Artículos de revistas: "Bands (Music) Social aspects"

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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Sills, Helen. "Time Remembered." KronoScope 5, no. 1 (2005): 59–72. http://dx.doi.org/10.1163/1568524054005168.

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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.

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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.

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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

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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.

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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).

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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.

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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.

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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.

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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.

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Radócz, Miklós. "Wind Bands for Hungarian Community Music." Central European Journal of Educational Research 3, no. 1 (April 30, 2021): 90–97. http://dx.doi.org/10.37441/cejer/2021/3/1/9355.

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The scholarly study of community bands as music communities can be considered a relatively young trend even on an international level. Despite this fact, there is more and more research done on the potential effects they may have on society and music education. Our national literary records on wind bands, however, are mainly focused on their historical background and their legacy in the military. Thus, there is an insufficient amount of information provided on the aspects of sociology and pedagogy. Besides the literary comparison done in our research, we also study the resupply of our national bands in music schools, using available data from the the 2016/2017 Statistical Yearbook of Public Education. This paper serves mainly as a tool of problem identification, laying the groundwork for further researches done in this area.

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Gaggioli, Andrea, Alice Chirico, Elvis Mazzoni, Luca Milani, and Giuseppe Riva. "Networked Flow in musical bands." Psychology of Music 45, no. 2 (September 21, 2016): 283–97. http://dx.doi.org/10.1177/0305735616665003.

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This study aimed at using the Networked Flow (NF) model to investigate group collaboration in the context of musical bands. We analyzed the relationship between flow, social presence, structural dynamics and performance as they related to 15 bands in a rehearsal room. Flow was measured using the Flow State Scale; social presence was assessed with the Networked Minds Social Presence scale; and interpersonal communication structure (exchange of gazes and verbal orders) was assessed by means of Social Network Analysis (SNA). In addition, we considered: (a) a subjective measure of performance, rated by each member on an ad-hoc questionnaire; and (b) an expert rating of performance, based on the evaluation of audio-video recordings of each group. Findings showed the multifaceted nature of the relationship between social presence and flow. Group flow score was a significant predictor of self-reported performance, but not of expert-evaluated performance. Moreover, several correlations were found between flow, social presence and patterns of interpersonal coordination (both implicit and explicit). Specifically, SNA reveals that flow was positively related to exchanges of gazes and negatively associated with exchanges of orders. Overall, this study contributes to further elucidating the complex interplay between group flow and intersubjective dynamics in music collaboration.

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Taylor, Steve. "Channelling the darkness: Group flow and environmental expression in the music of Black Sabbath and Joy Division." Metal Music Studies 7, no. 1 (March 1, 2021): 85–102. http://dx.doi.org/10.1386/mms_00033_1.

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Although they superficially belong to different genres of music, Black Sabbath and Joy Division share a fundamental commonality in that their music was shaped by – and powerfully depicted – bleak urban industrial environments. This article highlights a number of specific ways in which both bands’ music depicted (and was influenced by) this environment, including an unusually bass-heavy sound, the repetitive and continuous quality of their music, an austerity of sound, the rigid structure of songs and performances and lyrical content. Both bands attained such a high – or pure – degree of environmental expression because they were examples of the phenomenon of ‘group flow’. I examine the aspects of group flow identified by psychologists and show how both bands exhibited these, including a highly cooperative creative process, a lack of conscious deliberation and a prolific and spontaneous output. It was their group flow that enabled the two bands to ‘channel’ their environment directly and powerfully.

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Junko, Kitagawa. "Some aspects of Japanese popular music." Popular Music 10, no. 3 (October 1991): 305–15. http://dx.doi.org/10.1017/s0261143000004669.

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In 1959, the Conlon report, a presentation of United States government policies in relation to Asian cultures, stated the following about Japanese culture (in a section titled ‘Social change’):Developments within and among the various Japanese social classes suggest the dynamic, changing quality of modern Japan … No area of Japan, moreover, is beyond the range of the national publications, radio, and even TV. New ideas can be quickly and thoroughly disseminated; it is in this sense that Japanese culture can become more standardised even as it is changing. Many of the changes look in the direction of the United States; in such diverse fields as gadgets, popular music, and fashions. American influence is widespread. And this is but one evidence of the general desire to move away from the spartan, austere past toward a more comfortable, convenient future.

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Cipta, Febbry, and Sandie Gunara. "Sirojul Ummah: Music in Social Interaction." Harmonia: Journal of Arts Research and Education 20, no. 2 (December 27, 2020): 153–60. http://dx.doi.org/10.15294/harmonia.v20i2.21456.

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This article describes music’s role in social interactions carried out by female members of the Marawis group Sirojul Ummah. The Marawis music is the medium they use in their efforts to convey Islamic knowledge and understanding, both for this group itself and for the surrounding community. The research method used is qualitative, in which data are collected from observations, interviews, and literature review, while the technique in analyzing data is done through a contextual approach. Social interaction in this study is viewed from the associative and dissociative aspects in the form of actions that include rational instrumental action, value rational action, effective action, and traditional action. Music is present in each of these actions. Music is both a subject and an object in social interaction, both in-groups, and out-groups. The associative and dissociative aspects of in-groups can be seen from how musical ideas and performances are developed and honed through practice activities. This activity is carried out because good musical performance is supported by techniques and methods of singing, playing, and presenting musical articulation, ornamentation, and harmonization. At the same time, the associative and dissociative aspects of out-groups can be seen from their activities in filling out events in society. The interaction process is built-in pleasant and informal situations which are shaped by an interest in music and family relationships. Since childhood, they have known each other; thus, they understand the characteristics of each person. Maturity, the maturity of thinking, and acting tend to avoid emotional conflicts that may occur. In this context, music is not only a medium for interaction, but can be a motivation in building these interactions.

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Hash, Phillip M. "Remote Learning in School Bands During the COVID-19 Shutdown." Journal of Research in Music Education 68, no. 4 (December 7, 2020): 381–97. http://dx.doi.org/10.1177/0022429420967008.

