Jennifer C. Lena
- Published in print:
- 2012
- Published Online:
- October 2017
- ISBN:
- 9780691150765
- eISBN:
- 9781400840458
- Item type:
- chapter
- Publisher:
- Princeton University Press
- DOI:
- 10.23943/princeton/9780691150765.003.0003
- Subject:
- Sociology, Culture
This chapter explores the trajectories of musical styles across genre forms by engaging in what are called “parallel comparisons,” in order to show how several musical styles follow (or do not) the ...
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This chapter explores the trajectories of musical styles across genre forms by engaging in what are called “parallel comparisons,” in order to show how several musical styles follow (or do not) the same patterns. It describes two primary trajectories taken by musical styles across the four genre types. The first trajectory is shared by the three styles explored in Chapter 2 (bluegrass, bebop, and rap). The second trajectory, abbreviated IST, describes the transit of nine musics that started as industry-based genres, then inspired a scene-based genre form, and acquired a traditionalist following. The chapter first identifies these two trajectories and illustrates them with examples from several musical styles. It then explores the three mechanisms of inertia that produced incomplete musical trajectories across genre forms.Less
This chapter explores the trajectories of musical styles across genre forms by engaging in what are called “parallel comparisons,” in order to show how several musical styles follow (or do not) the same patterns. It describes two primary trajectories taken by musical styles across the four genre types. The first trajectory is shared by the three styles explored in Chapter 2 (bluegrass, bebop, and rap). The second trajectory, abbreviated IST, describes the transit of nine musics that started as industry-based genres, then inspired a scene-based genre form, and acquired a traditionalist following. The chapter first identifies these two trajectories and illustrates them with examples from several musical styles. It then explores the three mechanisms of inertia that produced incomplete musical trajectories across genre forms.
Jennifer C. Lena
- Published in print:
- 2012
- Published Online:
- October 2017
- ISBN:
- 9780691150765
- eISBN:
- 9781400840458
- Item type:
- chapter
- Publisher:
- Princeton University Press
- DOI:
- 10.23943/princeton/9780691150765.003.0002
- Subject:
- Sociology, Culture
This chapter examines the progression of three musics through the four genre types, focusing on the hanging mix of the resources they use. These resources include organizational form, scale, and ...
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This chapter examines the progression of three musics through the four genre types, focusing on the hanging mix of the resources they use. These resources include organizational form, scale, and locus; the sources of income and press coverage for artists; the codification of genre ideal, performance, and technological conventions; boundary work; styles of dress, adornment, drugs, politics, and argot; and the invention of a name for the style. In order to focus on the attributes that characterize genre forms, the chapter selectively presents examples from three musical styles: bluegrass, old school rap, and bebop jazz. It hopes that focusing on examples from a sample of musics will highlight the features of genre types and their attributes without producing unnecessary confusion.Less
This chapter examines the progression of three musics through the four genre types, focusing on the hanging mix of the resources they use. These resources include organizational form, scale, and locus; the sources of income and press coverage for artists; the codification of genre ideal, performance, and technological conventions; boundary work; styles of dress, adornment, drugs, politics, and argot; and the invention of a name for the style. In order to focus on the attributes that characterize genre forms, the chapter selectively presents examples from three musical styles: bluegrass, old school rap, and bebop jazz. It hopes that focusing on examples from a sample of musics will highlight the features of genre types and their attributes without producing unnecessary confusion.
Jennifer C. Lena
- Published in print:
- 2012
- Published Online:
- October 2017
- ISBN:
- 9780691150765
- eISBN:
- 9781400840458
- Item type:
- chapter
- Publisher:
- Princeton University Press
- DOI:
- 10.23943/princeton/9780691150765.003.0001
- Subject:
- Sociology, Culture
This chapter first sets out book's purpose, which is to study the ideological, social, organizational, and symbolic attributes of twentieth-century American music. Three questions guide the ...
