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The Cultural Study of Music: A critical introduction
Abstract
The Cultural Study of Music is an anthology of new writings that will serve as a basic textbook on music and culture. Increasingly, music is being studied as it relates to specific cultures-not only by ethnomusicologists, but by traditional musicologists as well. Drawing on writers from music, anthropology, sociology, and the related fields, the book both defines the field-i.e., "What is the relation between music and culture?"-and then presents case studies of particular issues in world musics. This book would serve as an introductory textbook for the cultural study of music, an area that is increasingly being taught at the upper-level undergraduate and graduate level. Plus it would appeal to scholars in all areas of music, reflecting the latest and most up to date thinking on the complex issues surrounding how music and culture interrelate.
... At the macro level, the three major course dimensions refer to "professional philosophy and teacher ethics, professional knowledge, and professional competence" respectively. The proportion of each dimension should be different according to the focus of the training unit (Clayton, 2013;Droe, 2006). For example, a single subject training can be Increase the proportion of courses in the dimension, and comprehensive ability training needs to reasonably divide the number of courses in each dimension (Kiefer & Trumpp, 2012;Te'Neil, 2002). ...
... Specifically, the basic teaching skills should include professional technical abilities-namely vocal, piano, choral rehearsal, conductor, etc., stage performance abilities-namely singing performance, musical instrument performance, etc., teaching creative abilities-namely songwriting, instrumental editing matching, modern equipment application capabilities-that is, computer music production, online search, etc; overall music literacy needs to be improved by keeping up with cutting-edge educational concepts, enriching teaching languages, and balanced professional development, which is consistent with the solid degree of basic teaching skills. There is a certain relationship; musical aesthetic taste refers to musical aesthetic sentiment and musical aesthetic taste respectively (Clayton, 2013;Hallam et al., 2009;Kiefer & Trumpp, 2012). Teachers 'musical aesthetic experience will directly affect students' musical aesthetic orientation. ...
... In school classroom teaching, teachers should pay attention to creating a relaxed and pleasant classroom teaching atmosphere, so that school students have a good psychological effect, so as to exert initiative and enthusiasm in the classroom and better cooperate with the teaching (Clayton, 2013;Shah, 2006;Tobias, 2013). The preschool life is full of love and curiosity. ...
Here is a research paper that focuses on curriculum design and instructional research strategies for preschool education in China. In the existing perception, curriculum design is divided into two parts. On the one hand, macro-curriculum design is mainly to determine the basic concepts, basic values and curriculum structure of the curriculum. On the other hand, micro-curriculum design is mainly to design specific curriculum according to the macro-curriculum framework structure, and the products are put into teaching as curriculum standards and teaching materials. This paper conducts a preliminary research on the current research on curriculum design and teaching in preschool education in China through literature analysis method and makes a detailed plan for the subsequent research.
... Penerimaan masyarakat terhadap kesenian pertunjukan, dijelaskan oleh Clayton (2003) bahwa cara masyarakat menerima suatu pertunjukan (musik) hanya bisa dilihat dari aspek sosial dan konteks musik dimana pertunjukan (musik) tersebut dibuat. Selain memerlukan pendengar, sebuah pembuatan pertunjukan (musik) memerlukan pelindung (penjaga). ...
... Lebih lanjut, menurut Clayton (2003) dalam menentukan seberapa pentingnya penonton, seperti apa penonton yang dibutuhkan bagi sebuah pertunjukan (musik), serta bagaimana hubungan keduanya. Dia menawarkan empat pertanyaan yang dijawab oleh permilik pertunjukan (musik) dan penonton yaitu: Apakah pertunjukan (musik) memiliki pendengar, apakah penonton dibutuhkan dalam sebuah pertunjukan (musik) tersebut, apakah pertunjukan (musik) membedakan penontonnya, dan aspek apakah yang penting bagi bagi pemilik pertunjukan (musik) dan penonton dalam sebuah pertunjukan. ...
... Jaranan sebagai kesenian asli dari Jawa yang termasuk dalam seni pertunjukan. Clayton (2003) menjelaskan bahwa dalam kesenian pertunjukan penerimaan masyarakat sangat berpengaruh terhadap kelangsungan dari sebuah pertunjukan, bahkan disebutkan bahwa dalam sebuah pertunjukan penonton berperan sebagai pendenger dan penjaga. Sejalan yang dikatakan Jaeni (2014, p. 19) bahwa secara umum penonton terbagi menjadi dua, yaitu penonton biasa dan penonton apresiator. ...
Turonggo Karyo Budoyo is one of the Jaranan arts groups in the city of Samarinda. This group managed to maintain its existence amidst the reduced public interest in the performing arts of jaranan, especially the youth who should be the successors in preserving local arts. It is done through the creativity offered by the Jaranan Turonggo Karyo Budoyo Art Group, which combines pop songs with jaranan gending in their performances. This study aims to analyze the processes that occur in creativity and describe how the audience's acceptance of creativity. This study uses a qualitative research methodology and a participant approach using 3 (three) stages in the study, namely determining the research location, data collection techniques, and data analysis techniques. Determination of the location aims to focus on the object of research. Data collection techniques include literature study, observation, interviews, and documentation. As for the data analysis technique using data triangulation between researcher observations, interview data, and analyzed documentation. The results of this study can answer the formulation of the problem and research objectives that have been determined. The creative process is carried out through regular practice by paying attention to the budget, duration, and song selection. The process also involves four dimensions of creativity that influence each other: person, process, press, and product. The creativity offered is well received by the public or audience. The community considers combining pop songs with gending to be one way to introduce Javanese art to the broader community, especially young people, to be preserved. Abstrak: Turonggo Karyo Budoyo merupakan salah satu grup kesenian jaranan yang ada di kota Samarinda. Grup ini berhasil mempertahankan eksistensinya ditengah berkurangnya minat masyarakat terhadap seni pertunjukan jaranan terutama para pemuda yang seharusnya menjadi penerus dalam melestarikan kesenian daerah. Hal ini dilakukan melalui kreativitas yang ditawarkan oleh Grup Kesenian Jaranan Turonggo Karyo Budoyo, yaitu menggabungkan lagu pop dengan gending jaranan dalam pertunjukannya. Tujuan penelitian ini adalah menganalisa proses yang terjadi di dalam kreativitas serta menjabarkan bagaimana penerimaan penonton terhadap kreativitas tersebut. Penelitian ini menggunakan metodologi penelitian kualitatif dan pendekatan partisipan dengan menggunakan 3 (tiga) tahapan dalam penelitian, yaitu menentukan lokasi penelitian, menentukan teknik pengumpulan data serta menentukan teknik analisa data. Penentuan lokasi bertujuan untuk memfokuskan objek penelitian. Teknik pengumpulan data meliputi studi kepustakaan, observasi, wawancara, dan dokumentasi. Adapun untuk teknik analisa data menggunakan tringulasi data antara observasi peneliti, data wawancara, dan dokumentasi yang dianalisis. Hasil penelitian ini mampu menjawab rumusan masalah dan tujuan penelitian yang telah ditentukan. Proses kreativitas dilakukan melalui latihan rutin dengan memperhatikan budget, durasi serta pemilihan lagu. Dalam prosesnya juga melibatkan empat dimensi kreativitas yang saling mempengaruhi, yaitu person (orang), process (proses), press (tekanan), serta product (produk). Kreativitas yang ditawarkan diterima baik oleh masyarakat (penonton). Penggabungan lagu pop dengan gending dinilai masyarakat menjadi salah satu cara memperkenalkan kesenian jawa kepada masyarakat luas terutama para pemuda agar dapat dilestarikan.