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The global pandemic caused by the novel Coronavirus (COVID-19) in spring 2020 resulted in schools moving to remote learning (RL) models for the remainder of the academic year. The purpose of this study was to examine the practices, experiences, and perspectives of elementary and secondary school band directors in relation to RL during this period. Directors ( N = 462) responded to survey questions related to several aspects of RL, including (a) technologies and materials, (b) activities and assessments, (c) student participation, (d) the challenges of teaching remotely, and (e) the extent to which experiences varied among participants in low-poverty versus high-poverty schools and at the elementary/middle school level versus high school level. I also examined (f) the conditions and practices of programs that experienced both high and consistent levels of student participation. Data indicated that the COVID-19 shutdown created many challenges for directors, particularly in schools with higher poverty levels and/or in rural locations. However, RL also created opportunities for instrumental teachers to incorporate into curricula (a) a wider range of technology; (b) more of a focus on individual musicianship; (c) lessons in music theory, history, and culture; and to a lesser extent, (d) student creativity through composition and arranging.

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Pogačar, Martin. "Music and Memory: Yugoslav Rock in Social Media." Southeastern Europe 39, no. 2 (August 9, 2015): 215–36. http://dx.doi.org/10.1163/18763332-03902004.

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This article argues that after the disintegration of Yugoslavia, Yugoslav rock music lost little cultural value and is still a prominent trigger of vernacular memories of the socialist Yugoslav past, as well as a vehicle of socio-political commentary in post-Yugoslav contexts. In this view, music is understood as a galvaniser of affective relationships to that past and to post-Yugoslav presents. In the first part of the article, the author discusses the theoretical and practical implications of digitally mediated music as immersive affective environments, working within the framework of media archaeology and a digital archives approach. It is argued that Yugoslav rock has retained its potency and appeal, where today, in a post-Yugoslavia context, it presents an outlet for the recomposition of musical preferences through nostalgia and opposition to the post-1991 socio-political developments. In the second part of the article, focusing on Facebook and YouTube, the author investigates how Yugoslav rock has been reframed in social media and how fragments of the country’s past are reframed in digital media environments. A qualitative multimodal discourse analysis is employed here to investigate a selection of fan pages of rock musicians and bands.

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Jian, Miaoju. "The Survival Struggle and Resistant Politics of a DIY Music Career in East Asia: Case Studies of China and Taiwan." Cultural Sociology 12, no. 2 (March 5, 2018): 224–40. http://dx.doi.org/10.1177/1749975518756535.

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Indie music in East Asia has experienced tremendous growth in popularity since the mid-2000s, especially in China and Taiwan. This trend has encouraged a number of indie bands to pursue more radical and alternative ‘do-it-yourself’ (DIY) careers within their local underground music scenes. Taking two bands from Beijing and Taipei as case studies, this article argues that their DIY music careers help them both to survive through their aesthetic freedom and to confront the paradoxical government involvement in the local music market. P.K. 14, a band from China, practice a pragmatic DIY music career with an oblique resistance to political authorities. Touming Magazine, a band from Taiwan, pursue a DIY career through punk ethics to fight against an overwhelming neoliberal discourse and a promotional state policy of developing a cultural and creative industry. While DIY career practitioners have opened up alternative possibilities to preserve the autonomy of making music, such a career path is still challenged by an unsustainable market, a shortage of financing, and the continued dominance of major music companies’ own platforms. The situations these musicians face illustrate a more ambivalent type of politics, beyond mere emancipation, in their pursuit of a DIY career.

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Price, Harry E. "Relationships among Conducting Quality, Ensemble Performance Quality, and State Festival Ratings." Journal of Research in Music Education 54, no. 3 (October 2006): 203–14. http://dx.doi.org/10.1177/002242940605400304.

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This study was the third in a series examining the relationships among conductors, ensembles' performances, and festival ratings. Participants (N = 51) were asked to score the quality of video-only conducting and parallel audio-only excerpts of performances at a state-level concert festival of nine bands, three each that had received ratings of Superior (I), Excellent (II), or Good (III). There was no significant difference among scores for conducting across festival ratings; however, there were significant differences among ensemble performance scores, with bands receiving Superior ratings scoring higher than those receiving ratings of Excellent or Good. No relationship was found between scores given conductors and their respective ensembles' performances. Participants were also asked to give reasons (N = 1, 393) for the scores. The comments were used to develop emergent themes based on what participants attended to, and trends were found regarding aspects of conducting and performances that had positive or negative influences.

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Pope, Stephen Travis. "Web.La.Radia: Social, Economic, and Political Aspects of Music and Digital Media." Computer Music Journal 23, no. 1 (March 1999): 49–56. http://dx.doi.org/10.1162/014892699559643.

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Sackl-Sharif, Susanne. "The dark side of blogging: Digital metal communities and metal influencers." Metal Music Studies 7, no. 2 (June 1, 2021): 237–55. http://dx.doi.org/10.1386/mms_00047_1.

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At the 2016 Dimebash event, Phil Anselmo made a Nazi salute and shouted ‘White power!’ at the end of his performance of the Pantera song ‘Walk’ onstage. The attendant YouTuber Chris R shared a video of the incident and thus provoked a discussion about racism in metal that also included widely discussed statements of Robb Flynn and Scott Ian, who both labelled Anselmo’s actions as racist. This is one of many examples that demonstrate changing information flows and increasingly fast-paced communication processes on social media platforms, including metal communities. Online platforms such as YouTube or Facebook not only enable musicians and bands to share videos, songs, tour dates or band gossip, but also to directly engage in discussions with their fans, which may also involve social and political issues. To provide an illustration of metal bands’ possibilities for online interaction, I have created a digital metal landscape that includes a set of digital tools, platforms and applications for different music- and non-music-related activities. Against this background, I discuss here contemporary metal musicians’ political and social engagement on social media and the reach of their comments within metal communities. Based on an analysis of Robb Flynn’s online presence in his The General Journals: Diary of a Frontman and Varg Vikernes’ Thulean Perspective, I will show that in the digital age, it is possible for metal musicians to become important influencers not only regarding music but also regarding social and political issues.

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22

BERISH, ANDREW. "“I Dream of Her and Avalon”: 1930s Sweet Jazz, Race, and Nostalgia at the Casino Ballroom." Journal of the Society for American Music 2, no. 4 (October 23, 2008): 531–67. http://dx.doi.org/10.1017/s1752196308080164.

