Bibliografías temáticas / Popular music Chilean poetry Popular culture Politics and culture Popular culture Politics and culture

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Literatura académica sobre el tema "Popular music Chilean poetry Popular culture Politics and culture Popular culture Politics and culture"

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Publicado: 4 de junio de 2021
Última modificación: 18 de febrero de 2022

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Artículos de revistas sobre el tema "Popular music Chilean poetry Popular culture Politics and culture Popular culture Politics and culture"

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McClellan, Michael E. y Laura Mason. "Singing the French Revolution: Popular Culture and Politics, 1787-1799". Notes 54, n.º 2 (diciembre de 1997): 478. http://dx.doi.org/10.2307/899538.

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Mitchell, James Leonard y Craig A Lockard. "Luk Thung: The Culture and Politics of Thailand's Most Popular Music". Journal of Social Issues in Southeast Asia 32, n.º 1 (31 de marzo de 2017): 176–78. http://dx.doi.org/10.1355/sj32-1h.

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Chan, Brenda. "Luk Thung: The Culture and Politics of Thailand’s Most Popular Music". Journal of the Malaysian Branch of the Royal Asiatic Society 89, n.º 1 (2016): 171–72. http://dx.doi.org/10.1353/ras.2016.0011.

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Wati, Erna. "MUSICAL PIETY: REPRESENTATION OF ISLAM IN SOUTHEAST ASIA’S NASYID BOY-BAND MUSIC". Journal of Culture, Arts, Literature, and Linguistics (CaLLs) 1, n.º 1 (24 de febrero de 2017): 19. http://dx.doi.org/10.30872/calls.v1i1.706.

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In recent decades, the movement of Islamisation in Malaysia and Indonesia have significantly developed. Islam in both Malaysia and Indonesia is known by its moderate character, more syncretised and politically diverse. These characteristics may have led the mass popular culture that globally spread, significantly influenced the rapid movement of Islamic popular culture in both countries. This paper analysed the rise of Islam in Malaysian and Indonesian society and politics, with a focus on Islamic popular culture. It then compared the characteristics of Malaysian Islam and Indonesian Islam movement and examine the rise of nasyid as one of Islamic popular culture products in Southeast Asia. The trends indicated that the success of popular culture adaptation such as nasyid boy-band music in Malaysia and Indonesia vary in terms of the issues that they represent. It may influenced by the economic, political and cultural agenda which involve in it.Keywords: popular culture, islamisation, islamic music, nasyid
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Merenik, Lidija. "Epics, popular culture and politics in a modern work of art". Issues in Ethnology and Anthropology 9, n.º 1 (25 de febrero de 2016): 159. http://dx.doi.org/10.21301/eap.v9i1.9.

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“Death in Dallas” is a video-installation by Zoran Naskovski comprised of a) visual documentary material connected to the assassination of John Fitzgerald Kennedy, the president of the USA and materials about his public and private life; b) a soundtrack comprised of a poem accompanied by gusle by Jozo Karamatić with decasyllabic lyrics “Death in Dallas” by Božo Lasić. The unexpected and strange combo birthed a work of art which contains different layers of meaning and one of the most complete postmodern works of art in Serbian modern art. Naskovski had combined the seemingly incompatible codes of popular culture into a specific artistic method of its own genre – “Balkan noise”. Using the method of “noise” music, in which every noise, soundscape or voice has equal meaning and value; he included epics, tradition, politics, popular and folk culture. Finally, by doing so he had completely shifted the paradigm from modern to postmodern, from the substance of myth to a demystification of this type of representation.
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Kaiser-Lenoir, Claudia. "Nicaragua: Theatre in a New Society". Theatre Research International 14, n.º 2 (1989): 122–31. http://dx.doi.org/10.1017/s030788330000609x.