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This chapter first sets out book's purpose, which is to study the ideological, social, organizational, and symbolic attributes of twentieth-century American music. Three questions guide the investigation: (1) What are the common economic, organizational, ideological, and aesthetic traits among contemporary music genres? (2) Do music genres follow any patterns in their development, and if so, what explains their similarities and differences? and (3) Using contemporary American musical genres as a point of reference, how can we discover new genre forms and trajectories? It explores these questions in music in order to offer a comprehensive view into both classificatory schema employed to organize sound and sociocultural classification systems in general. The remainder of the chapter discusses the formal characteristics of twelve attributes found across styles of music. These organizational, economic, interpersonal, and aesthetic attributes are used to differentiate one musical style from another, and a given style from one moment in time to the next. Drawing from an inductive coding of histories of sixty American market-based musical forms from the twentieth century, it demonstrates patterns of attributes.Less
This chapter first sets out book's purpose, which is to study the ideological, social, organizational, and symbolic attributes of twentieth-century American music. Three questions guide the investigation: (1) What are the common economic, organizational, ideological, and aesthetic traits among contemporary music genres? (2) Do music genres follow any patterns in their development, and if so, what explains their similarities and differences? and (3) Using contemporary American musical genres as a point of reference, how can we discover new genre forms and trajectories? It explores these questions in music in order to offer a comprehensive view into both classificatory schema employed to organize sound and sociocultural classification systems in general. The remainder of the chapter discusses the formal characteristics of twelve attributes found across styles of music. These organizational, economic, interpersonal, and aesthetic attributes are used to differentiate one musical style from another, and a given style from one moment in time to the next. Drawing from an inductive coding of histories of sixty American market-based musical forms from the twentieth century, it demonstrates patterns of attributes.
Jennifer C. Lena
- Published in print:
- 2012
- Published Online:
- October 2017
- ISBN:
- 9780691150765
- eISBN:
- 9781400840458
- Item type:
- chapter
- Publisher:
- Princeton University Press
- DOI:
- 10.23943/princeton/9780691150765.003.0004
- Subject:
- Sociology, Culture
This chapter expands our view to include music produced in other countries. A preliminary survey of the popular music of countries with widely differing political economies, music cultures, and ...
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This chapter expands our view to include music produced in other countries. A preliminary survey of the popular music of countries with widely differing political economies, music cultures, and levels of development revealed that the four genre forms (avant-garde, scene-based, industry-based, and traditionalist) do exist to greater or lesser degrees across the globe. However, there proved to be another widely distributed form that was not found in the U.S. sample: the government-purposed genre. Musics in this genre receive substantial financial support from the government or oppositional groups with a direct interest in the ideological content of popular music. There are two major types: those sponsored directly by governments, which benefit from national distribution and legal protections, and an antistate type supported by an opposition party or constituency. The chapter examines four nation-cases to advance the argument: the People's Republic of China, Chile, Serbia, and Nigeria.Less
This chapter expands our view to include music produced in other countries. A preliminary survey of the popular music of countries with widely differing political economies, music cultures, and levels of development revealed that the four genre forms (avant-garde, scene-based, industry-based, and traditionalist) do exist to greater or lesser degrees across the globe. However, there proved to be another widely distributed form that was not found in the U.S. sample: the government-purposed genre. Musics in this genre receive substantial financial support from the government or oppositional groups with a direct interest in the ideological content of popular music. There are two major types: those sponsored directly by governments, which benefit from national distribution and legal protections, and an antistate type supported by an opposition party or constituency. The chapter examines four nation-cases to advance the argument: the People's Republic of China, Chile, Serbia, and Nigeria.
Michael Tenzer and John Roeder (eds)
- Published in print:
- 2011
- Published Online:
- January 2012
- ISBN:
- 9780195384581
- eISBN:
- 9780199918331
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195384581.001.0001
- Subject:
- Music, Ethnomusicology, World Music
This collection of essays analyzes diverse musical creations with reference to the contexts in which the music is created and performed. The authors explain the music as sound in process, through ...
