arousal- and cognitive-based factors in this, and suggests that music is selected to as to optimise responses to the listening situation. Part C investigates two sources of extra-musical information, namely stereotyping and the physical attractiveness of music performers. Although some research has been carried out on conformity and prestige effects on musical preference, the two studies in this part of the thesis indicate that other types of information may also be important social features of people's musical behaviour. Finally, Part D reports three studies concerning artistic eminence and acculturational factors. These demonstrate a considerable consensus between several means of measuring artistic eminence; that this consensus breaks down to some extent as a result of cultural factors; that archival data sources can reveal several interesting cultural trends in eminence; and that there are age differences in tolerance for musical styles. These three studies indicate that the broader culture in which people develop and live also influences musical behaviour. More generally, the research reported in this thesis suggests that although context-independent laboratory studies can be informative in their own right, responses to music also seem related to their social psychological, real-world context.

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Gibbs-Singh, Cheynne. "World music in the British secondary school." Thesis, SOAS, University of London, 2018. http://eprints.soas.ac.uk/30251/.

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World music has enjoyed increasing representation in the National Curriculum up to Key Stage 3. At the same time, music in higher education in the UK is becoming increasingly diverse, with degrees in popular music, world music and jazz becoming more commonplace. This, alongside the growing diversity of the population, supports arguments for introducing and maintaining a diverse music curriculum, particularly one that includes world music, throughout secondary education. The importance of world music in education has been advocated both in the UK (e.g. Wiggins (1996), Stock (1991)) and in other parts of the western world (Campbell (2007) and Fung (1995) in the USA, Drummond (2005) in New Zealand, Schippers (2012) in Holland). However, post-16 music syllabi have remained noticeably narrow in focus: the music A level continues to be dominated by the Western classical music tradition, whilst the BTEC is rooted largely in Western popular music, despite adopting a more flexible approach. Both have recently been revised, and this thesis examines the current status quo regarding diversity in the secondary music classroom, pinpointing some of the challenges and successes of delivering a multicultural music education. It focuses on seven contrasting schools in south-east England. By examining the relationships these schools have with world music, specifically within their post-16 provision, this research examines individual responses towards musical diversity as well as the themes that emerge from these across the subject. These themes include: the exclusivity of Western classical and Western popular music; whether breadth of study or depth of understanding is more valued in classrooms; how teacher attitudes towards world music influences the curriculum content as well as student attitudes; challenges in teaching and learning world music; uptake and engagement; diverse music in non-diverse areas; and the desire for more diversity in the curriculum.

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Geldenhuys, Daniël G. "The Idiosyncratic Use of the Term 'World Music' as a Music Concept." Bärenreiter Verlag, 2000. https://slub.qucosa.de/id/qucosa%3A36676.

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Books on the topic "World music"

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Miller, Terry E., and Andrew Shahriari. World Music. Fifth edition. | New York : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780367823498.

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Thomas, Roger. World music. Oxford: Heinemann Library, 1998.

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Roger, Thomas. World music. Des Plaines, Ill: Heinemann Library, 1998.

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Bartolome, Sarah J. World Music Pedagogy. New York; London: Routledge, 2018—| Includes bibliographical references and index.: Routledge, 2019. http://dx.doi.org/10.4324/9781315164076.

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Shahriari, Andrew. Popular World Music. Second edition. | New York ; London : Routledge,: Routledge, 2017. http://dx.doi.org/10.4324/9781315543833.

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Coppola, William J., David G. Hebert, and Patricia Shehan Campbell. World Music Pedagogy. New York ; London : Routledge, 2018–: Routledge, 2020. http://dx.doi.org/10.4324/9780429278617.

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Campbell, Patricia Shehan, and Chee-Hoo Lum. World Music Pedagogy. New York; London: Routledge, 2018–: Routledge, 2019. http://dx.doi.org/10.4324/9781315157924.

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Shahriari, Andrew C. Popular world music. Upper Saddle River, N.J: Pearson Education, 2010.

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Silver Burdett & Ginn (Firm), ed. World of music. Morristown, N.J: Silver Burdett & Ginn, 1990.

