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Articles de revues sur le sujet « Bands (Music) Social aspects »

Auteur : Grafiati

Publié le 4 juin 2021

Mis à jour le 19 février 2022

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1

Wang, Shuang. "Music, social media and public pedagogy: indie music in the post-Cantopop epoch." Asian Education and Development Studies 7, no. 1 (January 2, 2018): 42–52. http://dx.doi.org/10.1108/aeds-03-2017-0022.

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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

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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 m

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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,

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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 t

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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 /><b

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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 ye

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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 s

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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 asp

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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

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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

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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, rat

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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 enviro

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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 direct

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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 acti

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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 w

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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

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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 car

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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 sc

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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 You

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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.

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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 mot

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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

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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) brie

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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 ar

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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 t

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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 ev

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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

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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

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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

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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 pl

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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 objectiona

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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 th

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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

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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 Bicā

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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

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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 Kel

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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 narrat

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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

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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 s

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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 ch

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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 th

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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 d

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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

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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 o

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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

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