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AbstractThe Casino Ballroom of Avalon, Catalina Island, is located about twenty miles off the coast of the metropolitan Los Angeles area. Completed in 1929 under the direction of chewing gum magnate William Wrigley Jr., the ballroom became a significant venue for dance bands of the 1930s and early 1940s. The Casino did not, however, feature any of the most familiar names of the era. Instead, it was designed as a state-of-the-art dance hall for the presentation of exclusively white dance bands playing “sweet” jazz, a style that avoided the most obvious musical signifiers of “hot” popular music.Through a comparison of three commercial recordings of “Avalon,” I detail how the music of Jan Garber's sweet jazz orchestra—a group immensely popular at the Casino—differed from the music of hotter jazz dance bands, such as the Jimmie Lunceford and Casa Loma Orchestras. Garber's sweet “Avalon” established a sonic place characterized by specific musical relationships and values that were easily fused to the ideology of the island's promoters. For the owners and managers of the Casino Ballroom, jazz was to be the sound of modernity suffused with nostalgia for a threatened, racialized social order.

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23

Simpson, Patricia Anne. ""Manche Menschen werden Brüder": Contemporary Music and New Fraternities." German Politics and Society 23, no. 2 (June 1, 2005): 50–71. http://dx.doi.org/10.3167/104503005780880696.

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In this article, I analyze the social and cultural trends from within the music scene that counter challenges the moderate and extreme right. This music centers on the issue of ethnic exclusivity and aggressively insists on accepting Germany as a diverse society, however uncomfortable a fit that may still be for many. Certain bands and musicians move from politics to identity politics, in an attempt to generate a discourse about racism and national identity. By foregrounding the contingent relationship between citizen and nation, bands like Advanced Chemistry destabilize any naturalized or motivated link between self and state. Songs like "Fremd im eigenen Land" dismantle any proprietary relationship between German ethnicity and entitlement to the rights of citizenship. An image of a new Germany emerges that insists on the political acceptance of diversity. Nevertheless, this vision is subject to the pressures of reality: Germany is not by any stretch of the imagination a hate-free zone. Structured in part by responses to alienation within Germany, as well as by imported musical forms of male affinity, some bands, rappers, and musicians are organizing themselves into new fraternities. While criticizing or rejecting certain Americanized clichés of masculinity, the bands I discuss look beyond the caricatures of yuppies and cowboys to different models.

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24

Gusāns, Ingars. "2018. gada latviešu metālmūzikas albumi." Aktuālās problēmas literatūras un kultūras pētniecībā: rakstu krājums, no. 25 (March 4, 2020): 185–200. http://dx.doi.org/10.37384/aplkp.2020.25.185.

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The aim of the study is to describe metal music albums of the year 2018 from the genre, textual and artistic aspects, looking for the common and diverse in the Latvian metal music world. It is recognised that there is still no unified collection of Latvian rock and metal music resources, and that makes the researcher’s work more interesting. Even though only ten metal albums came out in 2018, their metal styles are quite wide-ranging from symphonic metal and through thrash, groove, industrial metal to classic heavy metal, which is also played in an acoustic format. Album designs, in the author’s opinion, are classic but qualitative and do not damage the first impression, especially designs of those albums that were released on physical media. Because physical media is becoming an exclusive case, the trend continues to sell albums only in digital format (at least at first); this has been done by the bands “Revelation Attic”, “Yomi”, “Seira”, “NUVO”. Perhaps knowing that Latvia is too small to live on music only, as well as wishing to expand their audience and be noticed abroad, the 5 of the albums in question are recorded in English. The debuts of several newly formed bands (“Seira”, “Revelation Attic”, “Māra”) confirm the unlost interest in metal music and also show the attempts of these groups to build their way to Latvian and the world metal music scene, which manifests in their search for a strange sound (“NUVO”) or a strong female vocal use (“Oceanpath”, “Seira”, “Māra”). In general, Latvian metal music representatives continue the world’s metal music traditions, where it is extremely difficult to surprise because the number of existing bands is so large that it is almost impossible to be original, while the population of the planet is so big that many bands can access the listener so that each band also searches for its audience, both online and in concerts.

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Cumberledge, Jason P. "The Benefits of College Marching Bands for Students and Universities: A Review of the Literature." Update: Applications of Research in Music Education 36, no. 1 (December 8, 2016): 44–50. http://dx.doi.org/10.1177/8755123316682819.

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College marching bands are a large and visible part of American music education. Institutions of higher learning have benefited from the existence of marching bands, as they serve as a powerful recruitment tool and an essential public relations vehicle for music departments and universities. The benefit students may receive from marching band participation is influenced by a variety of social and educational factors. This article is a review of literature on the benefits of marching bands and band participation for universities and college students. The review is organized as follows: (a) brief introduction and methodology, (b) benefits for colleges and universities, (c) benefits for college students, (d) challenges for college students, and (e) summary and recommendations. This article presents scholarship on the possible benefits of marching bands for students and universities in an effort to aid recruitment and inform administrators of the value a marching band brings to their school.

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DiGioia, Amanda. "Nameless, but not blameless: Motherhood in Finnish heavy metal music." Metal Music Studies 6, no. 2 (June 1, 2020): 237–55. http://dx.doi.org/10.1386/mms_00015_1.

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This article argues that, in some specific cases, Finnish heavy metal lyrics are horror texts, and that mothers in Finnish heavy metal lyrics are often relegated to tropes, like being ‘othered’. This shows that motherhood in Finnish heavy metal lyrics, much like motherhood in horror texts, is rarely depicted subversively. This article will address aspects of what makes motherhood horrifying and monstrous in Finnish heavy metal music. Because Pekka Kainulainen, the lyricist for Amorphis (a Finnish heavy metal band), was interviewed specifically for this project, the main example used in this article will be the lyrics of Amorphis. However, several other Finnish metal bands will also be utilized to support this thesis.

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Barbeau, Audrey-Kristel, and Roger Mantie. "Music Performance Anxiety and Perceived Benefits of Musical Participation Among Older Adults in Community Bands." Journal of Research in Music Education 66, no. 4 (September 28, 2018): 408–27. http://dx.doi.org/10.1177/0022429418799362.

