Literatura académica sobre el tema "Bands (Music) Social aspects"
Crea una cita precisa en los estilos APA, MLA, Chicago, Harvard y otros
Consulte las listas temáticas de artículos, libros, tesis, actas de conferencias y otras fuentes académicas sobre el tema "Bands (Music) Social aspects".
Junto a cada fuente en la lista de referencias hay un botón "Agregar a la bibliografía". Pulsa este botón, y generaremos automáticamente la referencia bibliográfica para la obra elegida en el estilo de cita que necesites: APA, MLA, Harvard, Vancouver, Chicago, etc.
También puede descargar el texto completo de la publicación académica en formato pdf y leer en línea su resumen siempre que esté disponible en los metadatos.
Artículos de revistas sobre el tema "Bands (Music) Social aspects"
1
Wang, Shuang. "Music, social media and public pedagogy: indie music in the post-Cantopop epoch." Asian Education and Development Studies 7, no. 1 (January 2, 2018): 42–52. http://dx.doi.org/10.1108/aeds-03-2017-0022.
Texto completoResumen
Purpose Hong Kong’s musical scene is rapidly changing along with the evolving media landscape. The purpose of this paper is to examine the new way of Cantopop production and dissemination in the new media ecosystem. Furthermore, this study calls for a reconceptualization of the process of Cantopop listening and sharing as a form of public pedagogy within the online public space. Design/methodology/approach Based on the investigation into two of the leading local indie bands Kolor and Supper Moment, this study explores the implications that social media and participatory culture have for these indie bands. In this study, the music content and promotion strategy of the two bands, as well as the role of their online audiences are studied. Findings Social media leads to more democratic cultural production and distribution. The strong online audience engagement serves as the foundation for the popularity of the two Cantopop indie bands. In their music practice, the lyrics appear to be in alignment with the goals and interests of the listeners, which gives rise to greater participation by its audiences through social media. Under the context of interactive internet culture, listening and sharing Cantopop can be seen as an educational force, thus reinforcing the values and attitudes. Originality/value While many important works have examined various aspects of Cantopop, little attention has been paid to the indie bands. This paper attempts to reveal the recent development of local indie bands as a site under the interactive internet culture. It also gives insights to the significant role of Cantopop played in public pedagogy.
2
Thomson, Raymond A. "Dance bands and dance halls in Greenock, 1945–55." Popular Music 8, no. 2 (May 1989): 143–55. http://dx.doi.org/10.1017/s0261143000003330.
Texto completoResumen
The Americanisation of British popular culture has been the subject of intensive study and debate. Most of this, however, has had a national focus. It is the purpose of this article to examine aspects of a popular culture at a local level in order to discover the extent to which people were, or felt themselves to be, dominated by America. The history of popular culture is the history of the little people, how they passed their time and recreated themselves. Discoveries made here should cast illumination on the more global claims made by social historians.
3
Gorbal, Y. M. "Professional Training of Military Musicians in Ukrainian Lands at the Turn of the XIX–XX Centuries." Culture of Ukraine, no. 71 (April 2, 2021): 75–81. http://dx.doi.org/10.31516/2410-5325.071.09.
Texto completoResumen
Abstract. The Armed Forces of Ukraine have strong traditions of musical bands that date back to princely and Cossack times. The task of their orchestras is to boost the morale of servicemen, to strengthen the power of the Ukrainian army by means of musical arts, as well as to perform at festive events (both at the local and the state level). However, despite the importance and diversity of creative and educational activities of the Military Orchestra Service of the Armed Forces of Ukraine, no comprehensive study of historical aspects of the functioning of music and military bands in national musicology has been conducted.
 The purpose of the article is to analyze the historical process of the formation of traditions of professional training of members of military musical bands at the turn of the XIX–XX centuries in the Ukrainian lands, as well as ceremonial and social functions of their concert activity.
 Research methodology. The overview is based on historical, structural and systemic methods.
 Results. Traditions of military orchestral training in Ukraine have deep historical roots and are based on multicultural principles. Traditions of performance and training in military musical bands of the Armed Forces of the independent Ukraine were formed on the basis of the three lines of continuation: princely and Cossack musicartistic formations and bands of the time of liberation movements (LUSR — Legion of Ukrainian Sich Riflemen, UIA — Ukrainian Insurgent Army), which represent their direct national line; Russian military orchestras with the participation of Ukrainian specialists; and multinational Austrian and Polish military music bands in Ukrainian territories. All of them together formed the basis on which the Ukrainian military and musical tradition was based, absorbing all the most relevant and productive aspects of the experience gained.
 Novelty. The activity of centers in which members were trained for existing military orchestral groups in the Ukrainian lands, as well as ways in which such training was performed, and the development of professional training of musicians were considered.
 Practical significance lies in the consideration of prospects for further detailed study of the functioning of separate bands, their repertoire, instruments, ceremonial and social functions, achievements of particular individuals in the field of performance, pedagogy and conducting.
 Conclusions. In the activity of military orchestras in the Ukrainian lands at the turn of the XIX–XX centuries we can see a combination of militaryceremonial and social palaceconcert functions, wide involvement of all segments of the society in concert touring, which completely dictates the rich repertoire. From LUSR schools and guilds, professional training of musicians was gradually transformed into the activities of specialized training units at the military formations, cadet schools and trumpet schools, institutions at music societies and professional music training in conservatories.
4
Brown, Steven Caldwell, and Don Knox. "Why go to pop concerts? The motivations behind live music attendance." Musicae Scientiae 21, no. 3 (May 20, 2016): 233–49. http://dx.doi.org/10.1177/1029864916650719.