... Prilog tome predstavljaju muzičari čiji se izuzetan uticaj u sferi kulturne komunikacije, i mimo prisustva u medijskom prostoru, širi na publiku koja u tom stvaraocu prepoznaje izvesni genij. 8 Ovaj genije, prema sudu publike, s jedne strane oličava upravo originalnost, autentičnost, invenciju, ideju, prodor u novo i drugačije, a s druge strane oslikava karakter kolektivnog identiteta (određene supkulturne grupe, klase, roda) i njegov je muzički izraz glas šireg muzičkog, socijalnog ili kulturnog auditorijuma. 9 Izgleda da se u opštim crtama, razmatrajući pitanje odnosa pojedinca i kulture, u ovom slučaju popularne muzike i njenih stvaralaca, ne može zanemariti domašaj kulturnog relativizma koji otkriva da interakcija pojedinca i kulture nije prost mehanizam, već podloga za izrastanje novih vrednosti, pri čemu ni ličnost nije tabula rasa, niti kultura shematski sistem delanja (Vidi Sapir, 1974: 214-216). ...
... Važno je napomenuti da tekstualno i instrumentalno stvaralaštvo u panku ne uzima u obzir saradnju sa drugim akterima u stvaranju i izdavanju kompozicija i albuma -producentima i menadžerima kao što je to bio slučaj početkom veka sa zajednicom njujorških kompozitora, tekstopisaca i izvođača koji su nosili naziv Tin Pen Eli (Tin Pan Alley). Princip "uradi sam" označavao je nastojanje da se konačan muzički i vizuelni izraz (tekstovi pesama, melodijske strukture, odevanje) učine kreacijom samih članova benda, odnosno da se u najvećoj meri odstrani uticaj muzičkih institucija 8 Poznato je da je Džim Morison (Jim Morrison) kod publike i kritike bio izuzetno cenjen ne samo kao pesnik i muzičar, već i kao široko obrazovana osoba, koja se pored muzike interesovala i za religiju, filozofiju i filmska dostignuća (Morison, 1989). 9 Na fenomen genija upućivala je još idealistička i romantičarska misao od Imanuela Kanta (Immanuel Kant) do Benedeta Kročea (Benedetto Croce). ...
In the past hundred years, especially in the period after the Second World War, popular culture, and thus popular music, has become a vital part of the daily social life activities of individuals. Through the method of understanding and interpretation, the paper examines the processes of action and influence of popular music. The subject of the paper is to observe the relationships that are established between the individual as the bearer of the creative process in popular music and the social and cultural environment in which the creation process takes place and, in that sense, to determine the contribution of the scientific community in shedding light on these issues. The goal is to establish which factors and in what way they influence popular music, and what is the scope of individual creativity in the process of communication of this musical form with society. The opinion is that the individual creative personality of the author is a necessary, but not a sufficient condition for the creative process in popular music. The influences of society and culture, especially the mass media (radio, television and the Internet), in which it originates, are crucial factors that condition and / or mediate the creation of popular music. Thanks to interdisciplinary endeavours, primarily the synergy of musicology (especially critical musicology) and sociology, the knowledge about popular music has increased significantly in recent decades.
... To understand how the Ewes assimilated the trumpet into one of their most influential music genres, it is necessary to examine cross-cultural exchange as it relates to expressive cultures. The transnational flow of information, commodities, capital, and people between nations accelerated concepts of cultural contact, social transformation, and musical evolution (Slobin 2003). This exchange facilitated a dynamic interplay between cultures, contributing to the diversification and adaptation of musical traditions worldwide. ...
This article explores the emergence and evolution of bɔbɔɔbɔ (borborbor), a distinctive Ewe dance that originated in mid 20th century British Togoland (now the Volta Region of Ghana) and French Togoland (now Togo). Initially rooted in traditional kokomba dance forms, particularly tuidzi and akpese, bɔbɔɔbɔ rapidly integrated European military brass band instruments, notably the bugle and later the trumpet, influenced by the burgeoning popular music genre of highlife in Ghana. Drawing on ethnographic research conducted in Ewe communities in Ghana, this paper examines the transformative role of the trumpet within bɔbɔɔbɔ ensembles. It investigates how the trumpet’s adoption led to its unique interpretative functions, including improvised obbligatos, sampling of familiar tunes, and enhancing the rhythmic and percussive dynamics of performances. Ultimately, this study illuminates the process of indigenization of the trumpet within bɔbɔɔbɔ, highlighting themes of adoption, assimilation, and reinterpretation in the evolution of this vibrant musical tradition
... Alle disse studiene refererer til musikk som ressurs. I tillegg relaterer jeg studien til teorier rundt helse (Maeland 2005;Blaxter 2004;Antonovsky 1996), positiv psykologi (Snyder & Lopez 2005;Csikszentmihalyi & Csikszentmihalyi 2006) og musikkpsykologi og -sosiologi (Clayton, Herbert & Middleton 2003;North & Hargreaves 2008;Bonde 2007). Teoristudier, datainnsamling og analyser har foregått parallelt. ...
Kunnskap om individers bruk av musikk i dagliglivet kan få konsekvenser for musikkterapeutisk praksis i form av økt forståelse og anerkjennelse for klientenes egen bruk av musikk. I mitt doktorgradsprosjekt studerer jeg hvordan mp3-spillere kan fungere som medium for musikalsk egenomsorg. Jeg baserer min studie på 12 dybdeintervjuer med mp3-brukere. De foreløpige resultatene antyder blant annet at mp3-spilleren blir brukt som et verktøy for selvregulering. I denne artikkelen fokuserer jeg på bruk av mp3-spillere som strategi for mental selvregulering, som innebærer å regulere tanker, stemninger og følelser.
... Scholars from various fields have directed their attention towards societal changes, examining them through different lenses such as economy, politics, educations, and culture. Music, being a cultural and social event (Clarke & Cook,2004), has garnered significant interest due to its ability to reflect the present and evoke memories (Laughey, 2006), as well as shape social reality (Clayton et al., 2011). Sociomusicologists, including Born (2000), De Nora (2000, Martin (2002Martin ( ,2006, Hennion (2003), Hesmondalgh (2008), Ellis (2009), andFrith (2011) have conducted research on the interplay between music and society. ...