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The purpose of the current study was to examine music performance anxiety and self-reported reasons for participation among members of older adult community bands. We asked 35 New Horizons Band members aged 65+ questions about their musical experience in face-to-face interviews, after which we administered two questionnaires: the Performance Anxiety Inventory for Musicians and the State-Trait Anxiety Inventory. We found a statistically significant difference in performance anxiety between participants suffering from trait anxiety (also called general anxiety) and those who did not. Utilizing the Novelty, Unpredictability, Threat to the Ego, and Sense of low control recipe (NUTS) for stress as a framework, we performed interview and questionnaire analyses that revealed that participants were concerned with issues associated with novelty, unpredictability, and lack of control in contexts of public performances (e.g., new pieces, lack of preparation, or challenging repertoire selected by the conductor). Participants perceived threats to their ego (such as feeling exposed, judged) as a major contributing factor of music performance anxiety. Participants reported the perceived benefits of musical involvement outweighed their negative (i.e., stressful) aspects.

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LeCroy, Hoyt F. "Community-Based Music Education: Influences of Industrial Bands in the American South." Journal of Research in Music Education 46, no. 2 (July 1998): 248–64. http://dx.doi.org/10.2307/3345627.

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From as early as 1855 and extending to the middle of the twentieth century, American industry encouraged the formation of bands and other musical organizations for workers, ostensibly to enhance their welfare. The actual purposes of music in industry, however, were often to prevent formation of unions and maintain social regimes. As industry expanded into the agrarian South, industrial bands augmented the limited town band tradition. Their performances, role-modeling and community-based instruction of young people filled curricular voids and developed favorable cultural environments for the eventual addition of instrumental music to public school curricula. A historical case study of the activities and influences of a significant industrial band in the state of Georgia provides a basis for formulating conclusions regarding influences of industry on music education in the American South.

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Shahin, Antoine J., Laurel J. Trainor, Larry E. Roberts, Kristina C. Backer, and Lee M. Miller. "Development of Auditory Phase-Locked Activity for Music Sounds." Journal of Neurophysiology 103, no. 1 (January 2010): 218–29. http://dx.doi.org/10.1152/jn.00402.2009.

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The auditory cortex undergoes functional and anatomical development that reflects specialization for learned sounds. In humans, auditory maturation is evident in transient auditory-evoked potentials (AEPs) elicited by speech or music. However, neural oscillations at specific frequencies are also known to play an important role in perceptual processing. We hypothesized that, if oscillatory activity in different frequency bands reflects different aspects of sound processing, the development of phase-locking to stimulus attributes at these frequencies may have different trajectories. We examined the development of phase-locking of oscillatory responses to music sounds and to pure tones matched to the fundamental frequency of the music sounds. Phase-locking for theta (4–8 Hz), alpha (8–14 Hz), lower-to-mid beta (14–25 Hz), and upper-beta and gamma (25–70 Hz) bands strengthened with age. Phase-locking in the upper-beta and gamma range matured later than in lower frequencies and was stronger for music sounds than for pure tones, likely reflecting the maturation of neural networks that code spectral complexity. Phase-locking for theta, alpha, and lower-to-mid beta was sensitive to temporal onset (rise time) sound characteristics. The data were also consistent with phase-locked oscillatory effects of acoustic (spectrotemporal) complexity and timbre familiarity. Future studies are called for to evaluate developmental trajectories for oscillatory activity, using stimuli selected to address hypotheses related to familiarity and spectral and temporal encoding suggested by the current findings.

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30

Jutbring, Henrik. "Social marketing through a music festival." Journal of Social Marketing 8, no. 2 (April 9, 2018): 237–56. http://dx.doi.org/10.1108/jsocm-03-2017-0017.

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Purpose The purpose of this paper is to examine a social marketing initiative pursued by the privately owned Swedish music festival Way Out West during 2012-2014. This paper’s aim is to explore how events can support individual behaviour changes, and it seeks to assess the effects of Way Out West, as well as to understand what motivated visitors to change. Design/methodology/approach The theoretical lens of perceived consumer value (Holbrook, 1999) as the individual outcome of a social marketing exchange is used for the analysis. The paper uses a mix of quantitative and qualitative methods; a Web survey (n = 1757) monitors self-reported behaviour over time, and in-depth interviews are conducted with a handful visitors who reduced regular meat consumption. Findings The results of this paper suggest that the initiative was a strong inspiration for 15 per cent of the sample (corresponding to ca. 9,300 festival visitors who decreased their meat consumption 2012-2014). It was evident that these “Decreasers” perceived functional, emotional, social and altruistic value as outcomes of changed behaviour. The paper identifies and discusses links between the adoption of a new behaviour in the temporal non-ordinary setting of a music festival and the endurance of the behaviour in a mundane environment. Originality/value This paper examines self-perceived effects on behaviour that a private social marketing initiative had on consumers. The paper contributes by applying Holbrook’s (1999) theoretical framework of perceived consumer value to empirical context, by investigating hedonic aspects of social marketing consumption in the non-ordinary setting of a music festival. The paper discusses how a temporarily adopted behaviour continues to create value for consumers, when maintained in ordinary life.

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Collier, Geoffrey L., and James Lincoln Collier. "An Exploration of the Use of Tempo in Jazz." Music Perception 11, no. 3 (1994): 219–42. http://dx.doi.org/10.2307/40285621.

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Eight- and sixteen-bar segments of a large number of historical jazz recordings were timed with a stopwatch, and summary statistics were calculated from those measurements. A variety of aspects of the control of tempo were analyzed. Tempo is normally distributed when calculated in terms of metronome markings, but not when calculated in terms of durations. Jazz performance is very stable, even for solo performers. However, systematic patterns in the small variability observed indicate that it can serve expressive purposes, as evidenced by positive intercorrelations among alternative versions of the same tunes, as well as other factors. It was also discovered that when the bands execute a rapid "double time," the ratios among the tempo changes deviate systematically from exact doubling. Many of the effects can be summarized by hypothesizing that there are two (and perhaps more) preferred tempo ranges.

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32

Liao, Chechen, Yi-Jen Huang, Pui-Lai To, and Yu-Ting Lu. "Factors driving digital music purchases." Social Behavior and Personality: an international journal 45, no. 4 (May 7, 2017): 583–98. http://dx.doi.org/10.2224/sbp.5875.