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This collection of essays analyzes diverse musical creations with reference to the contexts in which the music is created and performed. The authors explain the music as sound in process, through prose, diagrams, transcriptions, recordings, and (online) multimedia presentations, all intended to convey the richness, beauty, and ingenuity of their subjects. The music ranges across geography and cultures—court music of Japan and medieval Europe, pagode song from Brazil, solos by the jazz pianist Thelonius Monk and by the sitar master Budhaditya Mukherjee, form-and-timbre improvisations of a Boston sound collective, South Korean folk drumming, and the ceremonial music of indigenous cultures in North American and Australia. Thus the essays diversify and expand the scope of this book’s companion volume, Analytical Studies in World Music, to all inhabited continents and many of its greatest musical traditions. An introduction and an afterword point out common analytical approaches, and present a new way to classify music according to its temporal organization. Two special chapters consider the juxtaposition of music from different cultures: of world-music traditions and popular music genres, and of Balinese music and European Art music, raising questions about the musical encounters and fusions of today’s interconnected world.Less
This collection of essays analyzes diverse musical creations with reference to the contexts in which the music is created and performed. The authors explain the music as sound in process, through prose, diagrams, transcriptions, recordings, and (online) multimedia presentations, all intended to convey the richness, beauty, and ingenuity of their subjects. The music ranges across geography and cultures—court music of Japan and medieval Europe, pagode song from Brazil, solos by the jazz pianist Thelonius Monk and by the sitar master Budhaditya Mukherjee, form-and-timbre improvisations of a Boston sound collective, South Korean folk drumming, and the ceremonial music of indigenous cultures in North American and Australia. Thus the essays diversify and expand the scope of this book’s companion volume, Analytical Studies in World Music, to all inhabited continents and many of its greatest musical traditions. An introduction and an afterword point out common analytical approaches, and present a new way to classify music according to its temporal organization. Two special chapters consider the juxtaposition of music from different cultures: of world-music traditions and popular music genres, and of Balinese music and European Art music, raising questions about the musical encounters and fusions of today’s interconnected world.
Graham F. Welch
- Published in print:
- 2011
- Published Online:
- May 2012
- ISBN:
- 9780199568086
- eISBN:
- 9780191731044
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199568086.003.0024
- Subject:
- Psychology, Music Psychology, Social Psychology
Creativity is valued and nurtured to different degrees in different musical genres. This chapter explores the informal learning practices of the communities of Western classical, Scottish ...
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Creativity is valued and nurtured to different degrees in different musical genres. This chapter explores the informal learning practices of the communities of Western classical, Scottish traditional, jazz, and popular musicians, which reveal some important differences between these genres, and in particular between the Western classical musicians on the one hand, and three ‘ other-than-classical’ genres on the other. In comparison with the Western classical musicians, the other three genre groups tended to spend more time listening to their own music, and to play for fun; to see the ability to sight read as relatively less important; to rely more heavily on improvisational skill and ‘playing by ear’; to place more value on group than on individual practice; and to gain more pleasure from performing in their own genre.Less
Creativity is valued and nurtured to different degrees in different musical genres. This chapter explores the informal learning practices of the communities of Western classical, Scottish traditional, jazz, and popular musicians, which reveal some important differences between these genres, and in particular between the Western classical musicians on the one hand, and three ‘ other-than-classical’ genres on the other. In comparison with the Western classical musicians, the other three genre groups tended to spend more time listening to their own music, and to play for fun; to see the ability to sight read as relatively less important; to rely more heavily on improvisational skill and ‘playing by ear’; to place more value on group than on individual practice; and to gain more pleasure from performing in their own genre.
Jennifer C. Lena
- Published in print:
- 2012
- Published Online:
- October 2017
- ISBN:
- 9780691150765
- eISBN:
- 9781400840458
- Item type:
- chapter
- Publisher:
- Princeton University Press
- DOI:
- 10.23943/princeton/9780691150765.003.0005
- Subject:
- Sociology, Culture
This chapter discusses classification systems that exist within music and its peer culture-producing fields. It emphasizes the role of power in setting boundaries around categories and defining these ...