... In these reorientations, one theoretical or methodological model is supplanted by another, such as the movement from positivistic to critical musicology in the 1980s and the incursion of geometric models into music theory and analysis in the 1990s. While such reorientations may -like those in musical style -sometimes appear to be saltational, the logic of Darwinism implies that they in fact arise gradualistically from the operation of numerous interacting "microhistorical" (Herbert, 2003) processes. As in biological evolution, it is the factors of "(time)scale, perspective and granularity" (page 54) that give the illusion of saltation in cultural evolution. ...
Music in Evolution and Evolution in Music by Steven Jan is a comprehensive account of the relationships between evolutionary theory and music. Examining the ‘evolutionary algorithm’ that drives biological and musical-cultural evolution, the book provides a distinctive commentary on how musicality and music can shed light on our understanding of Darwin’s famous theory, and vice-versa.
Comprised of seven chapters, with several musical examples, figures and definitions of terms, this original and accessible book is a valuable resource for anyone interested in the relationships between music and evolutionary thought. Jan guides the reader through key evolutionary ideas and the development of human musicality, before exploring cultural evolution, evolutionary ideas in musical scholarship, animal vocalisations, music generated through technology, and the nature of consciousness as an evolutionary phenomenon.
A unique examination of how evolutionary thought intersects with music, Music in Evolution and Evolution in Music is essential to our understanding of how and why music arose in our species and why it is such a significant presence in our lives.
... Heated sociological and philosophical arguments soon arose however between Swanwick (1984), Vulliamy (1977) and Vulliamy and Shepherd (1984) concerning the independence of meaning and importance of enculturation when working with these musics in education (see Wright, 2017b). These arguments endured and developed to include questions of musical autonomy (Clayton, Herbert, & Middleton, 2003;DeNora, , 2003Elliott, 1995;Goehr, 1992;Green, 2006) and of the musical authenticity and subcultural legitimacy of popular music culture when introduced into formal schooling settings (Green, 2006;Vulliamy 1977). Green's (2001Green's ( , 2008 work demonstrated that it was important not only that popular music be brought into schools but also that authentic pedagogy be used alongside authentic popular content in these respects. ...
... Musicology in general has also changed in focussing to a greater extent on music as a social and situated activity. It is more interdisciplinary through greater interest in music, culture and society, not least through specific movements such as "New Musicology" (Cook and Everist 1999;Scott 2000), "the cultural turn" within ethnomusicology (Merriam 1964), music sociology (DeNora 2000) and popular music studies (Middleton 2003). This suggests a movement in the direction of "a musicology with people in it, a 'populated musicology'" :7) -something which promotes dialogue with other professional environments. ...
... Forms of listening are also subject to physical and cultural training, and the training itself varies greatly, depending on the cultural background (Schulze 2021). For example, in terms of hearing specific phonetic values of speech (Garraffa et al. 2018), recognizing musical values (Clayton et al. 2021), or a distinctive sonosphere (Eisenlohr 2018). ...
The article analyses the methods of postdigital pedagogy based on critical media design (CMD), and collective practices which involve using sound recording and emission as a tool for counter-mapping the problems associated with the history and politics of digitally mediated urbanism. The article provides a detailed account of, and draws on materials from, the Emotional Urban Weather workshop conducted in 2014, in Warsaw, for an international group of professional young researchers, designers, artists and activists. The workshop took place in specially chosen districts of the Polish capital, in which the participants applied various sound design and critical media design strategies in order to address the historical, social, economic and political problems related to this place. Using technological tools capable of recording, emitting and measuring the parameters of sound, they prepared forms of sound intervention in the city. At the same time, this process became an experimental way of ‘opening up’ the problematics of a place by counter-mapping complex socio-cultural issues. Reflection on the workshop and its outcomes have contributed to the development of a postdigital pedagogy. The practices of critical media design (CDM), when combined with field recordings, affective listening and sound intervention, allow various technologies to be incorporated into theoretical critique and new forms of experimental engagement.
... pandemic, to tackle the larger question of how COVID-19 has affected people's perceptions and feelings about live gigs, clubbing and urban nightlife more generally. The present study is thus deeply ethnographic in its nature and is conceptually framed by the broadly defined field of the cultural study of music (Clayton et al. 2003). Within this framework, I conduct a thematic analysis with reference to eclectic sources, notably ethnographic evidence. ...
The multiple impacts of COVID-19 on the music-culture industry have been duly discussed in a variety of public discourses, academic and otherwise. However, there is still a dearth of studies that investigate alternative face-to-face practices of live music performance and organisation during the pandemic's significant constraints on social behaviour. The present work aims to fill this gap by offering an anthropological angle on live music practices during COVID-19. It specifically draws on fieldwork that I could carry out in the autumn of 2020 at a live music venue – ‘Palace’ in the Swiss city of St Gallen – owing to a ‘liberal’ handling of the COVID-19 crisis by the St Gallen authorities. This article documents accordingly the challenges and adjustments that Palace had to undergo during pandemic times from the perspectives of producers, musicians and audiences alike. The primary focus here is on exploring changes in the venue's management, programming, audience composition and especially the musical-aesthetic experience of the venue's pandemic-compliant gigs. Finally, the article draws on the musings of my interlocutors as to whether Palace was in their experience a place outside the pandemic, to tackle the larger question of how COVID-19 has affected people's perceptions of live gigs and urban nightlife more generally.
... There are numerous topics within the main concept of music and culture. For example, Clayton (2013) debates the interrelationship between music and culture in society and throughout history. Gritzner (1978) examined the idea that 'country music', which is identified as a native art form in American culture, is a reflection of the culture, as the music tends to provide satisfaction and entertainment for a large audience. ...
There are strong links between music and ‘sense of place’. This study investigates the connotations and features of the sense of place in songs against the background of social change between 1912 and 2019 in China. From 1912 through 1949, the sense of place was chiefly patriotic. From 1950 to 1979, the influence of socialism resulted in songs that concentrated on historical sites to form place identity. After 1980, the music market influenced the writing of songs about ‘place’. Since 2010, the sense of place has involved the activities of individuals and events within an area that shape the feel and impression of the place, and it is complex and plentiful. The results indicate that the relationships between people and the places they sing about become more abundant and detailed over time, along with a change from each place having a dominant style to a more diverse scenario. Before the opening-up and reform of China in 1979, the sense of place was often a shared collective memory, whereas today, the trend is towards personal songs. Additionally, sense of place is studied in regard to social processes as well as individual music pieces, and the driving force of each period is the response to basic social contradictions.
... For useful overviews of the discipline, see: Negus (1996); Hesmondhalgh and Negus (2002); and Bennett et al. (2006). Clayton et al. (2003) emphasize more strongly the musicological links of the discipline and Connell and Gibson (2003) highlight the geographic dimensions of music. Since, however, the concern of this chapter is with methodology and the notion of critique as developed by cultural studies, I concentrate on this discipline only. 2 Thanks to Johan Fornäs for emphasizing this. ...