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The ongoing development of the digital music ecosystem has fostered a proliferation of products. In this study our aim was to address the digital aspects of physical music products. We analyzed data collected via a survey, using a research model based on an enhanced version of the theory of reasoned action, into which we integrated the following: intangibility attributes of perceived risk, accessibility, and predicted risk; price, range, and trialability as attributes that define the types of digital product; and the entertainment attributes of anticipation of customers' needs and perceived playfulness. Results indicated that consumers' attitude and intention were influenced mainly by product range and, simultaneously, that their decision to buy digital music was influenced by attitude and subjective norms. The results suggest that as trialability had a nonsignificant impact on consumer intention and attitude, consumers' perceived risk may be lowered by reducing the cost of digital music.

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Thomson, Andrew. "Right hand up, left hand down: The New Satanists of rock n’ roll, evil and the underground war on the abject." Metal Music Studies 7, no. 1 (March 1, 2021): 43–60. http://dx.doi.org/10.1386/mms_00031_1.

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Satan has long served as the ultimate evil, the world’s primary scapegoat. The Devil’s role in music, especially extreme music and heavy metal, has been to shock, terrify and enrage. But what if the imagery and ideology of Satan is used to combat an immoral societal evil? Is it then possible that the radical evil could itself become a force for good? This article intends to examine the music and philosophy of three modern bands, dubbed The New Satanists: Ghost, Twin Temple and Zeal & Ardor. Each band uses varying degrees of satanic influence to raise awareness of their perceived objectionable and abject issues in society: a harsh and unjust patriarchy, the Christian conversions and role of religion during the era of American slavery and suppression of individuality from the Catholic Church. Through the examination of these bands, social issues and Jean Baudrillard’s concept of symbolic evil, this article will examine theories of traditional evil potentially becoming a force for good when it combats the moral sickness existent in society. An alternate perspective – that of Satan as a liberator – could serve as a cure for a gamut of ills.

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Gusāns, Ingars. "CONCEPT OF LATGALE IN LYRICS OF LATGALIAN SCHLAGER MUSIC BANDS." Via Latgalica, no. 11 (February 20, 2018): 66. http://dx.doi.org/10.17770/latg2018.11.3069.

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The visibility and success of Latgalian schlager groups in Latvia are of interest not only due to music composed by these groups, but even more regarding lyrics created by these musical associations, and especially concerning their relation to Latgale. The aim of the research is to describe the manifestations of the concept of Latgale in the lyrics of Latgalian schlager groups. The object of the research is the concept of Latgale, the subject of the study consists of the texts of Latgalian schlager groups (“Patrioti.lg”, “Galaktika”, “Ginc un Es”, etc.). The source of the study is 12 albums that have come out over the period of ten years (2008–2017). Both Latgalian (the Latvian language of Latgale) and Latvian texts are discussed. Latgalian groups sing about the same themes that are covered around the world – love, everyday life, reflection, quest for the sense of life, etc. The concept of Latgale is among them too. Taking into account that the term concept is often used in different linguistic and cultural spheres and its limits of understanding are quite extensive, in this study it is used in the linguacultural sense, i.e., concept is a unit of collective consciousness guiding towards higher spiritual values, which is linguistically expressive and which possesses ethno cultural features (Аngelova 2004). The first discoverer of the concept of Latgale is language. In this research it is the Latgalian language consistently used by some groups, for example, “Patrioti.lg”; also the last album of duet Inga and Normunds (2015) is completely in Latgalian, while other artists (“Galaktika”, “Ginc un Es”) use Latgalian lyrics only in separate songs written either by musicians themselves or by poets. In any case, at least some songs in Latgalian included in an album are positive examples of the liveliness and functionality of language. Geographical names are rather widely represented in the lyrics and serve as a confirmation of the territorial identity of Latgale. Several titles directly include an indication to Latgale, for example, the titles of the following albums – “Munai Latgolai”, “Latgaleite”, or the names of songs – “Latgale”, “Munai Latgolai”, etc. Latgale’s most famous geographical objects associated with our region in the rest of Latvia are mentioned in schlager songs. For example, Latgale’s largest lakes Rāzna and Lubāns, the river Daugava, the hills – Liepukalns, Mākoņkalns. The naming of geographic objects is inextricably linked with the sense of homeland. The lyrics of these songs acknowledge patriotism and pride about our land or region, partly attributable to the mentioned geographical objects; however, the manifestation of the concept of Latgale is often expressed in descriptive terms. Several authors successfully use the symbols of Latgale, thus influencing the listener’s awareness even more, for example, Latgale as the land of blue lakes – a traditional and positive stereotype of the region. Latgale is closely associated with Latgalians’ belief in God due to the strong Catholic traditions. Authors of lyrics include religious motifs truly believing in their hearts or emphasizing religious themes on purpose in order to particularly impress people of middle and older generation who make up one of the main parts of target audience. The song lyrics written by poets (Ineta Atpile-Jugane, Leontīne Apšeniece, etc.) stand out for their artistic and ideological qualities in contrast to texts created by musicians themselves. In their poetry too there is a call to stay, live and work in Latgale. It should be considered a positive trait that Latgale is not shown as a wictim, but it is a place that symbolizes hope and patriotism. As the main function of schlager music is entertaining the listeners, a number of texts depict cheerful social and party situations where beer belongs as one of the unwritten symbols of Latgale and Latvia. Also a significant part of Latgale is song, which gives strength and unites people. The portrayal of Latgale in lyrics mostly invokes nostalgic and positive emotions, confirming Latgalian values and objects that are known to common listeners.

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35

Platt, R. "New light on Richard Mudge, 1718-63: some aspects of social status and amateur music-making." Early Music 28, no. 4 (November 1, 2000): 531–45. http://dx.doi.org/10.1093/em/28.4.531.

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Grønnerød, Jarna Soilevuo. "The Use of Alcohol and Cannabis in Non-Professional Rock Bands in Finland." Contemporary Drug Problems 29, no. 2 (June 2002): 417–43. http://dx.doi.org/10.1177/009145090202900208.