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Mary, Palmer, and Silver Burdett Ginn (Firm), eds. World of music. Morristown, N.J: Silver Burdett & Ginn, 1991.

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Book chapters on the topic "World music"

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Smith, John Arthur. "Music." In The Early Christian World, 745–61. Second edition. | New York : Routledge, 2017. | Series: Routledge worlds: Routledge, 2017. http://dx.doi.org/10.4324/9781315165837-36.

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Campbell, Patricia Shehan, and Chee-Hoo Lum. "Performing World Music." In World Music Pedagogy, 77–101. New York; London: Routledge, 2018–: Routledge, 2019. http://dx.doi.org/10.4324/9781315157924-4.

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Campbell, Patricia Shehan, and Chee-Hoo Lum. "Creating World Music." In World Music Pedagogy, 102–27. New York; London: Routledge, 2018–: Routledge, 2019. http://dx.doi.org/10.4324/9781315157924-5.

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Campbell, Patricia Shehan, and Chee-Hoo Lum. "Integrating World Music." In World Music Pedagogy, 128–57. New York; London: Routledge, 2018–: Routledge, 2019. http://dx.doi.org/10.4324/9781315157924-6.

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Bartolome, Sarah J. "Performing World Music." In World Music Pedagogy, 87–115. New York; London: Routledge, 2018—| Includes bibliographical references and index.: Routledge, 2019. http://dx.doi.org/10.4324/9781315164076-4.

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Bartolome, Sarah J. "Creating World Music." In World Music Pedagogy, 116–40. New York; London: Routledge, 2018—| Includes bibliographical references and index.: Routledge, 2019. http://dx.doi.org/10.4324/9781315164076-5.

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Bartolome, Sarah J. "Integrating World Music." In World Music Pedagogy, 141–70. New York; London: Routledge, 2018—| Includes bibliographical references and index.: Routledge, 2019. http://dx.doi.org/10.4324/9781315164076-6.

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Coppola, William J., David G. Hebert, and Patricia Shehan Campbell. "Performing World Music." In World Music Pedagogy, 76–104. New York ; London : Routledge, 2018–: Routledge, 2020. http://dx.doi.org/10.4324/9780429278617-4.

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Coppola, William J., David G. Hebert, and Patricia Shehan Campbell. "Creating World Music." In World Music Pedagogy, 105–33. New York ; London : Routledge, 2018–: Routledge, 2020. http://dx.doi.org/10.4324/9780429278617-5.

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Coppola, William J., David G. Hebert, and Patricia Shehan Campbell. "Integrating World Music." In World Music Pedagogy, 134–63. New York ; London : Routledge, 2018–: Routledge, 2020. http://dx.doi.org/10.4324/9780429278617-6.

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Conference papers on the topic "World music"

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Ballantine, Christopher. "Music, the word and the world; or the banality of (South African) classification." In Situating Popular Musics, edited by Ed Montano and Carlo Nardi. International Association for the Study of Popular Music, 2012. http://dx.doi.org/10.5429/2225-0301.2011.04.

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He, Yumeng. "Influence Analysis for Children's Music Achievement: A Survey of Children's Music Education in China." In World Congress on Education. Infonomics Society, 2022. http://dx.doi.org/10.20533/wce.2022.0007.

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Brost, Brian, Rishabh Mehrotra, and Tristan Jehan. "The Music Streaming Sessions Dataset." In The World Wide Web Conference. New York, New York, USA: ACM Press, 2019. http://dx.doi.org/10.1145/3308558.3313641.

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Moccozet, Laurent, Camille Tardy, Hassan Lakhdar, Anne Lakhdar, Richard Rentsch, and Michaël Wirth. "FEEL THE MUSIC: ENGAGING PUPILS IN CLASSICAL MUSIC APPRECIATION THROUGH SOCIAL MULTIMEDIA AND EMOTIONS." In VII World Congresson Communication andArts. Science and Education Research Council (COPEC), 2014. http://dx.doi.org/10.14684/wcca.7.2014.6-10.