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One of the most revealing traits of the Nicaraguan revolution is manifested in the profound changes registered in the realm of culture. If Sandinista ideology focuses not on the fate of an élite but on that of the vast majority of the Nicaraguan people, it follows that for people to become the true subject of politics they have to become the true subject of culture as well. The popular Sandinista victory of July 1979 brought about the immediate establishment of the Ministry of Culture (the first in the country's history). Its goal: to give shape and nourishment to the popular effervescence and creative energies awakened by the long struggle. Work began with the organization of theatre, poetry, music and dance workshops throughout all sectors of the Nicaraguan society (army and police included), with the inauguration of Centres of Popular Culture in all regions, the creation of cultural committees in all grass-roots organizations, the training of ‘cultural promoters’ to work with regional governments, and with the task of rescuing and revitalizing popular cultural traditions.
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Cloonan, Martin. "Politics and Popular Culture. By John Street. Cambridge: Polity Press, 1997. 212 pp." Popular Music 17, n.º 3 (octubre de 1998): 356–58. http://dx.doi.org/10.1017/s0261143000008655.

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Swann, Marjorie. "The Politics of Fairylore in Early Modern English Literature*". Renaissance Quarterly 53, n.º 2 (2000): 449–73. http://dx.doi.org/10.2307/2901875.

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This essay argues that Stuart fairy poetry, rooted in Shakespeare's innovative representation of tiny, consumeristic fairies, attempts to indigenize new forms of elite material display. Rather than the fairies of popular tradition or courtly mythography, Stuart poets depict miniaturized Mabs and Oberons who are notable for their wardrobes, banquets, coaches, and the decor of their palaces. The fairy poetry of William Browne, Michael Drayton, and Robert Herrick must be interpreted not as playful escapism, but as a self-consciously politicized literary mode which reveals these writers’ deep ambivalence toward elite culture — and toward their own artistic role within that culture.
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Waters, Tony y David Philhour. "Cross-National Attunement to Popular Songs across Time and Place: A Sociology of Popular Music in the United States, Germany, Thailand, and Tanzania". Social Sciences 8, n.º 11 (5 de noviembre de 2019): 305. http://dx.doi.org/10.3390/socsci8110305.

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This paper explores empirically Edward T. Hall’s assertion about the role of musical elements, including rhythm recognition and what are called “ear worms” in popular culture. To test Hall’s assertion, data were collected from the United States, Germany, Tanzania, and Thailand in 2015–2017 using a 26 brief “song intros.” Data were also collected from exchange students from South Korea and Turkey. Survey responses were analyzed using factor analysis in order to identify patterns of recognition. It was found that there were indeed patterns of recognition apparently reflecting national boundaries for some song recognition, but others crossed boundaries. A separate analysis of patterned recognition comparing American youth under thirty, with elders over 60 indicated that there were also boundaries between age groups. Such experiments in music recognition are an effective methodology for Culture Studies given that musical elements are tied to issues of identity, culture, and even politics. Music recognition can be used to measure elements of such subconscious habitus.
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Kalu, Ogbu U. "Holy Praiseco: Negotiating Sacred and Popular Music and Dance in African Pentecostalism". Pneuma 32, n.º 1 (2010): 16–40. http://dx.doi.org/10.1163/027209610x12628362887550.

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AbstractIn post-colonial Africa, Pentecostal-Charismatic Christianity has slowly emerged as an influential shaper of culture and identity through its use of music, media, and dance. This article gives an overview of the transitions that have occurred in African politics, identity awareness, and culture, especially as it relates to the indigenous village public and it’s interface with the external Western public, and how the emergent cultural public has become the most influential player in shaping the African moral universe. Pentecostal-Charismatic Christianity has navigated the shift from a missionary-driven avoidance of indigenous music and dance to the incorporation of indigenous elements, leading in turn to the popularization of Pentecostal music and dance that blends indigenous forms and concepts, Christian symbolism, and popular cultural expressions. The resulting forms have not only shaped Christianity, but also the surrounding culture and its political environment.
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Tesis sobre el tema "Popular music Chilean poetry Popular culture Politics and culture Popular culture Politics and culture"

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Vilches, Freddy. "Poesía, canción y cultura popular en Latinoamérica : la nueva canción chilena /". view abstract or download file of text, 2006. http://proquest.umi.com/pqdweb?did=1192180731&sid=2&Fmt=2&clientId=11238&RQT=309&VName=PQD.