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Using interviews and observations, this article analyzes the practices and meanings of drinking and cannabis use among 32 Finnish non-professional young adult rock musicians, mostly male, in the late J 990s. The practices of drinking and marijuana use are described in certain social contexts, thus showing how substance use and music-making coexist and intertwine. The results illustrate a tight and complex, yet contradictory, connection between music-making and substances. Drinking is experienced as an unavoidable part of amateur band life. The article also presents a brief review of studies of substance use among popular musicians and of research on non-professional rock musicians. Although these two fields have remained relatively separate, it is argued that a closer connection between them would provide new, more complex insights into the everday life of musicians and into gendered processes in rock music.

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37

Gusāns, Ingars. "CULTURAL SIGNS IN TEXTS OF LATGALIAN BANDS." Via Latgalica, no. 8 (March 2, 2017): 139. http://dx.doi.org/10.17770/latg2016.8.2236.

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During ten years, since Latgalian popular music has returned to the mainstream Latvian music stage, 44 Latgalian music albums have been released. The lyrics of these songs are written by musicians, Latgalian and Latvian poets and as a result of teamwork of poets and music authors. The subject of the present research is represented by cultural signs in the song texts of Latgalian bands; the research object is song lyrics of Latgalian bands. Sources selected for the research are the song texts of Latgalian bands and performers: "Borowa MC", "Bez PVN", "Dabasu Durovys", "Green Novice", Laura Bicāne, "Kapļi". Some musicians and bands use Latvian and Latgalian folk songs in their music, yet they are not discussed in the present research. Other musicians use works of Latgalian poets, which are mentioned here only for comparison. Therefore, the key focus is on texts written by musicians themselves, collected from the released music album brochures and from correspondence with band members. The texts of schlager music bands are not examined here either, as they are worth making a separate research.It must be admitted that cultural signs in the examined texts do not occur particularly often, although the feature of the post-modernist culture is related to reassessment and mock of previous culture, the song lyrics are still rather romantic, traditional and compliant with the requirements of mass culture. The use of cultural signs is not characteristic of bands "Green Novice", "Bez PVN" and performer Laura Bicāne, therefore, the song texts of bands "Borowa MC", "Dabasu Durovys" and "Kapļi" are analysed the most. The research has been carried out based on the method of structural semiotics (J. Lotmans, R. Veidemane) by analysing cultural signs found in the selected texts.The signs related to cultural history are rather traditional: Latgale, Latgalians, rarely, some specific natural or geographical objects relevant to cultural historical events or associated exactly with the Latgale region. However, the search for territorial and ethnic identity and its construction for oneself and others (mostly, neighbours of other regions) is one of the main questions in the lyrics. As the mentioned bands "Borowa Mc", "Dabasu Durovys" and "Bez PVN" play popular, mass-oriented music, their texts are mostly intended for broad public, therefore, the first features that characterize the song lyrics of Latgalian bands are the cultivation and preservation of stereotypes. These stereotypes are divided into two groups:1) favourable, emotionally uplifting, sometimes even rousing self-confidence; 2) critical, prejudiced, causing negative atmosphere and emotions.The poetical rock band "Kapļi", which belongs to an alternative direction of Latgalian music and has ironic, sarcastic texts, sing about cultural signs related to Latgale in a completely different way. Their lyrics show a different view of things that are holy, inviolable, and indisputable to many Latgalians.Regarding cultural signs representing the folkloristic level, it must be noted that in this research ‘folkloristic’ is meant in the broadest sense of this word (not only folk compositions, but also events, objects, things that have become a part of folklore over time, often becoming subjects of literary tales), for instance, Pinocchio, the main character combines several characters: a fool, a body-builder, and even a lyrical ego seeking for its own identity. All character appearances, which are reflected in other songs about the modern hero, suggest that the character avoids activity or makes the new world unstable by drawing, making it from plasticine, using the phone, and consequently, creates a virtual world which is modern and transitory. "Dabasu Durovys" reveals their life philosophy and search for meaning with the help of historical cultural signs, for instance, the river Rubicon, known from ancient times, meaning the breaking of links to the past and not returning to previous situation, or the royal court of the Sun King, that symbolizes absolute monarchy, or Napoleon, etc.“Little man” and his daily life are related to another group of cultural signs. Depiction of daily life in poetry shows on the one hand that the author values the place and time of his life; on the other hand it demonstrates an artistic approach to everyday reality. These texts usually convey tragically ironical feeling and show modern typical dramas right beside us. Such characters most frequently appear in the texts of the bands "Kapļi" and "Dabasu Durovys".Even though cultural signs do not appear in the texts of Latgalian bands frequently, they are diverse. Cultural historical signs, which appear in patriotic and ironic lyrics, reveal authors’ homeland Latgale and Latgalians with their typical positive and negative stereotypes. Cultural signs related to Latvia and Europe highlight ironically sharp reality of emigration and infrequent visits to Latvia and are bound to several historical periods, which are mostly related to domestic, rarely social political situations.

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38

Powell, Bryan. "Community music interventions, popular music education and eudaimonia." International Journal of Community Music 00, no. 00 (February 24, 2021): 1–23. http://dx.doi.org/10.1386/ijcm_00031_1.

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The fields of community music and popular music education have expanded rapidly over the past few decades. While there are many similarities between these two fields, there are aspects that set these two areas of practice apart. This article seeks to explore the intersections of community music interventions and popular music education to explain how they are similar and in which ways they are unique. This discussion centres on examinations of facilitation, ownership of music, training and certification, inclusivity, life-long music making, amateur engagement, informal learning and non-formal education, and social concerns. The Greek philosophy of eudaimonism, understood as ‘human flourishing’ is then used to explore the opportunities for human fulfilment through popular music education and community music approaches.

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Whiteoak, John. "What Were the So-Called ‘German Bands’ of Pre-World War I Australian Street Life?" Nineteenth-Century Music Review 15, no. 1 (February 20, 2017): 51–65. http://dx.doi.org/10.1017/s1479409817000088.