Texto completoResumen
Recent technological innovations have facilitated widespread illegal downloading of recorded music. While this points towards a decreased willingness to pay for music, the increase in the popularity of live music suggests otherwise. This is especially so when taking into account the rising cost of concert tickets, likely the result of reduced recorded music revenues. In the present study, a consideration of the unique motivations of why music fans decide on whether or not to attend live concerts is of interest. Drawing from a sample of 249 participants (55.02% female) with a mean age of 26.49, an open-ended questionnaire was analysed thematically with four key themes defined: Experience, Engagement, Novelty and Practical. The results highlight that participants want to “be there”, to be a part of something unique and special, sharing the experience with likeminded others. Other social dimensions such as the use of live music events as a means to demonstrate fan worship were also found. The unknown, novel aspects of live music were key motivators, such as hearing new material and watching support bands. Notably, price was not a contributing factor when choosing to attend a concert, suggesting that live music offers fans something special that they are more than willing to pay for.
5
Wabwire, Jonai. "The Influence of New Media Technologies On Nambale Sub County Folklore." JOURNAL OF SOCIAL SCIENCE RESEARCH 14 (August 9, 2019): 3304–12. http://dx.doi.org/10.24297/jssr.v14i0.8191.
Texto completoResumen
New media technologies have had a tremendous impact on Nambale folk media (folklore) productions. By utilizing the technologies, folklorists have the ability to reach out directly to their fans, which creates a closer community between the two sides. With revolutions in both crowd funding, digital releases, and mobile payment technology, folk media fans also have vastly increased opportunities to consume folk media products such as songs, drama, plays in the ways they wish. Unfortunately, new media technologies have also brought about changes in folk music industry that are not as beneficial to either musicians or fans. With social media taking such a key role in how bands market themselves, they now have to worry not only about the music they create, but also how to sell that music to people. It’s not good enough anymore to create good art; folk musicians also need to know how to effectively get people to pay attention to it. New media technologies, and how they are used is a complicated issue for everyone, and this is true within folk music as well. It has brought huge improvements in some areas, but also unfortunate consequences in others. As with all things related to social media, the best way to look at these changes is to embrace the positive aspects while trying to find ways overcome, or at least live with, the negative.
6
Sills, Helen. "Time Remembered." KronoScope 5, no. 1 (2005): 59–72. http://dx.doi.org/10.1163/1568524054005168.
Texto completoResumen
AbstractThe human brain is capable of experiencing highly complex auditory imagery. Musicians find it valuable to mentally rehearse the auditory image of a piece of music, in the absence of the orchestra or instrument, to help perfect their actual physical performance of it. For this, the auditory image must first be founded on a perfect memory of all the work's musical aspects, and then 'lived- through &#160;in a very finely-judged realisation of its movement in time, so that all its precision or expressive flexibility of tempo and qualities of meaning are fully released.<br /><br />Two neural processes shed light on the trained musician's ability to reproduce the duration of a mental rehearsal with great accuracy: the generation of firing patterns searching for pattern and symmetry, and the coherence behaviour of music processing units in the higher wave-bands. In the light of these two processes, I comment on the experience of mentally rehearsing 'Prélude á L'Aprés-midi d'un Faune', and 'Symphonies of Wind Instruments', and on the organising relationships which heighten the temporal aspects to produce a strong auditory form.
7
Đorđević, Ana. "“The soundtrack of their lives”: The Music of Crno-bijeli svijet." AM Journal of Art and Media Studies, no. 17 (October 16, 2018): 25. http://dx.doi.org/10.25038/am.v0i17.267.
Texto completoResumen
Crno-bijeli svijet [Black-White World, HRT, 2015–] is an on-going Croatian television series set in the early 1980s depicting the then-current pop music scene in Zagreb. The storyline follows several characters whose lives are intertwined by complex family relations, while also following the beginnings of new wave/punk rock bands and artists, and their influence on the Yugoslav youth who almost religiously listened to their music, like some of the series’ characters do.The role of music in television series is a complicated question that caught the attention of film music scholars in recent years. The significance – and, at the same time, the complexity – that music produces or can produce, as the bearer of cultural, social and/or political meanings in television series brings its own set of difficulties in setting out possible frameworks of research. In the case of Crno-bijeli svijet that is even more challenging considering that it revolves around popular music that is actively involved in, not just the series soundtrack, but several aspects of different narrative elements.Jon Burlingame calls the music of American television “The soundtrack of our lives”, and I find this quote is appropriate for this occasion as well. The quote summarizes and expresses the creators’ personal note that is evident in the use of music in this television series and myriad ways music is connected to other narrative and extra-narrative elements, and in a way, grasps the complicity of the problem I will address. Article received: March 31, 2018; Article accepted: May 10, 2018; Published online: October 15, 2018; Original scholarly paper How to cite this article: Đorđević, Ana. “'The soundtrack of their lives': The Music of Crno-bijeli svijet." AM Journal of Art and Media Studies 17 (2018): 25−36. doi: 10.25038/am.v0i17.267
8
Malm, Tobias. "The ambivalence of becoming a small business: Learning processes within an aspiring rock band." Popular Music 39, no. 3-4 (December 2020): 585–99. http://dx.doi.org/10.1017/s0261143020000471.
Texto completoResumen
The process of becoming a rock musician strongly relates to the organisational form of the band (Bennett 1980; Green 2002; Behr 2010). At all levels of ambition and success, membership of a band provides the musician with a natural entry point for performing to an audience and forging a potential career (Smith 2013a). The ‘micro-organisational’ (Bennett 2001) development of a band, therefore, is an important career prerequisite for rock musicians (Behr 2015). However, the social and practical challenges of musicianship seem to be continuously underemphasised within the field of popular music studies (Cohen 1993; Kirschner 1998; Lashua 2017; Weston 2017; Kielich 2018). Therefore, in this article I will focus on an aspiring rock band's informal learning processes in becoming a small business together. The study provides insights into the educational and organisational aspects of band practices and contributes to the fields of popular music, education and organisation studies – fields that are converging in the emerging interdisciplinary research area of ‘organising music-making’ (Beech and Gilmore 2015).
9
Reyes Contreras, Miguel. "Acercamiento onomástico al nombre de las bandas de Heavy Metal." Onomástica desde América Latina 2, no. 3 (December 18, 2020): 59–81. http://dx.doi.org/10.48075/odal.v0i0.26062.