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This chapter discusses classification systems that exist within music and its peer culture-producing fields. It emphasizes the role of power in setting boundaries around categories and defining these categories as legitimate. It considers the application of this model of classification to the sociological study of science and collective memory. Finally, it addresses the future of music, and closes with a consideration of the link between music categories and taste. It argues that our tastes are instruments of power and that there are three important components to this instrument. First, tastes encode the power of your origins. When it comes to taste, the socialization process—specifically, the process of acquiring a “habitus”—plays a central role in shaping our desires, aspirations, and choices. Second, this socialization process teaches us not only what tastes are appropriate to our life circumstances, but also how to make meaning from the consumption process. Third, taste is used to exert and reveal power in subtle ways.Less
This chapter discusses classification systems that exist within music and its peer culture-producing fields. It emphasizes the role of power in setting boundaries around categories and defining these categories as legitimate. It considers the application of this model of classification to the sociological study of science and collective memory. Finally, it addresses the future of music, and closes with a consideration of the link between music categories and taste. It argues that our tastes are instruments of power and that there are three important components to this instrument. First, tastes encode the power of your origins. When it comes to taste, the socialization process—specifically, the process of acquiring a “habitus”—plays a central role in shaping our desires, aspirations, and choices. Second, this socialization process teaches us not only what tastes are appropriate to our life circumstances, but also how to make meaning from the consumption process. Third, taste is used to exert and reveal power in subtle ways.
Judith Becker
- Published in print:
- 2011
- Published Online:
- September 2011
- ISBN:
- 9780195385410
- eISBN:
- 9780199896974
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195385410.003.0013
- Subject:
- Music, Ethnomusicology, World Music, History, Western
This chapter provides a synopsis of each of the preceding chapters, along with commentary on the main issues emerging in the book and within Indonesia itself through the prism of the author's own ...
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This chapter provides a synopsis of each of the preceding chapters, along with commentary on the main issues emerging in the book and within Indonesia itself through the prism of the author's own experience. The chapters have delineated the multi-shaped plurality of the musical genres associated with Islam, and thus the various interpretations of Islam within Indonesia. They have highlighted the importance of musical genres in the Indonesian conception of religion and the body politic, and they have looked at how deeply discourse about music and Islam has become central in Indonesia in recent decades.Less
This chapter provides a synopsis of each of the preceding chapters, along with commentary on the main issues emerging in the book and within Indonesia itself through the prism of the author's own experience. The chapters have delineated the multi-shaped plurality of the musical genres associated with Islam, and thus the various interpretations of Islam within Indonesia. They have highlighted the importance of musical genres in the Indonesian conception of religion and the body politic, and they have looked at how deeply discourse about music and Islam has become central in Indonesia in recent decades.
Raymond MacDonald, Gunter Kreutz, and Laura Mitchell (eds)
- Published in print:
- 2012
- Published Online:
- May 2012
- ISBN:
- 9780199586974
- eISBN:
- 9780191738357
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199586974.001.0001
- Subject:
- Psychology, Music Psychology, Health Psychology
The great saxophonist Charlie Parker once proclaimed ‘if you don't live it, it won't come out of your horn’. This quote has often been used to explain the hedonistic lifestyle of many jazz greats, ...