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Thesis (Ph. D.)--University of Oregon, 2006.
Typescript. Includes vita and abstract. Includes bibliographical references (leaves 344-363). Also available for download via the World Wide Web; free to University of Oregon users.
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Szemere, Anna. "Pop culture, politics, and social transition /". Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC IP addresses, 1998. http://wwwlib.umi.com/cr/ucsd/fullcit?p9820881.

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White, Bob Whitman. "Modernity's spiral : popular culture, mastery, and the politics of dance music in Congo-Kinshasa". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape10/PQDD_0020/NQ44627.pdf.

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Bremner, Natalia Katherine. "The politics of popular music and youth culture in 21st-century Mauritius and Réunion". Thesis, University of Leeds, 2014. http://etheses.whiterose.ac.uk/8985/.

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This thesis examines the politics of popular music and youth culture in two geographically close but socioculturally distinct Indian Ocean islands: Réunion (a French overseas département) and Mauritius (independent from Britain since 1968). Neither island has an indigenous, pre-colonial population: the respective societies have thus formed through successive waves of immigration, including the importation of slaves and indentured workers from Madagascar, Africa, and Asia, resulting in extremely ethnically diverse populations, on both a communal and individual level. The island societies both began the twentieth century as sugar-producing plantation colonies, but by the beginning of the twenty-first century, their socioeconomic landscapes had been dramatically transformed: independent Mauritius was proclaimed as an ‘African tiger’ thanks to astute state management of limited resources, and Réunion became a French département d’outre-mer, with living standards now similar to those of metropolitan France. Although both island societies experienced dramatic and rapid transformation, however, modern-day Réunion and Mauritius have come to represent opposing postcolonial experiences. This has resulted in the adoption of opposing approaches to the question of ethnic and racial difference: whereas the Mauritian Constitution officially acknowledges the existence of ethnoreligious ‘communities’, ethnic difference is not officially recognised in Réunion due to colour-blind French Republican policy. The following analysis seeks to show that the study of contemporary popular culture can provide particular insights into the workings of these two creolised, postcolonial societies. Considered here principally through the lens of popular music and youth culture, it will be argued that contemporary Réunionese and Mauritian popular music and youth cultures engage with political and social issues specific to each context. This is discussed in Part II in relation to Kreol language politics, which shows that popular music can be said to work towards changing mentalities still influenced by colonial language prejudices; and in Part III as concerns popular culture’s engagement with discourses of inclusion and exclusion within the national community.
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Tiongson, Antonio T. "Filipino youth cultural politics and DJ culture". Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2006. http://wwwlib.umi.com/cr/ucsd/fullcit?p3199265.

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Thesis (Ph. D.)--University of California, San Diego, 2006.
Title from first page of PDF file (viewed February 28, 2006). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references (p. 206-220).
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Evans, Derek. ""It's bigger that hip hop" popular rap music and the politics of the hip hop generation /". Diss., Columbia, Mo. : University of Missouri-Columbia, 2007. http://hdl.handle.net/10355/5034.

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Thesis (M.A.)--University of Missouri-Columbia, 2007.
The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on March 25, 2008) Includes bibliographical references.
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Withers, Polly. "Performing alterity : the translocal politics of an urban youth music scene in post-Oslo Palestine". Thesis, University of Exeter, 2016. http://hdl.handle.net/10871/28214.