Texto completoResumen
El acto de nombrar es considerado en cierto modo un ritual. Parte de una lista de opciones y termina en una etapa en la que se narra el proceso. Cualquier ente que tiene un nombre, lo recibe para ser individualizado y ser considerado único por lo menos en el espacio circundante y no es la excepción en el proceso de nombrar una banda musical, concepto conocido como crematónimo. El propósito de este texto es presentar un análisis Onomástico, sobre un corpus de nombres de bandas de varios subgéneros de heavy metal y conocer la estructura lingüística de los nombres, las lenguas de nominación y aspectos onomásticos asociados con influencias sociales, religiosas, culturales, literarias, etc. y la clasificación y discusión en la nomenclatura onomástica. Bajo un enfoque cuantitativo y desde los puntos de vista lingüístico y onomástico se analiza un corpus de nombres de 844 bandas de Heavy Metal (de todo el mundo), un género que ha sabido construir su propia subcultura con reglas, modas, discurso propio y sus rituales de nominación. El análisis revela influencias culturales, literarias, históricas, religiosas y lingüísticas en la nominación de las bandas y una amplia variedad de construcciones morfológicas y sintácticas en los nombres. Encontramos que esta variedad de referencias vertidas en un nombre de una agrupación es un entramado de conexiones sociales, lingüísticas y culturales y no deben ser estudiados solo desde la perspectiva musicológica o antropológica, sino también desde los ámbitos lingüísticos, sociales y culturales.Palabras clave: Crematónimo, Heavy metal, Onomástica, intercategorías.Abstract:The act of naming is considered a certain ritual. It is rooted in a list of options and ends in a stage where the process is narrated. Any object which bears a name, bears it to be seen as individual and unique, at least in the surroundings, and the process of naming a music band is no exception. The concept used for this process is Chrematonymy. The main aim of this text is to present an onomastic overview, out of a several subgenres of heavy metal band name corpus in order to explore the linguistic structure of such names, languages chosen for naming and onomastic aspects associated to social, religious, cultural, literary influences and also to classify and discuss based onomastic nomenclature. Based on a quantitative approach and from the linguistic and onomastics point of view, a corpus 844 Heavy Metal bands’ names from all over the world, a genre which constructed its own subculture with their own rules, fashion, discourse and naming rituals. Our analysis reveals cultural, literary, historical, religious and linguistic in band naming as well as an ample variety of morphological and syntactic constructions in the catalog of names. We can find that the variety of references in the name of a band is a network of social, linguistic and cultural connections and should not be only studied from the musicology or anthropology’ perspective, but also as a linguistic, social and cultural phenomenon.Key words: Chrematonym, Heavy metal, Onomastics, intercategories.
10
Yakhno, Olena. "Vocal stylistics in rock music: dialectics of general and special." Aspects of Historical Musicology 21, no. 21 (March 10, 2020): 279–92. http://dx.doi.org/10.34064/khnum2-21.18.
Texto completoResumen
The article aimed to identify the specific features of vocal style in rock music. This issue is considered in a complex way proceeding from the integral system of vocal intonation in its origins and evolution. It is noted that the vocal component in rock music is a synthesis of diverse origins, among which the primary and comprehensive is the song beginning, presented in all the diversity of its manifestations. Being assimilated into the forms of professional music-making, which include rock music and its historically closest source – jazz, the song component in rock music becomes the basis of meaning expression, takes the stage forms of representation, supplemented with various visual and acoustic effects and comes out to the stadium spaces with audience of many thousands. For the first time, the article proposes a systematization of those dialectical processes that were resulted in vocal rock stylistics and determined its fundamental pluralism – verballinguistic and musical-intonation, combined with social indication characteristic of rock aesthetics The article supports the idea, that vocal stylistics is a two-component concept in which two levels of terminological generalization are combined – general (“stylistics” as a set of techniques and methods, by which a music composition is created) and specific (“vocal”, which is determined by the genus of the music and its performers as a functional basis of genre). Any stylistic phenomenon, despite its concreteness, is characterized by the qualities of a meta-system, which is reflected in such concepts as “historical stylistics”, “genre stylistics”, “national stylistics” (E. Nazaikinsky). The specific stylistics, derived from the “style of any kind of music” (V. Kholopova), has the same qualities. Among them there is the vocal style which is associated with the musical implementation of the speech line, including such different forms of intonation as recitative, declamation, cantilena, also the song itself as a musical genre that incorporates all the features of “musical speech” (B. Asafiev). Therefore, the song, as the primary genre in the system of vocal intonation, was produced in the syncretism of playful forms of musical art, which included music, dance, and ritual (J. Huizinga). Keeping the quality of “conservatism” (O. Sokolov), the song on the way of its historical and evolutionary development acquired wide range of forms, being performed in different stylistic conditions and in different genre interpretations. The most general unification of multiformity of the song culture is the theory of three layers (V. Konen), in each of which it is presented as primary vocal intonation. However, despite its general origins, arising from the formula “a voice is a person” (E. Nazaikinsky), vocal art within each of the three layers – folklore, academic and the “third” – is distinguished by a number of specific features. A certain differentiation is also observed within each stratum, which also applies to the “third”, which is distinguished as something middle between folklore and academic. In the most general terms, “non-academic” vocals are distributed between such types of “third” music (V. Syrov) as jazz, rock and pop music. This article offers a comparative characteristic of the peculiarities of the varietyized forms of vocal style in rock music and jazz. Along with the general aesthetic, communicative and technological aspects, significant differences are observed here. The main one is the dominance of the vocal beginning in rock music and instrumental in jazz. At the same time, having emerged on a semi-folklore basis, as well as under the influence of entertaining forms of dance youth music of the 50s of the last century (rock & roll, youth protest songs, soul, funk, etc.), rock music has developed its own system of vocal intonation, which is distinguished by: 1) the priority of word over the music; 2) a special approach to improvisation, the role of which is less significant in rock compositions than in instrumental jazz (the exception is scat improvisation); 3) the tendency towards the revival of the genre of “poems with music”, which is peculiar to the academic song culture of Europe in the late 19th – early 20th centuries. The article proves that the “whateverism” of rock (V. Zinkevich) is not only in the variety in the “intonemas”, which are used in it (E. Barban), but also in all kinds of “splitting” of the vocal and the instrumental rock compositions into genre and stylistic subspecies. Acceleration of the processes of assimilation and modification of the intonation complexes, due to the system of musical mass culture, allows observation, since the second half of the XX century, the different hybrid varieties (jazz-rock, folk-rock, etc.) and the relatively new forms of vocal and speech music (freestyle, fusion) making with the connection of dance and theatrical components (disco, hip-hop, rap, R&B). On this basis, the vocal rock style is formed, which, however, has its own specifics. It always tends to the synthesis of music and words, and the word is often a priority and defines the ideology of rock as of a system of ideological and artistic communication. Based on the abovementioned, the conclusions are about the presence of processes of dialectical interaction in the vocal style of rock of the general (patterns of vocal sound, forms of the relations between music and word, genre origins of prototypes) and the special (their realization, at the level of aesthetics and poetics, – rock as a “way of thinking” and “lifestyle”, according to V. Zinkevich). It is noted, that the study of these processes supposes referring to specific samples – styles and compositions of rock bands confessing different points of view due to their art and the role of the vocal component in it. As the perspective, the national aspects of vocal rock stylistics need the studying, including such a little researched one as the Ukrainian.