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The great saxophonist Charlie Parker once proclaimed ‘if you don't live it, it won't come out of your horn’. This quote has often been used to explain the hedonistic lifestyle of many jazz greats, but it also signals the reciprocal and inextricable relationship between music and wider social, cultural, and psychological variables. This link is complex and multifaceted and is undoubtedly a central component of why music has been implicated as a therapeutic agent in vast swathes of contemporary research studies. Music is always about more than just acoustic events or notes on a page. Music has a universal and timeless potential to influence how we feel. Yet, only recently, have researchers begun to explore and understand the positive effects that music can have on our wellbeing — across a range of cultures and musical genres. This book brings together research from music psychology, therapy, public health, and medicine, to explore the relationship between music, health, and wellbeing. It presents a range of chapters to give an account of recent advances and applications in both clinical and non-clinical practice and research. Some of the questions explored include: what is the nature of the scientific evidence to support the relationship between music, health, and wellbeing? What are the current views from different disciplines on empirical observations and methodological issues concerning the effects of musical interventions on health-related processes? What are the mechanisms which drive these effects and how can they be utilized for building robust theoretical frameworks for future work?Less
The great saxophonist Charlie Parker once proclaimed ‘if you don't live it, it won't come out of your horn’. This quote has often been used to explain the hedonistic lifestyle of many jazz greats, but it also signals the reciprocal and inextricable relationship between music and wider social, cultural, and psychological variables. This link is complex and multifaceted and is undoubtedly a central component of why music has been implicated as a therapeutic agent in vast swathes of contemporary research studies. Music is always about more than just acoustic events or notes on a page. Music has a universal and timeless potential to influence how we feel. Yet, only recently, have researchers begun to explore and understand the positive effects that music can have on our wellbeing — across a range of cultures and musical genres. This book brings together research from music psychology, therapy, public health, and medicine, to explore the relationship between music, health, and wellbeing. It presents a range of chapters to give an account of recent advances and applications in both clinical and non-clinical practice and research. Some of the questions explored include: what is the nature of the scientific evidence to support the relationship between music, health, and wellbeing? What are the current views from different disciplines on empirical observations and methodological issues concerning the effects of musical interventions on health-related processes? What are the mechanisms which drive these effects and how can they be utilized for building robust theoretical frameworks for future work?
Eric Drott
- Published in print:
- 2011
- Published Online:
- May 2012
- ISBN:
- 9780520268968
- eISBN:
- 9780520950085
- Item type:
- book
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520268968.001.0001
- Subject:
- Music, History, Western
In May 1968, France teetered on the brink of revolution as a series of student protests spiraled into the largest general strike the country has ever known. In the years since, May '68 has come to ...
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In May 1968, France teetered on the brink of revolution as a series of student protests spiraled into the largest general strike the country has ever known. In the years since, May '68 has come to occupy a singular place in the modern political imagination, not just in France but across the world. This book examines the social, political, and cultural effects of May '68 on a wide variety of music in France, from the initial shock of 1968 through the “long” 1970s and the election of Mitterrand and the socialists in 1981. This detailed account of how diverse music communities developed in response to 1968 reflects on the nature and significance of musical genre to provide insights into the relationships that link music, identity, and politics.Less
In May 1968, France teetered on the brink of revolution as a series of student protests spiraled into the largest general strike the country has ever known. In the years since, May '68 has come to occupy a singular place in the modern political imagination, not just in France but across the world. This book examines the social, political, and cultural effects of May '68 on a wide variety of music in France, from the initial shock of 1968 through the “long” 1970s and the election of Mitterrand and the socialists in 1981. This detailed account of how diverse music communities developed in response to 1968 reflects on the nature and significance of musical genre to provide insights into the relationships that link music, identity, and politics.
George Worlasi and Kwasi Dor
- Published in print:
- 2014
- Published Online:
- September 2014
- ISBN:
- 9781617039140
- eISBN:
- 9781621039952
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781617039140.003.0006
- Subject:
- Music, Ethnomusicology, World Music
Chapter 6 draws on the Ghanaian Ewe conception of “planting a musical genre”—wudodo. So, West African dance drumming is metaphorically a transplanted genre that continues to flourish and “bear ...
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Chapter 6 draws on the Ghanaian Ewe conception of “planting a musical genre”—wudodo. So, West African dance drumming is metaphorically a transplanted genre that continues to flourish and “bear fruits,” and its thriving in the American academy depends on factors the chapter explores. Furthermore, Furthermore, Dor argues, these dances draw a remarkable patronage because of the aesthetic pleasure they provide both audiences and student participants. The Ewe metaphor, Detsivivi yehea zikpui (“It is the sumptuous soup that draws the [eater’s] stool” vividly captures this “sweetness” concept of a music genre. Additionally, chapter 6 discusses a) the genre as a university subculture; b) the unflinching following from audiences; c) African American perspectives; d) the English language as a post-colonial imprint that enables or constraints the selection of dances, instructors, and countries in which the genre can be taught; and e) the influence of city/regional demography on the development of university ensembles.Less
Chapter 6 draws on the Ghanaian Ewe conception of “planting a musical genre”—wudodo. So, West African dance drumming is metaphorically a transplanted genre that continues to flourish and “bear fruits,” and its thriving in the American academy depends on factors the chapter explores. Furthermore, Furthermore, Dor argues, these dances draw a remarkable patronage because of the aesthetic pleasure they provide both audiences and student participants. The Ewe metaphor, Detsivivi yehea zikpui (“It is the sumptuous soup that draws the [eater’s] stool” vividly captures this “sweetness” concept of a music genre. Additionally, chapter 6 discusses a) the genre as a university subculture; b) the unflinching following from audiences; c) African American perspectives; d) the English language as a post-colonial imprint that enables or constraints the selection of dances, instructors, and countries in which the genre can be taught; and e) the influence of city/regional demography on the development of university ensembles.