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This thesis is an ethnographic and gender-sensitive account of the identities urban Palestinian youth perform through their self-defined ‘alternative’ scene-based musical practices in the post-Oslo era. Departing from the problematic that Palestinian folkloric identity and/or the classical Palestinian national resistance paradigm dominate studies of popular and expressive musics in the Palestinian context, I ask instead how scene affiliates’ musical practices do, or do not do, political work, and in what way – if even at all – these relate to the nation, resistance, and Palestinianness. My approach is ‘bottom-up’ and qualitative, drawing on thirteen months of fieldwork in the interdependent cities of Ramallah (1967/West Bank), Haifa (1948/modern-day Israel), and Amman (Jordan). I carried out sixty-four in-depth interviews and fifteen focus groups with young musicians, bands, audience members, fans, DJs, beat-makers, emcees, producers, party planners, bar and club owners, and other related persons in the scene; as well as over eighty participant observations at concerts, parties, gigs, raves, and bars scenesters frequent. I conclude that their musics perform political work contingently, shifting according to the narratives and practices research lenses focus on, as well as the institutional and geopolitical backdrops hosting them. I argue that in a local Palestinian context, musics perform political, anti-colonial work beyond, and sometimes even against, the classical national resistance paradigm. Given Oslo’s failed ‘peace’ process, scene-affiliates critique the Palestinian Authority (PA), its institutionalisation of the national movement, and territorially-based two-state solution, re-drawing their community instead on the regional lines of bilad al-sham. However, while politicised content is foreground, it is not the only issue youth are concerned with. Many are reluctant to narrow their aesthetic positionalities to political frames, instead pushing musics’ social role as a site of conviviality where new (gendered and other) identities are imagined and enacted. Since Palestine’s globalising ‘turn’ in part enabled these emerging identities and social contexts, leisure and consumption play central roles in their embodiment. Hybrid and translocal in formation, scenesters use localised tropes of Palestinianness (dabke dancing, wedding musics), and globalised ‘hip’ fashions (tattoos, androgynous dress), musics (psy-trance, electro, reggae, hip-hop), and social practices (clubbing, raving, bar-hopping) to perform their imaginaries of alterity. Such translocalisms uncouple Palestinianness from Palestinian national identity, upholding Palestinian particularity while making room for internal differences. However, shifting research focus to a transnational context, I contend that when musicians are branded to London, their self-representations, or the representations their international hosts make of them, often foreground the national resistance, and/or folklorising identity paradigms disavowed locally. Reducing their complex subjectivities to narrow national-territorial frames, in this global circuit of consumption, Palestinian cultural practices perform British multicultural tolerance to ‘ethnic’ otherness on international stages. This, I argue, highlights that Palestinian musics’ reiteration of the nation, resistance, and/or Palestinianness often stems from the operation of geopolitical power, more than the musical content itself. My core argument in the thesis thus is twofold. Firstly, I make the case that scencesters’ musical practices express and enable neither merely resistance, nor solely submisson to the intwertwined status quos of settler-colonial occupation and neoliberal hegemony. Their musics are instead important sites of modest meaning-making. Moving beyond the revolution/co-optation binary reveals scenesters’ everyday and situated negotiations with various political and social powers. Secondly, I argue that since the transnational political economy of images often shapes how Palestinian musics travel in international spaces, we need not ask what Palestinian musics convey, but rather, why we are invited to take up a particular rendering of Palestinian art and culture, and – importantly – what can this tell us about the operation of geopolitical power translocally? Adopting transnational and translocal lenses to analyse how power shapes and normalises conceptualisations of Palestinian musics, my thesis thus calls for the need to see Palestinian cultural production beyond narrow national frames, and position it instead in the global contexts that inform, and are informed by, such aesthetic practices.
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Martins, Ana Carolina Campos Pereira Serpa. "Lobão: do Vímana à Veja". Universidade Federal de Juiz de Fora (UFJF), 2016. https://repositorio.ufjf.br/jspui/handle/ufjf/3800.