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‘The ‘German band’ as a concept remains integrally associated with German ethnicity in the Australian public mind though such things as the extroverted oom-pah music of present-day Oktoberfest, or the live and recorded oom-pah music in German or ‘Bavarian’-themed venues. However, the costumed ‘German bands’ that were a feature of nineteenth-century British street and seaside resort life also began to appear ubiquitously in various gold-rush era Australian population centres and remained a fixture of Australian street entertainment until the First World War. Gold-rush era chronicler William Kelly described their music as being able to ‘drive swine into anguish’. Yet they had an opposing reputation for excellence in playing Strauss waltzes, polkas and other popular dance music of the era. They were sought after by dance venue, circus and other theatrical entertainment proprietors and were furthermore hired for private balls, picnics, showgrounds and racetrack entertainment. By appearing at German social functions and venues they buttressed pan-German cultural identity and traditions and, for non-Germans, the sight and sound of a disciplined, groomed and costumed German band provided a mildly exciting cultural tourism experience. In blaring street, circus parade or showground mode they, in fact, conformed to the present-day global stereotype of the Bavarian Biergarten oom-pah band. Through foundation research, this article attempts to apply some social, cultural and musicological ‘flesh and bones’ to what has more or less remained the ‘myth’ of the ubiquitous ‘German bands’ (and their not-always-German bandsmen) that sometimes entertained and charmed pedestrians while at other times represented a social and sonic blot on the streetscapes and public spaces of pre-World War I Australia.

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Johnson, Whitney. "Weird Music: Tension and Reconciliation in Cultural-Economic Knowledge." Cultural Sociology 11, no. 1 (June 21, 2016): 44–59. http://dx.doi.org/10.1177/1749975516651287.

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How do music venues reconcile competing desires for popularity and uniqueness in their bookings? According to 25 semi-structured, in-depth interviews with the staff of licensed and unlicensed music venues, gatekeepers tended to prefer ‘weird’ music in terms of unconventionality and even obscurity rather than focusing on cultural similarity through genre conventions. Respondents described at least three ways to reconcile this internal tension of cultural-economic value. A few licensed venue administrators took popularity within the ‘underground’ as an index of value. Others constructed a narrative of building bands from obscurity to success in terms of both economic and cultural value. However, most respondents described strategies of differentiation between cultural and economic value in their economic relationships. This final way of understanding the cultural economy extends Zelizer’s theory of relational economics to find that economic actors do not only differentiate transactions according to social ties but also may differentiate their exchange relationships according to opposing value judgments.

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Lupak, R., V. Tarasyuk, and K. Varkholyak. "Aspects of festival events tourism development." Galic'kij ekonomičnij visnik 66, no. 5 (2020): 30–37. http://dx.doi.org/10.33108/galicianvisnyk_tntu2020.05.030.

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The importance of tourism development for the country's economy and the growing popularity of festival events tourism in the context of music, gastronomic and ethno-festival events is summarized. The conceptual characteristics of festival events tourism that require in-depth research are clarified. The economic advantages of each direction of festival event tourism and their interrelation with other economic processes are listed. Special attention is paid to marketing, technological, social, historical and other features of their formation and progressive growth. Peculiarities (in the context of meeting social needs, formation of new directions of tourist culture, development of economic and resource opportunities, expansion of interstate relations, introduction of advanced technologies) and factors (demographic, economic, political, technical-technological, social-psychological, organizational- cultural) of the development of music, gastronomic and ethnic festival tourism are determined. The characteristics of festival events tourism in Ukraine and certain European countries are given, particularly, taking into account the number of festivals, their visitors, the average ticket price and seasonality. The preconditions of the formed significant difference between the tourist activity organization in Ukraine and the group of European countries are determined. The required formation and implementation of tourism policy on the state basis, including the creation of extensive institutional network of tourism regulators, particularly festival events tourism are emphasized. It is proved that problems solution in the tourist complex has positive effect on the economic security of the country requiring a reasonable choice of the relative areas of industry development. The advantages of holding joint (music, gastronomic, ethnic) festivals are substantiated, forming at the same time new direction of tourist culture. It is concluded that organization and running of festival events create a wide range of opportunities for the territories development improving the market infrastructure, accelerating the rate of information technology development and increasing business activity.

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

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

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Kantor‐Martynuska, Joanna. "The listener's temperament and perceived tempo and loudness of music." European Journal of Personality 23, no. 8 (December 2009): 655–73. http://dx.doi.org/10.1002/per.734.

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The relationship between the listener's temperament and perceived magnitude of tempo and loudness of music was studied using the techniques of magnitude production, magnitude estimation scaling and cross‐modal matching. Four piano pieces were presented at several levels of tempo and loudness. In Study 1, participants adjusted tempo and loudness of music to their subjective level of comfort. In Study 2, participants estimated these parameters on a numerical scale and matched the length of a line segment to the estimates of these musical features. The results showed significant correlations of selected aspects of perceived tempo with perseveration and endurance as well as of selected aspects of perceived loudness with endurance and emotional reactivity. Perceived tempo and loudness, as measured by magnitude production and cross‐modal matching tasks, do not seem to systematically correlate with the six formal characteristics of behaviour distinguished in the most recent version of the Regulative Theory of Temperament (RTT). Additionally, there is some evidence that they are selectively associated with reactivity and activity, the dimensions of a previous version of the RTT. The study extends the methodology of research on music preferences and the stimulatory value of music. Copyright © 2009 John Wiley & Sons, Ltd.

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Rabinowitch, Tal-Chen. "The Potential of Music to Effect Social Change." Music & Science 3 (January 1, 2020): 205920432093977. http://dx.doi.org/10.1177/2059204320939772.

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Can music effect social change? This is a complex question, because both music and social change exist in multiple forms and within diverse contexts. What types of music cause social change and what kinds of social change are generated by music are questions that deserve systematic empirical investigation. Addressing these questions may have important benefits for advancing society and for revealing the important aspects of the human connection to music. Several studies have begun to explore such questions, so it is useful at this stage to pause and consider what is actually meant by social change and what are the cognitive and emotional processes that underlie musical responses and behaviour, which is the goal of this interdisciplinary review paper. Social behaviour appears in different forms (e.g., collaboration, helpfulness), and contexts (e.g., dyad, group, community). At the same time, engagement in music involves a variety of behaviours (e.g., synchronisation). In order to better understand how these different musical and social behaviours interact, and in order to produce high-quality research in this area, it is necessary to carry out more investigations of the mechanistic basis of the links between music and social change. Such a research agenda will include a thorough deconstruction of music into its essential elements and, subsequently, and may involve a reconstruction of the most socially relevant components into novel forms of music.