... With the above being said, in the present study, the aim was also to expand the scope of H1 towards a more international perspective, by conducting a comparison between two very different cultures (in this case, Asian vs Latin-American). Since this study experimentally applies music in different countries, it is relevant to consider that people tend to understand music differently as a function of culture (e.g., Clayton, 2013;Cross, 2001). For instance, some key musical features are used differently by distinct cultures, and such differences may end-up giving rise to different musical mindsets (e.g., Walker, 1987; see also Huron, 2007). ...
... Alves, Longui e Armano (2008) consideram tal atividade como a fusão da arte com a tecnologia, observando a forte presença humana em meio a maquinários e equipamentos mecânicos. Essa mão humana, em convergência com tecnologias, vivências e percepções pessoais do luthier, também se mistura à ecologia da madeira, conceitos, machados e serras (CLAYTON; HERBERT; MIDDLETON, 2003). ...
Instrumentos musicais fazem parte da vida humana desde tempos remotos, tornando-se até hoje importantes e usados para os diversos fins. O processo produtivo por trás de um violão evidencia a madeira como principal material, por conta de suas características únicas, mas escassas, caras e inviabilizando o fabrico. Este estudo pretende comparar espécies maranhenses com madeiras mundialmente usadas, usando propriedades tecnológicas como referências. Geraram-se, via Método de Wegst (densidade × elasticidade), gráficos de dispersão para cada uma das 5 partes do instrumento que, juntamente com as demais grandezas (módulo de ruptura à flexão, dureza Janka e coeficiente de anisotropia) e trabalhabilidade. Assim, 9 das 23 madeiras locais apresentaram-se como alternativas satisfatórias para tampos, fundos e laterais, braços, escalas e cavaletes de violão.
... A preliminary review of the literature Recital, Music and Culture in Ireland, 1770-1790(White, 1998, and resources which included the sociology of music, such as, Introduction to the Sociology of Music (Adorno, 1976) and After Adorno, Rethinking Music Sociology (DeNora, 2003). Drawing on the psychology of music, some of the resources include Music Therapy an Art beyond words (Bunt, 1994) and The Social Psychology of Music (Hargreaves and North, 1989), The Cultural Study of Music (Clayton, Herbert and Middleton, 2003), and The Eighteenth ...
This book explains all aspects of how to conduct social research from writing a research proposal, to conducting a literature review, to designing research. The ethics of research are explored along with the philosophies and theories that underpin research. There are chapters on quantitative and qualitative methodologies, action research, documentary research, narrative research and how to publish research. The book is written in accessible language. At the end of each chapter there is a list of key points as well as exercises.
Alat musik tradisional Heo merupakan bagian tak terpisahkan dari warisan budaya yang kaya di Nusa Tenggara Timur, Indonesia. Namun, tantangan pelestariannya di era modern ini semakin meningkat akibat perubahan pola hidup dan minimnya generasi muda yang berminat mempelajarinya. Penelitian ini bertujuan untuk mengeksplorasi upaya pelestarian alat musik tradisional Heo melalui kegiatan ekstrakurikuler di SMP Kristen Sion Kakuun. Metode penelitian yang digunakan adalah studi kasus dengan pendekatan kualitatif, melibatkan pengumpulan data melalui wawancara mendalam, observasi, dan analisis dokumen terkait. Hasil penelitian menunjukkan bahwa kegiatan ekstrakurikuler di sekolah tersebut efektif dalam membangkitkan minat siswa untuk belajar dan memainkan alat musik Heo. Faktor pendukung meliputi peran guru dan komunitas lokal dalam memberikan dukungan serta sumber daya yang memadai untuk pembelajaran. Namun, tantangan utama yang dihadapi adalah kurangnya waktu yang cukup untuk praktik reguler dan pemahaman mendalam mengenai sejarah dan teknik bermain alat musik Heo. Penelitian ini memberikan wawasan yang berharga bagi upaya pelestarian budaya lokal melalui pendekatan pendidikan formal dan informal di sekolah menengah
All of artworks always give expression but not all expressions of artworks can be accepted by everyone. Rejection of certain artwork that is considered deviant, it means also resisting the expression of artwork. Music, especially pop music as part of the art often gets a lot of resistance because of the freedom of expression. In some cases denial of artistic expression in pop music in Indonesia, it is done based on norms that are considered to be noble social values.Without intending to assess which is the most correct, this paper will try to trace critically about what is behind the phenomenon of pop music that often reap the denial of freedom of expression. This article is not intended to reconcile the conflict between the many people who have refused the aberrant expression of music with product of pop music itself, but rather tries to lay the base of foundation that can be used by music, especially pop music, in the use of expression responsibly.
The aim of the present paper is to reveal the importance of music as an indispensable aspect in education of art, with regard to every single culture which serves as indisputable support to sustainable development in India. Indian education system is one of the oldest in the world. Both secular and sacred education was handed over systematically by formalizing the system of education. We have found significant growth in the system of education in our country since ancient times. It is a veritable avenue which enables societies to transmit music and musical skills from one generation to the upcoming ones. The research is based on a comprehensive literature review on the impact of music to sustainable development. This paper contextualised that music education is imperative to Sustainable Development, to the adult. It is a vital force of self-expression, communication and empowerment economically, in growing children, involvement in music education will promote their creative ability, thereby contribute to the full development of intellectual capacities, apt emotional development that gives the right values and feelings to various events and happenings, music helps to develop skills, innate and instinctive talent in human being and recommend that the informal music teaching should be incorporated into school system so as to transmit and preserve the cultural music and that the study of music should be made compulsory at all levels of the Indian educational system.
Bu makale, popüler müziğin biyokültürel analizine odaklanarak, müzik biliminin disiplinlerarası bir yaklaşımını sunar. Müziğin biyoloji, psikoloji, sinirbilim ve karmaşıklık bilimi gibi alanlarla bütünleşmesini sağlayarak, müzikal tercihlerin ardındaki sosyal ve biyolojik süreçleri inceler. Makale, müziği yalnızca bir kültürel fenomen olmaktan öte, biyolojik boyutlarıyla ele alır ve biyokültürel yaklaşımı kullanarak, biyolojik ve kültürel etmenlerin karşılıklı etkileşiminin altını çizer. Bu çerçevede, popüler müzikteki benzerliklerin ve tekrar eden motiflerin üretim ve seçim süreçlerindeki etkileri, bireylerin müzikteki tanıdık unsurlara olan yatkınlıkları ile ilişkilendirilir ve bu bağlamda önemli hipotezler geliştirilir. Araştırmanın metodolojisi, nitel ve nicel veri analizlerinin birleşimini içerir, bilişsel ve biyolojik süreçlerin müzik tercihleriyle olan etkileşimini derinlemesine inceler. Ayrıca, benzerliklerin müzik endüstrisindeki stratejik kullanımını ve ekonomik verileri, endüstrinin dinamiklerini anlamak amacıyla değerlendirir. Bulgular, popüler müzik eserleri arasındaki benzerliklerin ve tekrar eden motiflerin, eserlerin yapısını ve dinleyiciler üzerindeki etkisini belirleyen kritik unsurlar olduğunu ortaya koyar. Bu bulgular, biyokültürel hipotezler ile desteklenir ve bilimsel araştırmalara dayanarak, zaman içinde ve farklı müzik türleri arasında bu benzerliklerin nasıl etkileşime girdiği analiz edilir. Çalışma, müzikal eserlerin tasarımı ve pazarlamasında dinleyici kitlesinin bilgi ve beklentilerinin önemini vurgular ve bu bilgilerin stratejik kullanımının müzik endüstrisinin başarısında kritik bir rol oynadığını gösterir. Sonuç olarak, makale, müzikolojinin geleneksel yaklaşımlarının ötesine geçerek, müziğin biyolojik, ekolojik ve sosyal yönlerinin entegrasyonunun önemini vurgular. Araştırma, besteleme, düzenleme, yayımlama, tüketme ve popüler müzik eserlerini pazarlama süreçlerine yenilikçi bir bakış açısı getirmeyi hedefler. Bu karmaşık sistem temelinde yükselen bilimler arası kapsamlı bakış açısı, gelecekteki müzikoloji çalışmalarında ve müzik endüstrisinin çeşitli alanlarında uygulanabilecek stratejilerin geliştirilmesine katkıda bulunacak, müzikal eserlerin daha geniş bir kitleye ulaşmasını sağlayacak yenilikçi yaklaşımlar sunar.