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De roqueiro a integrante da bateria da Mangueira, de morador da zona sul carioca a ‗xerife‘ da cela 11 da Polinter (Política Interestadual), de militante do Partido dos Trabalhadores a líder das passeatas pelo impeachment da presidente Dilma Rousseff (PT): eis alguns desafios impostos a quem pretende compreender a insólita trajetória de Lobão. A carreira de Lobão foi marcada pela inconstância de seus posicionamentos. Esquerda ou direita? Rock ou MPB? Grandes gravadoras ou mercado independente? Compreender as ditas contradições e as guinadas do músico nos campos artístico e político constituem o grande objetivo desta pesquisa. A seu modo, Lobão se faz presente há mais de quarenta anos na vida cultural e política do país, justificando o interesse na realização de um estudo acadêmico sobre sua trajetória.
From rocker to member of the drum section of Mangueira samba school, from resident of Southern Rio de Janeiro to ―sheriff‖ of cell 11 of the Interstate Police Prison (Polinter), from Workers‘ Party (PT) militant to leader of protests demanding the impeachment of president Dilma Rousseff (PT): these are some of the challenges faced by someone trying to understand Lobão‘s peculiar trajectory. Lobão‘s career was characterized by the inconsistency of his positions. Left or right? Rock or Brazilian Popular Music (MPB)? Major record labels or independent market? Understanding such contradictions and the twists and turns of the musician‘s path in the artistic and political fields represent the main objective of this research. In his own way, Lobão has been present in Brazil‘s cultural and political life for more than forty years, which justifies the idea of developing an academic study about his journey.
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Gordiienko, Anastasiia. "Russian Shanson as Tamed Rebel: From the Slums to the Kremlin". The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1531991091969233.

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Senger, Saesha. "Gender, Politics, Market Segmentation, and Taste: Adult Contemporary Radio at the End of the Twentieth Century". UKnowledge, 2019. https://uknowledge.uky.edu/music_etds/150.

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This dissertation explores issues of gender politics, market segmentation, and taste through an examination of the contributions of several artists who have achieved Adult Contemporary (AC) chart success. The scope of the project is limited to a period when many artists who figured prominently in both the broader mainstream of American popular music and the more specific Adult Contemporary category were most commercially viable: from the mid-1980s through the 1990s. My contention is that, as gender politics and gendered social norms continued to change in the United States at this time, Adult Contemporary – the chart, the format, and the associated music – was an important, if overlooked or even trivialized, arena in which these shifting gender dynamics played out. This dissertation explores the significance of the Adult Contemporary format at the end of the twentieth century through analysis of chart performance, artist image, musical works, marketing, and contextual factors. By documenting these relevant social, political, economic, and musical factors, the notable role of a format and of artists neglected by scholars becomes clear. I explore these issues in the form of lengthy case studies. Examinations of how Adult Contemporary artists such as Michael Bolton, Wilson Phillips, Matchbox Twenty, David Gray, and Mariah Carey were produced and marketed, and how their music was disseminated, illustrate record and radio industry strategies for negotiating the musical, political, and social climate of this period. Significantly, musical and lyrical analyses of songs successful on AC stations, and many of their accompanying promotional videos highlight messages about musical genre, gender, race, and age. This dissertation ultimately demonstrates that Adult Contemporary-oriented music figured significantly in the culture wars, second and third wave feminism, expressions of masculinity, Generation-X struggles, postmodern identity, and market segmentation. This study also illustrates how the record and radio industries have managed audience composition and behavior to effectively and more predictably produce and market music in the United States. This dissertation argues that, amid broader social determinations for taste, the record industry, radio programmers, and Billboard chart compilers and writers have helped to make and reinforce certain assumptions about who listens to which music and why they do so. In addition, critics have weighed in on what different musical genres and artists have offered and for whom, often assigning higher value to music associated with certain genres, socio-political associations, and listeners while claiming over-commercialization, irrelevance, aesthetic insignificance, and bad taste for much other music.
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Libros sobre el tema "Popular music Chilean poetry Popular culture Politics and culture Popular culture Politics and culture"

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Washabaugh, William. Flamenco: Passion, politics, and popular culture. Oxford: Berg, 1996.

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Best, Curwen. Barbadian popular music and the politics of Caribbean culture. Rochester, VT: Schenkman Books, 1998.

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The defence of tradition in Brazilian popular music: Politics, culture, and the creation of música popular Brasileira. Aldershot, Hants, England: Ashgate, 2008.

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Proud to be an Okie: Cultural politics, country music, and migration to Southern California. Berkeley, CA: University of California Press, 2007.