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Park, Sun-Min. "A Study on the Aspects of Accepting Popular Music in Regard to Social Media." JOURNAL OF GLOBAL CULTURAL CONTENTS 36 (October 31, 2018): 69–83. http://dx.doi.org/10.32611/jgcc.2018.10.36.69.

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FAIRCHILD, CHARLES. "The medium and materials of popular music: ‘Hound Dog’, turntablism and muzak as situated musical practices." Popular Music 27, no. 1 (December 13, 2007): 99–116. http://dx.doi.org/10.1017/s0261143008001499.

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AbstractPopular music studies has rarely exhibited the kinds of disciplinary coherence found in closely related disciplines mostly due to the field’s adoption and adaptation of methodological and theoretical innovations from a variety of disciplines, notably sociology, cultural studies, anthropology, media studies and musicology. However, many commentators continue to seek disciplinary coherence without making any critical aesthetic distinctions between the medium and materials of popular music. Distinctions and interrelationships between the literal or material aspects of popular music and the social or cultural processes of making meaning from popular music are central to the definition of a particular but not exclusive field of analysis. Through such distinctions, the very category ‘popular music’ can be understood as a more flexible and supple distinction based on an understanding of methods of construction, production and mediation in specific relation to the technical, contextual and sociological aspects of music. I use different performances of ‘Hound Dog’, the practices of ‘turntablism’, and the exigencies of Muzak as examples for analysis offering ways in which the aesthetic, material and contextual aspects of popular music can be understood in order to incorporate the actual sound of music into the analysis of its social, cultural and musical construction.

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James, Stuart, and Lindsay Vickery. "REPRESENTATIONS OF DECAY IN THE WORKS OF CAT HOPE." Tempo 73, no. 287 (December 24, 2018): 18–32. http://dx.doi.org/10.1017/s0040298218000608.

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AbstractThis article considers the ‘representation of decay’ in selected concert works by the Australian composer Cat Hope. It draws on a mixed-method research methodology, comparing the conceptual aspects of Hope's oeuvre with analyses of studio and live recordings of Hope's work and discussing how such ideas of ‘decay’ may play out in the sonic world. Two forms of spectral analysis are employed: firstly the analysis of spectral parameters roughness, noisiness, brightness, pitch, and centroid, and secondly a visualisation of the music as a spectrogram. The data for the spectral analyses are derived from Alexander Harker's spectral descriptor tools for MaxMSP which record a value for each parameter every 25 milliseconds. At times, values are normalised within a range of 0 and 1, as representative of how listeners experience parametrical changes (i.e. dynamics, in relative terms rather than absolutes in relation to other sounds in the work). Importantly, perception of noisiness is more acute at frequencies in which the auditory critical bands are wider, below 250 Hz (roughly below middle C), precisely the upper range specified by Hope to define instruments suitable for the Australian Bass Orchestra.

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Sindberg, Laura K. "Elements of a Successful Professional Learning Community for Music Teachers Using Comprehensive Musicianship Through Performance." Journal of Research in Music Education 64, no. 2 (May 12, 2016): 202–19. http://dx.doi.org/10.1177/0022429416648945.

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The purpose of this study was to examine the ways in which a professional learning community (PLC) of music teachers sustained growth as they sought to incorporate Comprehensive Musicianship Through Performance (CMP) in their teaching practices. Seven music teachers from a suburban school district in the upper Midwest participated in a PLC as they incorporated CMP into their bands, choirs, and orchestras over a 2-year period of data collection. Findings of this collective case study describe the process of implementing CMP, reinforce the importance of a collaborative culture, and consider the impact of emotional aspects related to teacher change and shifts in teacher knowledge as a result of participating in this learning community. Particular challenges included implementing CMP amid performance expectations of technical proficiency and shifting emphasis from solely performance to performance and understanding. While findings suggest that incorporating CMP can have a positive impact in school ensembles, moving away from established performance routines and expectations can be daunting for veteran as well as novice teachers.

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Gabrielsson, Alf, and Siv Lindström Wik. "Strong Experiences Related to Music: Adescriptive System." Musicae Scientiae 7, no. 2 (September 2003): 157–217. http://dx.doi.org/10.1177/102986490300700201.

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Strong Experiences related to Music (SEM) were investigated by means of some 900 persons' free description of their strongest experience of music ever. Most of them also completed a questionnaire containing statements about SEM. Content analysis of the free descriptions and factor analysis of the questionnaires successively generated a three-level descriptive system for SEM comprising seven fundamental categories'. General characteristics, Physical reactions and behaviours, Perception, Cognition, Feelings/Emotions, Existential and transcendental aspects, and Personal and social aspects. Each of them comprises a number of subcategories, which in their turn contain a varying number of specific reactions. The meaning of the categories is explained using quotations from the participants' own SEM reports. Comparisons are made with results from earlier related research, and various methodological problems are discussed.

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Mišina, Dalibor. "“Spit and Sing, My Yugoslavia”: New Partisans, social critique and Bosnian poetics of the patriotic." Nationalities Papers 38, no. 2 (March 2010): 265–89. http://dx.doi.org/10.1080/00905990903517801.

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As “music of commitment,” in the period from the late 1970s to the late 1980s rock music in Yugoslavia had an important purpose of providing a popular-cultural outlet for the unique forms of socio-cultural critique that engaged with the realities and problems of Yugoslav society. The three “music movements” that embodied the new rock'n'roll spirit – New Wave, New Primitives, and New Partisans – used rock music to critique the country's “new socialist culture,” with the purpose of helping to eliminate the disconnect between the ideal and the reality of socialist Yugoslavia. This paper examines the New Partisans as the most radical expression of music of commitment through the works of its most important rock bands: Bijelo dugme, Plavi orkestar, and Merlin. The paper's argument is that the New Partisans’ socio-cultural engagement, animated by advocacy of Yugoslavism, was a counter-logic to the nationalist dissolution of a distinctly Yugoslav fabric of a socialist community in crisis. Thus, the movement's revolutionary “spirit of reconstruction” permeating its “poetics of the patriotic” was a mechanism of socio-cultural resistance to political, cultural and moral-ethical de-Yugoslavization of Yugoslav society. Its ultimate objective was to make the case that the only way into the future – if there was to be any – rested on strategic reanimation of the Partisan revolutionary past as the only viable socio-cultural foundation of the Yugoslav socialist community.

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