The Catholic pilgrimage from Sali (island of Dugi Otok, Croatia) to the island of Piškera is embedded in the historical connections between these two locations, as Piškera was inhabited by fishermen from Sali for nearly three centuries. While sailing through the archipelago that no longer belongs to them, the pilgrims from Sali sing. During Mass, they perform a sung liturgy rooted in polyphonic folk singing; after Mass, the singing usually continues up until they depart. In this article, I argue that this community embodies its presence in the archipelago and creates a certain atmosphere through singing, while simultaneously inscribing meaning into the pilgrimage itself.
This article’s aim is to follow new directions in musicology research, that aspire to be interdisciplinary in character and to focus on cultural, analitical and critical approach to music. Almost entirely unknown to Polish readers, this research, defined as “new” musicology, refers to ethnomusicology and sociology of music’s outputs, and tries to apply some of the methods used in those disciplines to analyze classical Western music. Feminist musicology, on which I focus the most, is a still evolving, very popular in the US and at the same time very wide field of study. It’s analyses, although they are sometimes ideological, are one of the most interesting examples of widening the frames of traditional musicology, that are worth knowing. Not assuming to exhaust the topic, I find it crucial to outline the fields of research for this discipline.
Bu makale, popüler müziğin biyokültürel analizine odaklanarak, müzik biliminin disiplinlerarası bir yaklaşımını sunar. Müziğin biyoloji, psikoloji, sinirbilim ve karmaşıklık bilimi gibi alanlarla bütünleşmesini sağlayarak, müzikal tercihlerin ardındaki sosyal ve biyolojik süreçleri inceler. Makale, müziği yalnızca bir kültürel fenomen olmaktan öte, biyolojik boyutlarıyla ele alır ve biyokültürel yaklaşımı kullanarak, biyolojik ve kültürel etmenlerin karşılıklı etkileşiminin altını çizer. Bu çerçevede, popüler müzikteki benzerliklerin ve tekrar eden motiflerin üretim ve seçim süreçlerindeki etkileri, bireylerin müzikteki tanıdık unsurlara olan yatkınlıkları ile ilişkilendirilir ve bu bağlamda önemli hipotezler geliştirilir. Araştırmanın metodolojisi, nitel ve nicel veri analizlerinin birleşimini içerir, bilişsel ve biyolojik süreçlerin müzik tercihleriyle olan etkileşimini derinlemesine inceler. Ayrıca, benzerliklerin müzik endüstrisindeki stratejik kullanımını ve ekonomik verileri, endüstrinin dinamiklerini anlamak amacıyla değerlendirir. Bulgular, popüler müzik eserleri arasındaki benzerliklerin ve tekrar eden motiflerin, eserlerin yapısını ve dinleyiciler üzerindeki etkisini belirleyen kritik unsurlar olduğunu ortaya koyar. Bu bulgular, biyokültürel hipotezler ile desteklenir ve bilimsel araştırmalara dayanarak, zaman içinde ve farklı müzik türleri arasında bu benzerliklerin nasıl etkileşime girdiği analiz edilir. Çalışma, müzikal eserlerin tasarımı ve pazarlamasında dinleyici kitlesinin bilgi ve beklentilerinin önemini vurgular ve bu bilgilerin stratejik kullanımının müzik endüstrisinin başarısında kritik bir rol oynadığını gösterir. Sonuç olarak, makale, müzikolojinin geleneksel yaklaşımlarının ötesine geçerek, müziğin biyolojik, ekolojik ve sosyal yönlerinin entegrasyonunun önemini vurgular. Araştırma, besteleme, düzenleme, yayımlama, tüketme ve popüler müzik eserlerini pazarlama süreçlerine yenilikçi bir bakış açısı getirmeyi hedefler. Bu karmaşık sistem temelinde yükselen bilimler arası kapsamlı bakış açısı, gelecekteki müzikoloji çalışmalarında ve müzik endüstrisinin çeşitli alanlarında uygulanabilecek stratejilerin geliştirilmesine katkıda bulunacak, müzikal eserlerin daha geniş bir kitleye ulaşmasını sağlayacak yenilikçi yaklaşımlar sunar. Bu çalışma, müzik biliminin ve endüstrisinin geleceğine yönelik önemli bir adım olarak hem akademik hem de uygulamalı alanlarda yeni araştırmalar için temel oluşturur.
This research is an inquiry into how architecture can inform, or contribute to the practice of composition. As an architect and composer, I try to find strategies for musical composition in architectural practice and thought, by reframing and confronting concepts and methodologies from both disciplines. My research aims at an expanded practice (and analysis) of musical creation, one that transverses different conceptions of space-from the score based pitch space to the social and political spaces of music's production, performance and reception. This practice based PhD research consists of a portfolio of nine works that were developed in a dialectical relation to these ideas. The works are presented in a framework composed of five conceptual tools used to articulate music and architecture. These are Material, Site, Drawing, Programme and Use. With the notion of Material, I explore how the acoustic behaviour of a performance space, or of a 'performative device' affects the musical work. Architectural materials become musical ones as they are implicated in the listening experience. The discussion about Site brings to music the notions of place, the local, and everyday life, embracing soundscapes so many times excluded from musical discourse. Musical sites are also architectural sites, always related to their present environment, and their everyday contingencies. Drawing is a tool for developing ideas, for thinking (the sketch), but also the main mediator between architect and builder, or composer and performer (notation). When considered in a broad frame of possibilities, from symbolic to graphic systems, it helps to rede9ine the roles and ultimately to rede9ine the work itself. Programme exposes the constraints and conditions of the creation process, while also revealing the socio-political relations between musicians and audiences, institutions and composers, composers and performers. Programming as framing can be a platform to expand what the work concerns. Through a consideration of Use, the work becomes dispersed in a plurality of agents that converge in a useful event. Thus composition, as architecture, moves from being about conditioning design to designing conditions where musical events may happen.