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David, Rowe. Popular cultures: Rock music, sport, and the politics of pleasure. London: Sage Publications, 1995.

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Dispatches from the culture wars: How the left lost teen spirit. New York: Miramax, 2003.

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We are the champions: The politics of sports and popular music. Farnham, Surrey, England: Ashgate, 2011.

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Bernoviz, Nimrod. China's new voices: Politics, ethnicity and gender in popular music culture on the Mainland, 1978-1997. Ann Arbor: UMI, 1997.

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We gotta get out of this place: Popular conservatism and postmodern culture. New York: Routledge, 1992.

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Evil necessity: Slavery and political culture in antebellum Kentucky. Lexington: University Press of Kentucky, 2003.

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Capítulos de libros sobre el tema "Popular music Chilean poetry Popular culture Politics and culture Popular culture Politics and culture"

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Gunde, Anthony M. y Victor Chikaipa. "Popular Culture as Alternative Media: Reggae Music, Culture and Politics in Malawi’s Democracy". En Re-imagining Communication in Africa and the Caribbean, 295–307. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-54169-9_16.

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Wilkinson, David. "Agents of Change: Cultural Materialism, Post-Punk and the Politics of Popular Music". En Youth Culture and Social Change, 147–73. London: Palgrave Macmillan UK, 2017. http://dx.doi.org/10.1057/978-1-137-52911-4_7.

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Koskela, Minja, Anna Kuoppamäki, Sidsel Karlsen y Heidi Westerlund. "The Paradox of Democracy in Popular Music Education: Intersectionalizing “Youth” Through Curriculum Analysis". En The Politics of Diversity in Music Education, 135–49. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-65617-1_10.

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AbstractIn this chapter, we unpack the complex politics of popular music education (PME) in schools through an examination of the ways in which youth and youth culture are represented in the Finnish National Core Curricula (2004 and 2014). Interrogating commonly held conceptualizations of diversity in music education, we identify a paradox in school-based PME which, on the one hand, aims toward democratic classroom practice yet, on the other, neglects diversity by approaching youth as a homogenous group. Challenging common analytical points of departure in PME research, we argue that scholars and educators need to recognize the multiple and intersecting identities of students if PME is to afford them equal opportunities for participation. Overall, we suggest that through the analytical lens of intersectionality, PME may be better positioned to take into account students’ own experiences of inequalities, providing new perspectives on diversity at the policy level. Thus, intersectionality could provide a useful analytical frame in the process of furthering further democratic practice in the classroom.
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Kraidy, Marwan M. "The Politics/Popular Culture Nexus in the Arab World: A Preliminary Comparison of Reality Television and Music Video". En Media and Political Contestation in the Contemporary Arab World, 187–209. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/9781137539076_8.

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"Identity Politics and Iranian Exile Music Videos". En Music, Popular Culture, Identities, 229–47. Brill | Rodopi, 2002. http://dx.doi.org/10.1163/9789004334120_013.

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"‘Revolution’: Social change, conscience rock and identity politics". En Understanding Popular Music Culture, 195–210. Routledge, 2012. http://dx.doi.org/10.4324/9780203094358-19.

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"‘Revolution’: Social change, conscience rock, and identity politics". En Understanding Popular Music Culture, 219–37. Routledge, 2016. http://dx.doi.org/10.4324/9781315694870-20.

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Pritchard, Jane y Peter Yeandle. "‘Executed with remarkable care and artistic feeling’: popular imperialism and the music hall ballet". En "Politics, performance and popular culture", 152–73. Manchester University Press, 2016. http://dx.doi.org/10.7228/manchester/9780719091698.003.0009.

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Railton, Diane y Paul Watson. "Introduction: The Kleenexes of Popular Culture?" En Music Video and the Politics of Representation, 1–13. Edinburgh University Press, 2011. http://dx.doi.org/10.3366/edinburgh/9780748633227.003.0001.

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"Culture, Politics and the Weight of Tradition in 1960’s Brazil". En Brazilian Popular Music, 1–23. Routledge, 2017. http://dx.doi.org/10.4324/9781315096148-1.

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