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Rossi Rognoni, Gabriele, Marie Martens, Arnold Myers, and Jen Schnitker. "CIMCIM Call for Papers ‘Global Crises and Music Museums: Representing Music after the Pandemic’." In Global Crises and Music Museums: Representing Music after the Pandemic, edited by Mimi Waitzman and Esteban Mariño. CIMCIM, 2023. http://dx.doi.org/10.46477/seca7941.

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The COVID-19 pandemic has arguably caused the biggest disruption to the museum and heritage sector since the Second World War. All over the world, museums have had to close, some never to reopen, and many have had to suspend their operations for prolonged periods. However, the disruption has also invited – sometimes forced – substantial changes in the way museums perceive themselves and their interactions with their audiences. This has included an increased focus on digital offers, a reconsideration of the human relationships with external as well as internal stakeholders, new ways to guarantee the preservation, documentation and availability of collections and revised financial and sustainability planning. Some of these changes will be transitory, while others are likely to leave permanent footprints on the identity of museums and the way they operate even after the emergency has passed. This conference will highlight and discuss some of the initiatives and innovations that emerged from the past year, with particular attention to curatorship, conservation, learning and participation, and documentation and research. Critical perspectives, as well as case studies are invited to focus on the long-term impact of the pandemic and on the way the identity of music museums, their value and relevance to society and research, and their ways of operating internally and externally may have been transformed. CIMCIM 2021 Conference Organising Committee Gabriele Rossi Rognoni (Royal College of Music, London, UK) Mimi Waitzman (Horniman Museum and Gardens, London, UK) Marie Martens (The Danish Music Museum, Copenhagen, Denmark) Arnold Myers (University of Edinburgh and Royal Conservatoire of Scotland, Glasgow, UK) Jen Schnitker (Metropolitan Museum of Art, New York, USA)

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van Ossenbruggen, Jacco, and Anton Eliëns. "Bringing Music to the Web." In WWW4: Fourth International Conference on World Wide Web. New York, NY, USA: ACM, 1995. http://dx.doi.org/10.1145/3592626.3592650.

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"Catalog of Samples of Music of the Peoples of the World and Music Computer Technologies." In Nov. 23-24, 2023 Istanbul (Turkey). Dignified Researchers Publication, 2023. http://dx.doi.org/10.17758/dirpub15.uh1023402.

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Panteli, Maria, Rachel Bittner, Juan Pablo Bello, and Simon Dixon. "Towards the characterization of singing styles in world music." In 2017 IEEE International Conference on Acoustics, Speech and Signal Processing (ICASSP). IEEE, 2017. http://dx.doi.org/10.1109/icassp.2017.7952233.

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Peng, Yide. "Perspectives on Cultural Strategy and World Diversified Music Education." In 1st International Conference on Education: Current Issues and Digital Technologies (ICECIDT 2021). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210527.088.

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Goussevskaia, Olga, Michael Kuhn, Michael Lorenzi, and Roger Wattenhofer. "From Web to Map: Exploring the World of Music." In 2008 IEEE/WIC/ACM International Conference on Web Intelligence and Intelligent Agent Technology. IEEE, 2008. http://dx.doi.org/10.1109/wiiat.2008.20.

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Reports on the topic "World music"

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Ferreira, Fernando, and Joel Waldfogel. Pop Internationalism: Has A Half Century of World Music Trade Displaced Local Culture? Cambridge, MA: National Bureau of Economic Research, May 2010. http://dx.doi.org/10.3386/w15964.

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Józsa, Viven. Hallyu as Soft Power : The Success Story of the Korean Wave and its Use in South Korea’s Foreign Policy. Külügyi és Külgazdasági Intézet, 2021. http://dx.doi.org/10.47683/kkielemzesek.ke-2021.75.

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The Korean Wave is taking over the world, achieving great success in areas such as music and cinematography, and making Korean culture increasingly attractive. Culture being a crucial resource of soft power, which in turn serves as a powerful tool in international relations, the South Korean government is trying to take advantage of its improved national image and international influence. This analysis provides an overview of the relationship between the Korean government and the Korean Wave, how the perception of Korea has changed thanks to its cultural outflow, and how the government tries to use this to its advantage.

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Stahl, Geoff, and Alex Gyde, eds. Popular Music Worlds, Popular Music Histories: Conference Proceedings, Liverpool 2009. International Association for the Study of Popular Music, December 2011. http://dx.doi.org/10.5429/2225-0301/2009.