Tesis sobre el tema "Bands (Music) Social aspects"
1
Dennis, Simone J. "Sensual extensions : joy, pain and music-making in a police band." Title page, contents and abstract only, 2002. http://web4.library.adelaide.edu.au/theses/09PH/09phd4115.pdf.
Texto completoResumen
Bibliography: leaves 210-226. Based on 18 months ethnographic fieldwork about the ways in which members of the South Australian Police Band make music. Studies their disconnection from the body of the community, acheived via an embodiment of emotional disconnection; the power of the Department to appropriate a particular order of emotion for the purposes of power; and, the misrecognition of the appropriation of emotion by members of the public who are open to the Department's emotional domination. The context material describes the reasons for the existence of the police band in the police view, while the core material of the thesis is concerned with describing what it is that police band members do, and what they do most of all is, in their own words, experience something that they call "the feel".
2
Eaddy, Jack A. Jr. "Social Consciousness in Wind Band Music of the Early 21st Century, Represented through a Study of Three Wind Band Works: Symphony No. 2-Migration by Adam Schoenberg, Silver Lining-Concerto for Flute and Wind Ensemble by Frank Ticheli, and Of Our New Day Begun by Omar Thomas." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1538741/.
Texto completoResumen
The wind band provides an outlet for composers to use their platform to reach performers, enlighten audiences, and heal communities. This document is an analysis of three composers' approach to incorporate social consciousness in their wind band music. Adam Schoenberg, Omar Thomas, and Frank Ticheli work with specific social justice issues to respond to specific events, allowing them to reach and empower performers and audiences, to heal, thrive and build past these events. The chapters contain each composer's biographical information, then provide detailed information of the three works; background and cursory information, the composer's use and understanding of the social justice issue and an extensive analysis of each work. The composers use compositional design techniques to convey their intent to share a specific message. This document provides insight through each composer's techniques and thought processes, providing a better understanding of the works. The knowledge gained will help conductors and performers understand social consciousness in wind band music.
3
Spencer, William David 1952. "An Attitude Assessment of Amateur Musicians in Adult Community Bands." Thesis, University of North Texas, 1996. https://digital.library.unt.edu/ark:/67531/metadc277924/.
Texto completoResumen
The purpose of this study was to ascertain certain factors which lead adults to participate in community band activity. This study attempted to answer the following questions: 1. What are the factors of rewards for community band participants based on the responses of a selected sample to validated attitude statements? 2. What are the relationships that might exist between certain demographic characteristics of the sample such as age, gender, education, occupation, musical training, geographic region (independent variables) and factors of participation (dependent variables) determined by principal components analysis? 3. What are the relationships that might exist between the findings of this study using member generated attitude statements and the findings of other attitude studies using researcher generated attitude statements? A 179-item survey was developed from an initital pool of 839 attitude statements after two pilot studies and an expert review. A randomly selected, stratified cluster sample of 74 organizational members of the Association of Concert Bands participated in the study. The average number of band members present during the survey process was 35. The average number of surveys returned per band was 23.66 for a return rate of 65.9% One thousand seven hundred twenty five individuals participated in the study. Frequency distributions of responses revealed the 36-50 age group to be the most represented (33%) followed closely by the 51-65 age group (27.8%). Males outnumbered females (57.5% to 42.3%). Over 80% of respondents were married. Almost 75% of respondents were college graduates. Over 60% had performed in college ensembles. Over half (55.4%) of respondents were either employed in the professional trades or white collar occupations. Almost 10% considered themselves professional musicians. Principal components analysis of the 179 items yielded six main factors of participation which were labeled Intrinsic Motivators, Organizational Motivators, Membership Standards, Repertoire/Conductor, Rehearsals/Performances, and Quality. Further analysis of Intrinsic Motivators yielded five second level components which were labeled Self-Growth, Musical Growth, Community Pride, Social Rewards, and Conductor. Second level components extracted from Organizational Motivators were labeled Attendance/Practice, Community Support, and Music Selection. Using t-tests and ANOVA, many significant relationships were found between groups on the six main factors and eight sub-factors (independent variables) with the demographic variables (dependent variables), especially age, gender, occupation, level of ensemble experience, past geographic region, present geographic region, and community size.
4
Lima, Marcos Aurelio de. "A banda estudantil em um toque alem da musica." [s.n.], 2005. http://repositorio.unicamp.br/jspui/handle/REPOSIP/252389.