The makers of hammered dulcimers in the Appenzell (Switzerland) and Salzburg (Austria) regions are considered artisans of their very specialized craft, and in 2023, dulcimer music is on track to be listed intangible cultural heritage in Switzerland. A trapezoidal wooden case with a bridge, the instrument is beautified with ornaments and symbols of religious and popular belief. Its sound is produced by a process mediated through several materials: the player uses small hammers struck by hand on several strings, the vibration of which is transmitted to a resonating body. In contrast, historically, the hammered dulcimer had strikingly negative associations: It was ‘devalued to a dance instrument’; ‘disgusting because of the great noise of sounds’; it ‘should be nailed to the houses of ill repute’ and ‘[he] who [...] is in the habit of playing on the dulcimer, may be a regular thief and robber’. Such rebukes – some of which notably addressed directly to the object, not to the players – contrast with contemporary perception and raise questions about relationships between the material object, its properties, and their relationship to perception. Through the detailed inspection of historical and contemporary specimens and their stories, we trace the transformation from the once shunned object to the artisanal work and carrier of cultural heritage. Dulcimers as ‘sensual objects’ [Harman, 2018] that transformed themselves and together with their associates: players, makers, and the sound environment. We trace the different allusions around the hammered dulcimer as objects to the crafting material, the stories from makers, and the artistic and symbolic emanation of the ornamentation. This further demands a critical reflection on the status of the craft and the material object that exist to this day without digital technologies and in non-digital spaces.
Music has played a central role in Indian religious experience for millennia. The origins of Indian music include the recitation of the sacred syllable OM and Sanskrit Mantras in ancient Vedic fire sacrifices. The notion of Sound Absolute, first in the Upanishads as Śabda-Brahman and later as Nāda-Brahman, formed the theological background for music, Sangīta, designed as a vehicle of liberation founded upon the worship of Hindu deities expressed in rāgas, or specific melodic formulas. Nearly all genres of music in India, classical or devotional, share this theoretical and practical understanding, extending to other Indic religions like Buddhism, Jainism, and Sikhism. What is less documented is how rāga music has been adopted by non-Indic communities in South Asia: Judaism (Bene Israel), Christianity (Catholic), and Islam (Chishti Sufi). After briefly outlining the relation between religion and the arts, the Indian aesthetics of Rasa, and the basic notions of sacred sound and music in Hinduism, this essay reveals the presence of rāga music, specifically the structure or melodic pattern of the morning rāga known as Bhairava, in compositions praising the divinity of each non-Indic tradition: Adonai, Jesus, and Allah. As similar tone patterns appear in the religious experiences of these communities, they reveal the phenomenon of “shared religious soundscapes” relevant to the comparative study of religion and music, or Musicology of Religion.
The expression 'in tune' is established among musicians and music lovers but is also used allegorically in other contexts. I present a multi-layered model of communication that can unveil the background and diverse logic establishing concepts we use on artefacts and their expressions. The model can be seen as a tilted version of Ogden's triangle, where the fundamental element is the arbitrary connection between the sign and its expression. The model develops several layers of concepts to make an analysis of what colonized art is. Examples from music demonstrate that the expression 'in tune' is a colonized understanding of certain structures of scale systems developed within a historical and socioeconomic context. This kind of understanding makes adjustments to the intentions of a musical expression, as well as to the identification and interpretation of a musical performance.
Slank is a phenomenal Indonesian band that exists today. Its existence in the music industry for more than three decades has given its style to Indonesian music, consistent with the criticisms that represent the voices of some people who are dominant at the bottom or are intimidated. The neatly fragmented social dynamics in each Slank album are like historiography in the form of music. With the postmodernism paradigm and the Poststructuralist approach a la Foucault, this article will examine the relations of power and music in the existence of Slank. Thus finding that 'criticism' is a form of Slank's continuation with its 'exotic' style representing Indonesia which has a lot of cultural blends that always appear arbitrary as a Slank identity to become an aesthetic existence a la Slank, which is a slice of meeting social issues with music that stretches wide
“Performing” and “performance” are potentially contentious words within the context of contemporary Christian worship. However, performative elements are explicit in the lyrics of contemporary congregational songs (CCS), and in video recordings of CCS, through the actions of those on stage and in the congregation, as well as in the broader context of staging, lighting, projection, production, and video editing. However, to date, there is only a handful of scholarly works that explore performing in contemporary worship or contemporary worship as performance and most of them are ethnomusicological. This paper seeks to address notions of performing and performance through a broader lens of the most-sung CCS globally, examined through the disciplinary fields of performance studies, musicology, media studies and theology. It involves a two-fold complementary textual analysis of the most-sung CCS lyrics and the most-watched ‘live worship’ videos of those songs on YouTube. In so doing, this study identifies how the Christian music industry at large officially portrays and languages performance in worship songs and also identifies how performative elements are enacted in the live worship videos released. These analyses are finally synthesized to identify how performing and performance are understood and actively portrayed to and by the contemporary church.
La investigación aborda la producción social del sentido en la música regional mexicana, ésta entendida como un término generado por la industria musical para enunciar a un conjunto de subgéneros musicales. El objetivo es identificar y describir dicha forma de producción de sentido y, con base en la teoría de las mediaciones propuesta Antoine Hennion, se argumentan algunos procesos subjetivos (flujos) por los que el sentido recorre a la práctica de la producción musical de agentes inmersos en las lógicas de la industria de la música.
Os relatos de viajantes e de ordens religiosas, sobretudo da Companhia de Jesus, sobre o Brasil no período colonial são bastante conhecidos, e seu uso para a pesquisa histórico-musicológica se reflete em vários textos, acadêmicos ou não. A proposta deste artigo é a de levantar uma discussão sobre a visão colonialista do europeu sobre o "outro" americano nesses textos e sobre como essa visão ainda se perpetua em certa medida na contemporaneidade, a partir de uma comparação entre esses relatos e o filme A Missão (The Mission), de 1986, como uma versão contemporânea desses textos.
The current research study investigated the relationship between music absorption, spirituality, and wellbeing in university students. It was hypothesized that there is likely to be a positive relationship between music absorption spirituality and wellbeing, and spirituality will mediate the relationship between music absorption and wellbeing. It was co-relational research with a cross-sectional design. The data from 165 university students (70 men, 95 women) were collected from different universities with the age range of 20-30 (M = 21.73, SD = 1.73), and a purposive sampling technique was used. Music absorption scale (AIMS) (Sandstrom, Russo, 2011), expression of spirituality inventory (ESI) (MacDonald, 2000), brief wellbeing scale (BSS) (Kreitzer, Mary Jo, et al., 2009), and short test of music preference (STOMP) (Rentfrow & Gosling 2013) were used as measurement tools. The Pearson product-moment correlation analysis revealed music absorption to be significantly positively correlated with wellbeing and spirituality. It was also found to be significantly positively correlated with music absorption and wellbeing. The result of mediation analysis (indirect effect) showed that spirituality as significant a mediator between music absorption and wellbeing. It is concluded that music along with spirituality or spiritual healing technique, can be very helpful in various psychological treatments.