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Crispin, Darla. Artistic Research as a Process of Unfolding. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.503395.

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As artistic research work in various disciplines and national contexts continues to develop, the diversity of approaches to the field becomes ever more apparent. This is to be welcomed, because it keeps alive ideas of plurality and complexity at a particular time in history when the gross oversimplifications and obfuscations of political discourses are compromising the nature of language itself, leading to what several commentators have already called ‘a post-truth’ world. In this brutal environment where ‘information’ is uncoupled from reality and validated only by how loudly and often it is voiced, the artist researcher has a responsibility that goes beyond the confines of our discipline to articulate the truth-content of his or her artistic practice. To do this, they must embrace daring and risk-taking, finding ways of communicating that flow against the current norms. In artistic research, the empathic communication of information and experience – and not merely the ‘verbally empathic’ – is a sign of research transferability, a marker for research content. But this, in some circles, is still a heretical point of view. Research, in its more traditional manifestations mistrusts empathy and individually-incarnated human experience; the researcher, although a sentient being in the world, is expected to behave dispassionately in their professional discourse, and with a distrust for insights that come primarily from instinct. For the construction of empathic systems in which to study and research, our structures still need to change. So, we need to work toward a new world (one that is still not our idea), a world that is symptomatic of what we might like artistic research to be. Risk is one of the elements that helps us to make the conceptual twist that turns subjective, reflexive experience into transpersonal, empathic communication and/or scientifically-viable modes of exchange. It gives us something to work with in engaging with debates because it means that something is at stake. To propose a space where such risks may be taken, I shall revisit Gillian Rose’s metaphor of ‘the fold’ that I analysed in the first Symposium presented by the Arne Nordheim Centre for Artistic Research (NordART) at the Norwegian Academy of Music in November 2015. I shall deepen the exploration of the process of ‘unfolding’, elaborating on my belief in its appropriateness for artistic research work; I shall further suggest that Rose’s metaphor provides a way to bridge some of the gaps of understanding that have already developed between those undertaking artistic research and those working in the more established music disciplines.

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Berggren, Erik. Migration and Culture. Linköping University Electronic Press, August 2024. http://dx.doi.org/10.3384/9789180757638.

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This report is written by students in the Ethnic and Migration Studies Master’s Programme, part of the Research Institute in Migration, Ethnicity, and Society (REMESO) at Linköping University, based on the Norrköping campus. REMESO is an internationally renowned institute that pursues research in migration and ethnic relations. The Master’s Programme is highly sought after, with students coming from all over the world to attend. Their interest in how migration transforms the world and how it influences other social phenomena has fuelled their work in this publication. In their first year of studies, students take the course Critical Cases in Ethnic and Migration Studies, led by Erik Berggren as course coordinator and Kenna Sim-Sarka. The course is designed for students to apply the theoretical knowledge and experiences gained throughout the first year’s courses to produce articles beyond an academic audience for the broader public. Each REMS report is based around a specific theme, with previous themes including migration and Covid-19, migration and Ukraine, and migration and democracy. The REMS report is one of the many ways in which we, as students, are trained to identify and analyse issues related to migration, integration, and diversity and to make research accessible to a wider audience. This year’s overarching theme is Migration and Culture, sparked by recent developments in Sweden’s and Norrköping’s politics of decreasing and cutting funds for cultural activities. Arts and culture are both areas of expression for migrant communities and people on the move, as well as those fighting against racism, discrimination, and exclusion. The current debate on “Swedish culture” and on a “Swedish cultural canon” recalls monolithic understandings of culture as a natural and immutable construct, contributing to the polarisation of views rather than the multiplication of perspectives and conceptions of it. Like culture, which can be visualised as a tapestry created from different threads, different contributions, woven together to form something complex, this report is also a collection of varied articles, united by a common theme. Some articles in this report look at the accessibility of culture in Sweden and its transmission through all kinds of mediums, such as TV programmes; others engage artists or “social artists” who care about issues like migration and the fight against racism and discrimination, and some focus on specific aspects of culture and arts, such as language, food, and music. The first-year students of EMS, 2024.