Texto completoResumen
Orientador: Leticia Bicalho Canedo<br>Tese (doutorado) - Universidade Estadudal de Campinas. Faculdade de Educação<br>Made available in DSpace on 2018-08-04T06:18:27Z (GMT). No. of bitstreams: 1
Lima_MarcosAureliode_D.pdf: 16378770 bytes, checksum: 86cf8461371dd431ea6a246a44fcf5c1 (MD5)
Previous issue date: 2005<br>Doutorado<br>Educação, Conhecimento, Linguagem e Arte<br>Doutor em Educação
5
Gould, Jackson S. "The Changing Business of Bands: How New Groups Start, Grow, and Succeed Using Social Media." Ohio University Honors Tutorial College / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1340989959.
Texto completo
6
Lima, Suely Simone Costa. "EDUCAÇÃO E SOCIALIDADE: aspectos do imaginário na Banda de Música do Bom Menino." Universidade Federal do Maranhão, 2006. http://tedebc.ufma.br:8080/jspui/handle/tede/124.
Texto completoResumen
Made available in DSpace on 2016-08-17T13:54:06Z (GMT). No. of bitstreams: 1
Suely Simone Costa Lima.pdf: 3039995 bytes, checksum: fbbbdd6745c57060c09dcb349aea15bd (MD5)
Previous issue date: 2006-03-07<br>This paper searches to try to investigate music as symbolical practical organizer of the sociality of the group that composes the Band of Music of the Bom Menino of the Convento das Mercês formed by children and adolescents. In a perspective of Culturanálise de Grupo deriving of from the study of the Anthropology of the Organizations and the Education, area that reveals the imaginary as a pedagogical power of the imagination and questioning the deplete of a vision of rational world. It was intended to realize a reflection about the man in a byo-psyco-socio-cultural boarding in a transdisciplinar perspective about the Sciences and the Knowledge passing for a review of paradigms to become a more complete reading of citizen. It tries to investigate through the literature and familiarity on ambient the possible elements to clear the significant social changes that can a effect children and adolescents involved in actives whith music. Privileges, too, the need to study who is outside of the traditional class without losing the questioning who the imaginary can be, too, an organized place on education and social insertion. The theoretical principles of reference were, Gilbert Durand on the imaginary, in Sociology, Michel Maffesoli, and the intricate Anthropology of Edgar Morin, beyond that contribution of some concepts of Psychoanalysis, Education and Psychology<br>Esta pesquisa visa investigar a música como prática simbólica organizadora da socialidade do grupo que compõe a Banda de Música do Bom Menino do Convento das Mercês, formada por crianças e adolescentes. Numa perspectiva da Culturanálise de Grupo oriunda do estudo da Antropologia das Organizações e da Educação, área que vem revelando o imaginário como potência pedagógica da imaginação e questionando o saturamento de uma visão de mundo racional, pretendeu-se realizar uma reflexão sobre o homem numa abordagem bio-psico-socio-cultural sob perspectiva transdisciplinar sobre as Ciências e o conhecimento em geral, passando por uma revisão de paradigmas para tornar possível uma leitura de sujeito mais completa. Tentou-se investigar, através da literatura e da convivência em campo, os elementos possíveis para esclarecer as mudanças sociais significativas que se efetuam nas crianças e nos adolescentes envolvidos em atividades com música. Privilegiou-se, ainda, a necessidade de se estudar o que está fora da sala de aula tradicional sem se, perder de vista compreender-se como o imaginário pode ser também um lugar organizador na Educação e na Inserção Social. Os principais teóricos de referência foram Gilbert Durand sobre o imaginário, no campo sociológico, Michel Maffesoli, e no antropológico, a Antropologia da Complexidade de Edgar Morin, além da contribuição de alguns conceitos da Psicanálise, Educação e da Psicologia.
7
Bassalé, Parfait Adegboyé. "Music and Conflict Resolution: Can a Music and Story Centered Workshop Enhance Empathy?" PDXScholar, 2013. https://pdxscholar.library.pdx.edu/open_access_etds/1122.
Texto completoResumen
The Story and Song Centered Pedagogy (SSCP) is a workshop that uses songs, stories and reflective questioning to increase empathy. This preliminary study tested the prediction that being exposed to the SSCP would increase empathy using, the Emotional Concern (EC) and Perspective Taking (PT) subscales of the renowned Interpersonal Reactivity Index (IRI) (Davis, 1990). Subjects self-reported their answers to the IRI before and after undergoing the SSCP intervention. Comparing their pre and post intervention results, no statistically significant changes were noticed for the EC and PT scales (p-value = 0.7093 for EC; p-value = 0.6328 for PT). These results stand in direct tension with the anecdotal evidence gathered from 10 years of action research that shows that the SSCP impacts audiences' ability to empathize. This opens the door for additional research with more rigorous methodology and a larger sample size which will allow for more interpretative analysis. These results also probe the concern about whether the IRI is the most suitable tool to quantitatively measure the empathetic responses caused by the SSCP and evidenced by action research.
8
Johnston, Mindy Kay. "Music and Conflict Resolution: Exploring the Utilization of Music in Community Engagement." PDXScholar, 2010. https://pdxscholar.library.pdx.edu/open_access_etds/437.
Texto completoResumen
This study is based on interviews conducted with twenty-two musician-activists in the Pacific Northwest region of the United States in 2009 to explore perspectives about the role of music in community engagement with the aim of considering how music might be used in the field of conflict resolution. The study followed the qualitative approach of constructivist grounded theory as designed by Charmaz (2000, 2002). Two themes, "Music for Self," and "Music for Society" emerged from interviews and comprise the internal and external meanings of music to the research informants. The results of the study indicate that the relationships people have with music make it a potentially powerful tool in conflict situations within the realms of both conflict resolution and conflict transformation. More extensive research exploring these benefits is recommended.
9
Gautier, Alba. "Producing a popular music : the emergence and development of rap as an industry." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79768.
Texto completoResumen
In this thesis, I trace the evolution of the rap market from its emergence in 1979 in New York City to its development into a national industry in 1990. I analyze the motivations of the producers of rap and the mechanisms that led to their current organization. Independent labels were the primary producers of rap records until they made distribution deals with major record companies in the second half of the eighties. I argue that the division of labor between production and distribution, which became the most common context for the production of the music, is both the result of an organizational strategy initiated by the majors and of the negative perception their executives had of rap artists.