The purpose of this article is to examine the symbolic role of song regarding Afrophobia in South Africa -a topic which has received limited attention within local music scholarship. To this aim, a textual reading, drawing on thematic analysis serves to identify patterns of cultural meaning represented in "Umshini wami", as opposed to anti-Afrophobic songs, including Boom Shaka's "Kwere Kwere" (1993); "Xenophobia" by Maskandi musician Mthandeni (2015), "United we Stand, Divided, we Fall" by Ladysmith Black Mambazo with Malian singer Salif Keita (2015), and "Sinjengomfula" on the CD Tjoon in (2008), a collective production by musicians from Mozambique, South Africa, and Zimbabwe. The question considered is how healing metaphors featured in these songs oppose a politics of fear and the idea of the other as enemy in "Umshini wami", described in the media as the 'soundtrack' of the deadly Afrophobic upsurge of 2008. It is found that, within the context of Afrophobia, the symbolic reach of "Umshini wami" extends beyond inter-racial conflict and in-group black factionalism to convey a politics of 'war' on African foreign nationals. Contrastingly, as symbolic exemplifications, healing metaphors in the selection of anti-xenophobic songs discussed speak to a perceived unified identity that, while representing ethnically diverse peoples, may bind Africans together through the fundamental human rights of morality, justice, and dignity.
Partant de l’hypothèse que l’essor de la musique dite punk hardcore, aux États-Unis à la fin des années 1970 et au début des années 1980, n’était pas seulement le résultat d’une sous- culture de jeunes, mais était, bien plus profondément, liée à un certain contexte et à la situation psycho-sociale où se trouvait toute la société américaine d’alors, nous recherchons quelle est la nature du lien entre les modalités proprement musicales de cette expression et la situation où elle s’exprimait en nous appuyant sur deux notions : « urgence » et « nihilisme ».Si le punk hardcore a fait l’objet d’une attention croissante au cours des vingt dernières années, les musicologues n’ont encore guère rendu justice à cette musique. Prenant acte de cette lacune, notre étude vise d’abord à une mise au point quant à la musique du phénomène punk hardcore, et ceci aussi, en outre, en vue de décrypter la dimension sociale de cette musique elle- même à partir d’une analyse scrupuleuse des « matériaux musicaux » eux-mêmes, au sens d’Adorno, qui s’établit historiquement au long de l’évolution de ce que nous nommons chansons rock courtes et rapides emmenées par la guitare, évolution qui remonte au Chuck Berry des années 1950 : la figure rythmique 3-3-2, les doubles cordes, le power chord, la forme appel-réponse, l’alternance couplet-refrain et la forme horizontale, le palm mute et même la composition du groupe.Dans le punk hardcore, la « création nihiliste », avec son « urgence », ne concerne pas seulement le processus qui pousse les musiciens à l’acte de créer : c’est la musique elle-même qui incarne ce nihilisme et son urgence au sein même de sa propre structure formelle. La « collaboration dialectique » des deux notions relie ainsi, comme un lien médiateur, musique et situation sociale.
El siglo XVIII trajo consigo una evolución estilística vertiginosa en todas las artes. La plástica, la literatura y la música confluyen y sirven de soporte a un arte nuevo, el Rococó. La floración churrigueresca está intensamente presente, además de en lienzos y biombos, en el vocabulario de la lírica de la Nueva España; a la vez que se afianzan los modelos religiosos, por un lado, se asientan los modelos pastoriles por otro. En cuanto a la espiritualidad, los modelos se encuentran encajados en la miniatura poética y el ingenio dieciochesco, desbordante de naturaleza y fantasía. En el presente trabajo me propongo seguir las pistas del misticismo y el arcadismo novohispano en el siglo XVIII, tomando como punto de partida al compositor Manuel de Sumaya y analizando estas dos corrientes en algunos de los textos que utilizara en su música, así como algunos otros ejemplos de músicos y poetas contemporáneos a este maestro de capilla.
Este texto apresenta algumas inferências sobre o papel da música popular na construção de representações sobre o espaço no Brasil. Partindo de um famoso show na década de 1960, o show Opinião, o texto analisa como ideias sobre “urbano” e “rural” são debatidas musicalmente e como a música popular é uma forma central na compreensão da produção simbólica de espaços como sertão, morro, favela, periferia, entre outros.
Prior research demonstrates that music making, physical exercise, and social activity have unique, positive effects on cognition and mood. One intervention, “Jymmin®”, was developed incorporating these approaches and found effective for decreased pain perception and increased endurance, self-efficacy, mood, and muscle efficiency. Previously, Jymmin was not piloted with older adults with dementia. The current study is a randomized pilot study of the Jymmin® with an older adult population in a long-term care facility (n = 38), evaluated across dementia levels (mild, moderate, or severe). Results found significant improvements in scores on a confrontation naming task across all conditions (p = 0.047) and a significant interaction effect for short-term memory scores (p = 0.046), suggesting higher scores at Time 2 for the experimental group and at Time 3 for the control group. There were no significant changes in mood ratings. Findings are discussed in the context of neural activity and musical agency.
This is the first introductory survey of western twentieth-century music to address popular music, art music and jazz on equal terms. It treats those forms as inextricably intertwined, and sets them in a wide variety of social and critical contexts. The book comprises four sections – Histories, Techniques and Technologies, Mediation, Identities – with 16 thematic chapters. Each of these explores a musical or cultural topic as it developed over many years, and as it appeared across a diversity of musical practices. In this way, the text introduces both key musical repertoire and critical-musicological approaches to that work. It historicises music and musical thinking, opening up debate in the present rather than offering a new but closed narrative of the past. In each chapter, an overview of the topic's chronology and main issues is illustrated by two detailed case studies.
This book draws a new perspective on music as a special form of cognition that provides growing children with the means to mediate their emotional state and attitude to suit their physical and social environment. My conclusions are based on new evidence coming from: 1) musicological analysis of the original and spontaneous vocalizations by children, selected to represent the milestones in the development of music cognition; 2) comprehensive research on "ear development" throughout early childhood, systematically conducted in the USSR/Russia on a large pool of subjects during the 1920-1980s; 3) data on music perception by people habituated to non-Western forms of music, including timbre-oriented music traditions of northeast Eurasia; and 4) research coming from Vygotskian school on sociogenesis and objectivization of musical sound in early childhood (published in Russian only). The principal objective of this book is to arm researchers and students with tools to analyze, interpret, and evaluate the patterns of tonal organization in children musicking - and to inter-relate these patterns to cross-cultural patterns of early verbal, social, and emotional development. Children’s musical cognition needs a thorough revision because of the old erroneous belief, still widespread amongst developmental psychologists, that the principles of Western tonality constitute a universal modus operandi, intuitively sought by children from birth. According to this view, early children’s musicking constitutes a “defective” implementation of adult’s music due to children’s deficiencies in vocal control and its coordination with hearing. In reality, early childhood musicking constitutes a peculiar type of music, different from adult’s music – very much like children’s early speech that follows its own principles, different from adult’s speech. The principles of children’s musicking ought to be inferred from the structural organization of their non-imitative attempts to make music - bottom-to-top (as opposed to the current "a priori" top-to-bottom method of describing children's music in terms of Western tonality). Some other important issues covered in this book are the goals of musical development in childhood, the issues of musical attrition, bimusicality, and normalcy of musical abilities, the modularity of musical hearing, and the relation between musical and real-life emotions.