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Duch, Michael. Performing Hanne Darboven's Opus 17a and long duration minimalist music. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.481276.

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Hanne Darboven’s (1941-2009) Opus 17a is a composition for solo double bass that is rarely performed due to the physical and mental challenges involved in its performance. It is one of four opuses from the composers monumental 1008 page Wünschkonzert (1984), and was composed during her period of making “mathematical music” based on mathematical systems where numbers were assigned to certain notes and translated to musical scores. It can be described as large-scale minimalism and it is highly repetitive, but even though the same notes and intervals keep repeating, the patterns slightly change throughout the piece. This is an attempt to unfold the many challenges of both interpreting, preparing and performing this 70 minute long solo piece for double bass consisting of a continuous stream of eight notes. It is largely based on my own experiences of preparing, rehearsing and performing Opus 17a, but also on interviews I have conducted with fellow bass players Robert Black and Tom Peters, who have both made recordings of this piece as well as having performed it live. One is met with few instrumental technical challenges such as fingering, string crossing and bowing when performing Opus 17a, but because of its long duration what one normally would take for granted could possibly prove to be challenging.

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Cunningham, Stuart, Marion McCutcheon, Greg Hearn, Mark Ryan, and Christy Collis. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Sunshine Coast. Queensland University of Technology, December 2020. http://dx.doi.org/10.5204/rep.eprints.136822.

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The Sunshine Coast (unless otherwise specified, Sunshine Coast refers to the region which includes both Sunshine Coast and Noosa council areas) is a classic regional hotspot. In many respects, the Sunshine Coast has assets that make it the “Goldilocks” of Queensland hotspots: “the agility of the region and our collaborative nature is facilitated by the fact that we're not too big, not too small - 330,000 people” (Paddenburg, 2019); “We are in that perfect little bubble of just right of about everything” (Erbacher 2019). The Sunshine Coast has one of the fastest-growing economies in Australia. Its population is booming and its local governments are working together to establish world-class communications, transport and health infrastructure, while maintaining the integrity of the region’s much-lauded environment and lifestyle. As a result, the Sunshine Coast Council is regarded as a pioneer on smart city initiatives, while Noosa Shire Council has built a reputation for prioritising sustainable development. The region’s creative economy is growing at a faster rate that of the rest of the economy—in terms of job growth, earnings, incomes and business registrations. These gains, however, are not spread uniformly. Creative Services (that is, the advertising and marketing, architecture and design, and software and digital content sectors) are flourishing, while Cultural Production (music and performing arts, publishing and visual arts) is variable, with visual and performing arts growing while film, television and radio and publishing have low or no growth. The spirit of entrepreneurialism amongst many creatives in the Sunshine Coast was similar to what we witnessed in other hotspots: a spirit of not necessarily relying on institutions, seeking out alternative income sources, and leveraging networks. How public agencies can better harness that energy and entrepreneurialism could be a focus for ongoing strategy. There does seem to be a lower level of arts and culture funding going into the Sunshine Coast from governments than its population base and cultural and creative energy might suggest. Federal and state arts funding programs are under-delivering to the Sunshine Coast.

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Yatsymirska, Mariya. SOCIAL EXPRESSION IN MULTIMEDIA TEXTS. Ivan Franko National University of Lviv, February 2021. http://dx.doi.org/10.30970/vjo.2021.49.11072.