10
Kruger, Jaco Hentie. "A cultural analysis of Venda guitar songs." Thesis, Rhodes University, 1994. http://hdl.handle.net/10962/d1002309.
Texto completoResumen
This thesis focuses on the articulation in music of human worldviews, and the social contexts in which they emerge. It suggests that people project various forms of social reality through symbolic systems which operate dynamically to maintain and recreate cultural patterns. The symbolic system investigated in support of this suggestion is that constituted by Venda guitar songs. In the performance of these songs, social reality emerges in a combination of symbolic forms: verbal, musical and somatic. The combination of these symbolic forms serves as a medium for individual self-awareness basic to the establishment of social reality and identity, and the drive for social power and legitimacy. A study of these symbolic forms and their performance indicates that musicians invoke the potential of communal music to increase social support for certain principles on which survival strategies in a turbulently changing society might be based. The discourse of Venda guitar songs incorporates modes of popular expression and consciousness, and thus attempts to invoke states of intensified emotion to promote these survival strategies. Performance occasions emerge as a focus for community orientation and the exploration of social networks. They promote stabilizing social and economic interaction, and serve as a basis for moral and cooperative action. Social reality also emerges in musical style, which is treated as the audible articulation of human thought and emotion. Stylistic choices are treated as integral to the conceptualization of contemporary existence. A study of these choices reveals varying degrees of cultural resistance and assimilation, ranging from musical styles which are essentially rooted in traditional social patterns, to styles which integrate traditional and adopted musical elements as articulations of changing self-perceptions, social aspirations, and quests for new social identity.
Libros sobre el tema "Bands (Music) Social aspects"
1
Stephen, Jones. Ritual and music in North China: Shawm bands in Shanxi. Aldershot, Hants, England: Ashgate, 2007.
Buscar texto completo
2
Dubois, Vincent. Les mondes de l'harmonie: Enquête sur une pratique musicale amateur. Paris: Dispute, 2009.
Buscar texto completo
3
Dubois, Vincent. Les mondes de l'harmonie: Enquête sur une pratique musicale amateur. Paris: Dispute, 2009.
Buscar texto completo
4
Gumplowicz, Philippe. Les travaux d'Orphée: 150 ans de vie musicale amateur en France : harmonies-chorales-fanfares. [Paris]: Aubier, 1987.
Buscar texto completo
5
Neil, Ancil Anthony. Voices from the hills: Despers & Laventille : the steelband and its effects on poverty, stigma & violence in a community : a classic study of the social, political, and economic changes in a community. [New York?]: A.A. Neil, 1987.
Buscar texto completo
6
Neil, Ancil Anthony. Voices from the hills: Despers & Laventille : the steelband and its effects on poverty, stigma & violence in a community : a classic study of the social, political and economic changes in a community. [Trinidad]: [s.n.], 1987.
Buscar texto completo
7
Dudley, Shannon. Music from behind the bridge: Steelband spirit and politics in Trinidad and Tobago. Oxford: Oxford University Press, 2008.
Buscar texto completo
8
Dudley, Shannon. Music from behind the bridge: Steelband spirit and politics in Trinidad and Tobago. New York, NY: Oxford University Press, 2006.
Buscar texto completo
9
Dudley, Shannon. Music from behind the bridge: Steelband spirit and the politics of festivity in Trinidad and Tobago. New York: Oxford University Press, 2007.
Buscar texto completo
10
Swing changes: Big-band jazz in New Deal America. Cambridge, Mass: Harvard University Press, 1994.
Buscar texto completoCapítulos de libros sobre el tema "Bands (Music) Social aspects"
1
de-Miguel-Molina, María, and Virginia Santamarina-Campos. "Conclusions: Music as an Economic, Social, Cultural, Creative and Resilient Activity." In Music as Intangible Cultural Heritage, 139–44. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-76882-9_9.
Texto completoResumen
AbstractMusic, like many cultural and creative industries, can be analysed from symbolic, political and economic dimensions. It is a vibrant, highly resilient sector that has continued to evolve over time from prehistory to the present. Moreover, the music industry has developed in lockstep with technology, creating fascinating business models since the inception of the Internet, forcing companies and artists to adapt continuously to the new environment. This is also related to music customers, who change their preferences as new genres and trends appear. Governments are well aware of the opportunities that music affords to local development and have created public policies that boost the sector. On the other hand, music has also proved its educational role, and its function as an identity builder, especially in local environments where music is present in many festivities in the shape of bands. Mediterranean locations have a rich tradition in this type of musical societies and groups which create a collective identity that is transmitted from one generation to the next. Finally, music has not been immune to the crisis caused by the pandemic, though it has once again shown resilience in this respect, adapting rapidly to the new economic, societal and educational challenges that are currently affecting the entire world.
2
Carabal-Montagud, María Ángeles, Guillem Escorihuela-Carbonell, Virginia Santamarina-Campos, and Javier Pérez-Catalá. "The Impact of the COVID-19 Pandemic on Musical Societies in the Valencian Region, Spain." In Music as Intangible Cultural Heritage, 119–37. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-76882-9_8.
Texto completoResumen
AbstractThe aim of this study is to analyse the impact of the COVID-19 pandemic on musical societies in the Valencian Region, which were declared as an Asset of Intangible Cultural Interest in 2018. These cultural societies, which include over 1,100 bands, have had to make changes to adapt to the global pandemic. They are made up of symphonic bands, music schools, choirs, orchestras and other musical groups. Their social structure involves a large part of the Valencian Region’s population which, to some extent, becomes part of the creative process and transfer of musical languages, such as cultural transmission and historical content. This teaching model includes a variety of strategies, such as generating community ties that go beyond the social dimension. Moreover, the process of transformation, adaptation and resilience followed by these musical societies in order to maintain their training routines and other tasks will be analysed through an ethnographic study. This aims to focus on the extent of the economic, social and pedagogical impact of COVID-19 on these organisations.
