Questions related to Music and Society
I am looking for guidance as to where to look for sources and/or studies on how the culture of an area might affect its music. Whether it be religion, conflict, or any other factors, how does culture change and affect the musical style that is produced?
In the film Latcho Drom, Tony Gatlif shows the migration of the gypsies from India to Europe as they take their music along with them; the music transforms as they move through time and place; In Crooks' film Siddhartha, based on Herman Hesse's novel, we see Sadhus singing and clapping - similar in sound and style to the Roma at the beginning of Gatlif's film. I'm trying to find out if anyone has written about the possibility the Roma were Indian Sadhus (or related to Sadhus) who were exiled or migrated from northern India about the time of the Buddha or earlier.
I consider that music analysis must be consolidated under new points of view,: the open, live, and music connected sociology, like sociosophy understanding of music history. By other side, the music listening must be more rich and productive, music is history, life of society, so, por this reason it is very important to apply elements of musicosophy. Now I am working in Shostakovich`s music, and I found there we all we have a bigger field. I need this suppor, and found materials about this new perspectives to apply my theories and opinions.
Western music notation used widely in transcribing and notating non-western music. Well, it looks a media beside the oral transmission of music which can help grasping structure of a certain type of music, but it is not. Western music notation forces its limitations in transcriptions and through the history the notated version remains as the document or “original version” against changes take place in oral versions over time. It is in spite of modifications the written version already got through transcribing musical sound to written notation.
I wants to know differences and similarities of between European and south Asian ethnic, folk and traditional music and culture.
I am trying to see the nature of value given from music business to stakeholders involved in the value chain. What kind of value are we talking about?who's the main holder?
I have become intrigued by the musical devices employed in such a simple piece of music as Thomas Arne's closing chorus to Alfred "When Britain first at heaven's command"; My latest fascination has been with the Bassoon line as that's my primary area of study right now.
That particular part is so lovely but the question arose in my mind. How did this piece become the quintessential patriotic song.
But my question for wider consideration is in the area of prior scholarship on this point. Surely there is a 19th century clergyman who studied the rhetorical devices (and there are many - try the 3 sixteenth note syncopated flutterings throughout). How do these devices so clearly define the "us" group which triumphs over the "them" group (to put it in simple terms)?
My composer talks about his symphonies being in the spirit of the Italian sinfonia NOT German symphonies.
Does anyone know whether Maurice Ravel´s music has had an impact on European music after his death in 1937? How much impact, where, and on whom?
Singing and other led activities are essential in music groups for pre-school children and parents. It provides a clear structure and helps both parents and children feel safe. What can improvisation offer to the group, particularly in promoting interactions between parents and their children?
Can anyone share any reference related to above topic?
Music is well known to be a therapeutic tool for individuals suffering from depression, anxiety and other conditions. What about its use in a larger context? With music so readily available for all, can it be harnessed to facilitate positive change?
How does the instant availability of any kind of music have an impact on human productivity, social mentality, and understanding of one's self?...
I am working on an independent music project. But the aim of this project is to try to use talent in a proper way. Creation. Then using the music technicians and tools to implement the artist's idea. Not making a job in that process. The aim is create and share. At a sustainable cost. That's what musicians are here for. That's what music is given for.
Steven Mithen's book "The Singing Neanderthals: the Origins of Music, Language, Mind and Body" tells that singing came first and provides evidence on facts such as the manner in which adults (specially mothers) communicate with pre-linguistic infants, noticing the highly musical nature of this type of communication, which also supports the argument that humans are inherently musical-oriented. However, can we consider this IDS (infant-directed speech) as musical?