Indigenous African artistes constitute themselves as watchdogs of the society by keeping a tab on the societal activities, especially in the governmental circle. They follow day-to-day happenings keenly and render such in songs as they extol the virtuous and condemn the vicious. Music is therefore a potent instrument of socialisation, reformation and reconstruction. It is lamentable that Africa is bedevilled by instability, economic woes and socio-political backwardness which arise out of poor governance. This regrettable situation cuts across Africa and it has prompted Christian gospel artistes to take their musical ministries beyond the Church auditoria into the public sphere. They have become ardent social critics by suing the government of the day for accountability and good governance. Christian gospel artistes in Yoruba land are no exception and Evangelist Bayo Adegboyega who sang his songs in Yoruba was prominent among them. Using selected albums of Evangelist Bayo Adegboyega as data, this study examines how he employed his music as an instrument, not only for evangelism but also for social crusade, political reengineering and moral advocacy. This study recommends that gospel artistes, using the instrumentation of music, should impact the world positively by adhering to the ethical and spiritual tenets of the Holy Bible.KeywordsAfrican artistesSocial criticsBayo AdegboyegaYorubaGospel artistes
Cet article examine l’émergence de la célébrité musicale africaine dans le contexte du développement de la radio, de l’industrie du disque et de l’ethnomusicologie après 1945. Il explore la notion de « célébrité transimpériale » du point de vue des guitaristes Jean Bosco Mwenda et Édouard Masengo, devenus les premières stars de l’est du Congo belge et deux des artistes les plus mobiles du continent dans les années 1950. Originaires du Katanga, une région au carrefour des influences musicales de Léopoldville (Kinshasa) et de Johannesburg, ces guitaristes ont investi et ouvert de nouveaux circuits musicaux au Congo, en Afrique du Sud et au Kenya. L’article retrace leurs « territoires circulatoires » en combinant l’étude de leur mobilité spatiale et sociale, pour éclairer un pan méconnu de l’histoire sociale et culturelle de cet espace transimpérial. Il montre ainsi comment les débuts de la célébrité médiatique prolongeaient les routes de musiciens populaires dont le mode de vie reposait sur une ancienne culture de l’itinérance.
[ResearchGate Errata: The journal for this publication is EJPAE-European Journal of Philosophy in Arts Education ISSN: 2002-4665, but the upload wouldn't allow me to choose this journal.]
How can the (seemingly isolated) process of practising a musical instrument in the context of practice sessions be seen as enabling students to develop skills "that are needed to keep democracies alive' (Nussbaum, 2010, p. 2). How can we encourage this further? The approach is to explore the various potentials of the practise session to be something more than mere training. An exploration that can be instrumentally fostered in a study environment (formal or informal) through a practical pedagogical approach, not to reach a specific end-i.e. defined learning outcomes-but to result in the student transcending the professional competence acquisition situation to gain wisdom for a broader perspective. What is more, in the present article we will focus on the more autonomous aspects of the everyday , informal practice session of developing musicians and bring in perspectives from philosophy, particularly focusing on the relation between state policies and the individual performer. First, we explore the practise session-case as an aesthetic event. Secondly, we address the individual within the situation in relation to the exterior world while proposing an approach to serve as a framework for further exploration. We apply interaction through social media as a case for this section of the article. Thirdly, we seek to further develop the practice-session as a potential activity for personal growth. Next, we make a note of the related context of ensemble practice. Finally, we propose a logbook exercise to strategically enable this growth-process in practice.
Audience education is a growing area of practice in the arts and community services. While empirical research flourishes in relation to audience engagement and development through marketing and programming, when it comes to educational work there is a paucity of theoretical and empirical understanding. This is especially true of current understandings of audiences, their listening experiences and how they contribute to lifelong learning and arts engagement in the concert hall. Thus, the present study seeks to understand how education and learning are experienced by listeners in the orchestral concert hall and investigate the pedagogies of listening employed to facilitate learning and engagement as part of audience engagement, education and development.
By generating data through semi-structured interviews, focus groups and the observation of eighteen concerts, the lifeworlds and experiences of audience members and arts organisers were used to construct a phenomenology of listening experienced in three contrasting orchestral concert hall settings. The research includes data generated in professional and community orchestra contexts as well as perspectives from metropolitan and regional settings. The work undertaken here builds upon the theoretical frameworks offered by John Dewey (Experience as Education and Art as Experience), Christopher Small (Musicking: The meanings of performing and listening), Hans Georg Gadamer (Philosophical Hermeneutics) and Max van Manen (Phenomenology of Practice), and contributes to scholarship on education, pedagogy, experiential learning and orchestra audience development.
The findings theorise four essential qualities that are inherent to the practice of pedagogies of listening- the notion of relationality, the balance between various tensions, differentiation within both pedagogy and the act of listening itself, and the technologies utilised in pedagogies of listening. Each of the individual settings are also examined in detail to highlight the ways pedagogy is developed and how context and listener-audience-orchestra-musician relationships impact learning experiences through listening. In addition to these contributions to the scholarship of audience development and education, this thesis also offers a methodological innovation in the practice of phenomenological research using mindfulness and an exploration of the history of audience development. Both of these are published in peer reviewed journal articles and included as part of this thesis including published works.
Epidemics are considered paradigmatic states of emergency and humanitarian scenarios. Thus, humanitarian conceptualizations are negotiable through the very practices appearing in this type of emergency.
This paper aims to investigate this process in relation to the 2014 Ebola outbreak, an event that is considered a global threat and an intolerable humanitarian situation. We analyze how the definition of what can be understood (or not) as humanity was constructed through visual representations produced by social media. We will also discuss how the definition of humanity was negotiated through dimensions such as the spectrum of visibility, the distribution of agencies, the affections intended to provoke, and the imaginaries defined. This paper is based on an empirical semiotic analysis of hundreds of images from the 2014 Ebola epidemic and 15 focus groups and individual interviews, performed over a span of one year, discussing images from social media.
This article discusses Violeta Parra’s work as a woman musician analysing how she contributed to challenging long-standing colonial paradigms in Chilean (and Latin American) music. Through a review of the multifaceted concept of cantora, or female singer of the people, as well as the analysis of four cueca songs, this study offers insights on how Parra negotiated the terms of the Chilean urban folkloric scene of her time. Her trajectory as a folklorist allowed her to vindicate an otherwise disparaged popular culture, and as cantautora, or singer-songwriter, she redefined the gender roles of her time becoming a musical and political referent for her peers, thus offering renovated perspectives on both female musicianship and national identity.