3
Santamarina-Campos, Virginia, José Luis Gasent-Blesa, Pau Alcocer-Torres, and Mª Ángeles Carabal-Montagud. "The Intangible Cultural Landscape of the Banda Primitiva de Llíria." In Music as Intangible Cultural Heritage, 69–99. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-76882-9_6.
Texto completoResumen
AbstractThe Banda Primitiva de Llíria is presented as an open heritage resource, which has been built on the uses, values and symbols assigned to it by the local town of Llíria and its inhabitants over the musical society’s two centuries of history. This work focuses on analysing how this musical phenomenon contributes to positioning creativity and cultural industries at the centre of local development, reinforcing the identity elements of Llíria and the Valencian Region. It intends to support the safeguarding, respect and awareness of one of the oldest civic bands in Spain, providing greater visibility and creating positive recognition of the fundamental importance of this form of intangible cultural heritage for social cohesion and development, in an environment that is transformed into one of collective action, shared culture and creativity.
4
Erlmann, V. "Music: Anthropological Aspects." In International Encyclopedia of the Social & Behavioral Sciences, 10251–55. Elsevier, 2001. http://dx.doi.org/10.1016/b0-08-043076-7/00918-9.
Texto completo
5
Erlmann, Veit. "Music: Anthropological Aspects." In International Encyclopedia of the Social & Behavioral Sciences, 149–54. Elsevier, 2015. http://dx.doi.org/10.1016/b978-0-08-097086-8.12114-2.
Texto completo
6
Harney, Kristin. "Music and Social Studies." In Integrating Music Across the Elementary Curriculum, 103–50. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190085582.003.0005.
Texto completoResumen
This chapter explores connections between music and social studies. It includes rationales for integrating music and social studies, common links between the two disciplines, and a discussion of National Curriculum Standards for Social Studies, the C3 Framework for Social Studies State Standards, and the National Core Arts Standards for Music. Tables clearly show the standards that are incorporated throughout the lessons and examples. The chapter contains four detailed, full-length lessons that integrate music and social studies. These include a lesson that examines the importance of a classroom community; a two-part exploration of historical and musical aspects of the blues; and an introduction to the Holocaust through Górecki’s Symphony No. 3. The chapter ends with an inventory of ideas detailing nineteen additional lesson topics, specific teaching strategies, and recommended activities.
7
Liebman, Becky. "Praxis through HONK!" In Transforming Ethnomusicology Volume I, 101–9. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197517604.003.0007.
Texto completoResumen
This chapter traces the recent rise of activist street bands in the United States (mainly brass, woodwinds, and percussion—loud, lively, and mobile), and places them in an historical context, with specific attention to how bands across the country are experimenting to achieve the greatest social impact. In 2006, organizers in Somerville, Massachusetts, created the first festival for the gathering of activist street bands under the polysemic term “HONK!” They noted that bands honk their horns for the same reasons motorists honk: “to arouse fellow travelers, to warn of danger, to celebrate milestones, and to just plain have fun.” In the ensuing years, HONK! festivals quickly emerged in Seattle, New York, Providence, Austin, and Detroit. Participating bands draw from many musical traditions, including New Orleans, Balkan, Brazilian, and pop. Band members, generally amateurs, learn music aurally and/or through written music, allowing for a wide level of ability, often inspiring onlookers to play. Some bands have leaders; many are leaderless. In the public and digital commons, activist street bands attract attention. This chapter asks probing questions about whether they have an impact. What are the lessons learned about how best to partner with nonprofit organizations, NGOs, or campaigns to convey the desired messages? What significance do gender, ethnicity, and class have in these partnerships?
8
Siwe, Thomas. "Music-Theater." In Artful Noise, 118–35. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043130.003.0009.
Texto completoResumen
In the late 1960s, a renewed focus on the theatrical aspects of musical performance merged with the political and social concerns of the times to create a new genre, music-theater. For percussionists, theatricality is inherent in the action used to play their instruments. Recognizing this, composers created works that incorporated various aspects of theater, designating these new compositions as mixed- or multimedia, intermedia, or music-theater. Examples of this genre are discussed in this chapter beginning with the works of the American maverick composer Harry Partch, who not only created the music, but also built the instruments used in his productions. The genre is defined further through a description of the works of composers Benjamin Johnston, Mauricio Kagel, Karlheinz Stockhausen, Jean-Pierre Drouet, and Michael Udow. Each percussion composition described is unique, incorporating theatrical components such as lighting, stage actions, improvisation, electronics, film, set design, and other elements.
9
Kilinç, Uğur. "Vitalizing Ancient Cultures Mythological Storytelling in Metal Music." In Advances in Public Policy and Administration, 535–45. IGI Global, 2019. http://dx.doi.org/10.4018/978-1-5225-7661-7.ch042.
Texto completoResumen
This chapter is focused on the relationship between ancient narratives “music” and “mythology.” Technological developments and changes in social structure caused the occurrence of different music genres over time. “Metal music” is one of these genres. In the present day, it is possible to observe that there is a tendency to mythology in sub-genres of metal music. This tendency is observed in lyrics, album artworks, videos, and gig performances of some bands. In this chapter, metal music is examined based on its root, content, and technical features, primarily. Afterwards, mythology, content of mythology, and cultural and social functions of mythology are discussed. In the praxis of this study, the cover of the album Twilight of the Thunder God (2008) of the Swedish metal band Amon Amarth is analyzed by semiological analysis.
10
O’Reilly, Dr Daragh, Dr Gretchen Larsen, and Dr Krzysztof Kubacki. "Music Consumption." In Music, Markets and Consumption. Goodfellow Publishers, 2013. http://dx.doi.org/10.23912/978-1-908999-52-8-2250.