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The article investigates functional techniques of extralinguistic expression in multimedia texts; the effectiveness of figurative expressions as a reaction to modern events in Ukraine and their influence on the formation of public opinion is shown. Publications of journalists, broadcasts of media resonators, experts, public figures, politicians, readers are analyzed. The language of the media plays a key role in shaping the worldview of the young political elite in the first place. The essence of each statement is a focused thought that reacts to events in the world or in one’s own country. The most popular platform for mass information and social interaction is, first of all, network journalism, which is characterized by mobility and unlimited time and space. Authors have complete freedom to express their views in direct language, including their own word formation. Phonetic, lexical, phraseological and stylistic means of speech create expression of the text. A figurative word, a good aphorism or proverb, a paraphrased expression, etc. enhance the effectiveness of a multimedia text. This is especially important for headlines that simultaneously inform and influence the views of millions of readers. Given the wide range of issues raised by the Internet as a medium, research in this area is interdisciplinary. The science of information, combining language and social communication, is at the forefront of global interactions. The Internet is an effective source of knowledge and a forum for free thought. Nonlinear texts (hypertexts) – «branching texts or texts that perform actions on request», multimedia texts change the principles of information collection, storage and dissemination, involving billions of readers in the discussion of global issues. Mastering the word is not an easy task if the author of the publication is not well-read, is not deep in the topic, does not know the psychology of the audience for which he writes. Therefore, the study of media broadcasting is an important component of the professional training of future journalists. The functions of the language of the media require the authors to make the right statements and convincing arguments in the text. Journalism education is not only knowledge of imperative and dispositive norms, but also apodictic ones. In practice, this means that there are rules in media creativity that are based on logical necessity. Apodicticity is the first sign of impressive language on the platform of print or electronic media. Social expression is a combination of creative abilities and linguistic competencies that a journalist realizes in his activity. Creative self-expression is realized in a set of many important factors in the media: the choice of topic, convincing arguments, logical presentation of ideas and deep philological education. Linguistic art, in contrast to painting, music, sculpture, accumulates all visual, auditory, tactile and empathic sensations in a universal sign – the word. The choice of the word for the reproduction of sensory and semantic meanings, its competent use in the appropriate context distinguishes the journalist-intellectual from other participants in forums, round tables, analytical or entertainment programs. Expressive speech in the media is a product of the intellect (ability to think) of all those who write on socio-political or economic topics. In the same plane with him – intelligence (awareness, prudence), the first sign of which (according to Ivan Ogienko) is a good knowledge of the language. Intellectual language is an important means of organizing a journalistic text. It, on the one hand, logically conveys the author’s thoughts, and on the other – encourages the reader to reflect and comprehend what is read. The richness of language is accumulated through continuous self-education and interesting communication. Studies of social expression as an important factor influencing the formation of public consciousness should open up new facets of rational and emotional media broadcasting; to trace physical and psychological reactions to communicative mimicry in the media. Speech mimicry as one of the methods of disguise is increasingly becoming a dangerous factor in manipulating the media. Mimicry is an unprincipled adaptation to the surrounding social conditions; one of the most famous examples of an animal characterized by mimicry (change of protective color and shape) is a chameleon. In a figurative sense, chameleons are called adaptive journalists. Observations show that mimicry in politics is to some extent a kind of game that, like every game, is always conditional and artificial.

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De Jesús, Dyanis, Alejandra Luzardo, and Michelle Pérez. Orange Economy: Innovations you may not know were from Latin America and the Caribbean. Inter-American Development Bank, June 2017. http://dx.doi.org/10.18235/0006354.

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Who would have said that in the hands of creatives, designers, artists and entrepreneurs would be part of the response to the development challenges of Latin America and the Caribbean? This report is part of the Inter-American Development Bank's (IDB) Demand Solutions: Ideas for Improving Lives, which aims to give visibility to the region's creatives and to position creativity as an integral element of economic and social development. In 2015 the cultural and creative industries (CCI), which are part of what the IDB calls the Orange Economy, generated 1.9 million jobs in Latin America and the Caribbean, and revenues of $124 billion. It is estimated that by 2020 creativity will be the third most demanded skill by companies when selecting their employees. It should be noted that most startups in the region, although little known, have a high social and economic impact in traditional sectors such as health, education and transportation. This report discusses how creativity continues to be the main protagonist to face challenges upon the changes in the way of working and producing goods and services, as well as the indispensable convergence between the analogue and digital. This report highlights 50 of the 300 innovative projects with the greatest social impact in the region, grouped according to 8 sectors of the CCI’s: Architecture, Handcrafts, Design, Media, Fashion, Music, Creative Services and Software / Digital Platforms, in 12 Countries: Argentina, Bolivia, Brazil, Chile, Colombia, Costa Rica, El Salvador, Guatemala, Jamaica, Mexico, Peru and the Dominican Republic. At the same time it also describes the most important trends in these 8 sectors.

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