Texto completoResumen
Music can be heard everywhere, infiltrating our everyday existence. Not only does one choose to listen to music across a range of situations, times and spaces; one is also exposed to music in innumerable day-to-day situations – on public transport, from a passing car, through advertisements. Even prior to the technological advances which have revolutionized the way music is acquired, purchased and used (Elberse 2010; Simun 2009), Merriam noted that ‘the importance of music, as judged by the sheer ubiquity of its presence, is enormous... There is probably no other human cultural activity which is so all-pervasive and which reaches into, shapes and often controls so much of human behaviour’ (1964: 218). Technological, social and cultural trends have only served to deepen and diversify the ways in which one listens to, or engages with, music. The marketing and consumer behaviour perspective on music engagement has focused primarily on experiential aspects. Interest in the consumption of music arose on the back of the experiential turn in consumer research, and the associated interest in aesthetic products (e.g. Holbrook and Hirschman 1982). Music is a rich and complex symbolic, social and political product (Larsen et al., 2010), the experience of which can be distinguished from the consumption of other kinds of products. For example, music is the only product which is primarily auditory (Larsen and Lawson, 2010); consumption does not alter its recorded form and it can be consumed actively or passively, with or without ownership, in private and in public (Lacher and Mizerski, 1994). As a result, most of our knowledge about the consumption of music has concentrated on the emotional and aesthetic reasons for listening to music (e.g. Cherian and Jones, 1991; Kellaris and Kent, 1993; Lacher and Mizerski, 1994; North and Hargreaves, 1997; Chien et al., 2007; Lonsdale and North, 2011); the relationship between music and identity, particularly the use of music as a ‘badge of identity’ (e.g. Holbrook, 1986; DeNora, 1999; North and Hargreaves, 1999; Shankar, 2000; Goulding et al., 2002; Negus and Velazquez, 2002; Nuttall, 2009) and the symbolic function of music (Hogg and Banister, 2000; Larsen et al., 2009, 2010). There is a broader question, underlying this body of knowledge, which remains unexamined. That is: What does it mean to frame music engagement as consumption and music listeners as consumers, and what are the consequences of doing so for our understanding of music consumption? As conceptualized by Holbrook and Anand (1990) and Lacher and Mizerski (1994), music consumption is the act of listening to a piece of music. Listening to music is, without a doubt, one of the most significant aspects of the act of consuming music; however, it does not entirely capture all that is involved. For example, talking and reading about music are also important activities in consuming music (Larsen et al., 2009). If, in addition, one also acknowledges that the music product can be an artist, venue and associated paraphernalia (see Chapter 3), then the consumption of the music product must necessarily go beyond listening. Finally, this conceptualization does not help us to identify or understand how the experience of engaging with music differs if one does it as an audience member, as a fan, or as a consumer. Thus, a clearer understanding is needed of what one means by consumption in the context of music.
Actas de conferencias sobre el tema "Bands (Music) Social aspects"
1
Pandiova, Iveta. "STYLISTIC ASPECTS OF VOCAL INTERPRETATION IN THE CONTEXT OF NON-ART MUSIC." In 5th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS SGEM2018. STEF92 Technology, 2018. http://dx.doi.org/10.5593/sgemsocial2018/6.2/s25.030.
Texto completo
2
Karnik, Mayur. "Social aspects of music and interactive technologies in facilitating face-to-face interactions in third places." In Procedings of the Second Conference. New York, New York, USA: ACM Press, 2011. http://dx.doi.org/10.1145/2079216.2079278.
Texto completo
3
Wiflihani, Wiflihani, Pita Silitonga, and Herna Hirza. "Music in “Gobuk Melayu" Ritual Traditions: Study of Performance Aspects, Forms and Structures." In Proceedings of the 1st Conference of Visual Art, Design, and Social Humanities by Faculty of Art and Design, CONVASH 2019, 2 November 2019, Surakarta, Central Java, Indonesia. EAI, 2020. http://dx.doi.org/10.4108/eai.2-11-2019.2294720.
Texto completo
4
Iazzetta, Fernando. "The Politics of Computer Music." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10464.
Texto completoResumen
When a set of objects, actions, and procedures begin to coalesce and gain some coherence, they become perceived as a new, cohesive field. This may be related to the emergence of a new discipline, a new craft, or a new technological configuration. As this new field shows some coherence and unity, we tend to overlook the conditions that gave rise to it. These conditions become "naturalized" as if they were inherent in that field. From this point on, we do not wonder anymore to what extent the contingencies (formal, social, economic, technological, aesthetic, religious) that gave rise to that field have been crucial to its constitution. When it comes to computer music we are comfortably used to its applied perspective: tools, logical models, and algorithms are created to solve problems without questioning the (non-computational) origin of these problems or the directions taken by the solutions we give to them. The idea of computing as a set of abstract machines often hides the various aspects of the sonic cultures that are at play when we develop tools and models in computer music. The way we connect the development of computer tools with the contingencies and contexts in which these tools are used is what I call the politics of computer music. This connection is often overshadowed in the development of computer music. However, I would like to argue that this connection is behind everything we do in terms of computer music to the point that it often guides the research, development, and results within the field.
5
Huber, Annegret. "Die Pianistin spricht. Überlegungen zur Epistemologie von Vertonungsanalysen und ihrer Funktion in musikwissenschaftlicher Forschung." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.83.
Texto completoResumen
There is nothing fundamentally wrong with the premise that a pianist like Clara Wieck/Schumann ‘speaks’ in her song compositions. This, however, raises a number of epistemological questions that will be discussed in this article. First of all, an explicit distinction is made between the examination of the ‘technical’ aspects of her compositional practice – in German: Praktik – (which may allow conclusions to be drawn about the pianist’s implicit knowledge) on the one hand, and the social aspects of her discursive practice – in German: Praxis – on the other. Thus, it is also necessary to discuss the criteria that the structural-analytical methodology must satisfy, as well as to consider to whom the pianist is actually speaking: to us music researchers of the 21st century? Or should we ask ourselves whether our analysis is not rather a “reading of traces” in the sense of Sybille Krämer, through which we invent the ‘producer’ of the analyzed ‘trace’ in the first place? Or to put it another way epistemologically: how do we make the pianist speak? What function does our ‘speaking’ of her compositions – namely the piano parts in her songs – have in scholarly argumentations?