Margaret Kartomi
- Published in print:
- 2012
- Published Online:
- April 2017
- ISBN:
- 9780252036712
- eISBN:
- 9780252093821
- Item type:
- book
- Publisher:
- University of Illinois Press
- DOI:
- 10.5406/illinois/9780252036712.001.0001
- Subject:
- Music, Ethnomusicology, World Music
Although Sumatra is the sixth largest island in the world and home to an estimated 44 million Indonesians, its musical arts and cultures have not been the subject of a book-length study until now. ...
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Although Sumatra is the sixth largest island in the world and home to an estimated 44 million Indonesians, its musical arts and cultures have not been the subject of a book-length study until now. Documenting and explaining the ethnographic, cultural, and historical contexts of Sumatra's performing arts, this book also traces the changes in their style, content, and reception from the early 1970s onward. The book offers a fascinating ethnographic record of vanishing musical genres, traditions, and practices that have become deeply compromised by the pressures of urbanization, rural poverty, and government policy. It showcases the complex diversity of Indonesian music and includes field observations from six different provinces: Aceh, North Sumatra, Riau, West Sumatra, South Sumatra, and Bangka-Belitung. Featuring photographs and original drawings from Kartomi's field observations of instruments and performances, the book provides a comprehensive musical introduction to this neglected, very large island, with its hundreds of ethno-linguistic-musical groups.Less
Although Sumatra is the sixth largest island in the world and home to an estimated 44 million Indonesians, its musical arts and cultures have not been the subject of a book-length study until now. Documenting and explaining the ethnographic, cultural, and historical contexts of Sumatra's performing arts, this book also traces the changes in their style, content, and reception from the early 1970s onward. The book offers a fascinating ethnographic record of vanishing musical genres, traditions, and practices that have become deeply compromised by the pressures of urbanization, rural poverty, and government policy. It showcases the complex diversity of Indonesian music and includes field observations from six different provinces: Aceh, North Sumatra, Riau, West Sumatra, South Sumatra, and Bangka-Belitung. Featuring photographs and original drawings from Kartomi's field observations of instruments and performances, the book provides a comprehensive musical introduction to this neglected, very large island, with its hundreds of ethno-linguistic-musical groups.
Margaret Kartomi
- Published in print:
- 2012
- Published Online:
- April 2017
- ISBN:
- 9780252036712
- eISBN:
- 9780252093821
- Item type:
- chapter
- Publisher:
- University of Illinois Press
- DOI:
- 10.5406/illinois/9780252036712.003.0010
- Subject:
- Music, Ethnomusicology, World Music
This chapter examines the two main musical genres performed at northwest-coastal Sumatran weddings and baby thanksgiving ceremonies between Singkil and Natal: lagu sikambang asli (original sikambang ...
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This chapter examines the two main musical genres performed at northwest-coastal Sumatran weddings and baby thanksgiving ceremonies between Singkil and Natal: lagu sikambang asli (original sikambang songs) and lagu sikambang kapri (sikambang songs with violin, harmony, and couples dancing). It considers the vocal style of the sikambang asli songs and how the harmonically generated violin accompaniment is blended with the Malay vocal style and frame-drum part in the sikambang kapri songs. The chapter begins with a discussion of “Buai,” a ceremonial lullaby, the Penang Island Song and the Umbrella Dance, and “Lagu Sikambang Tarian Anak” (“Sikambang Song-Dance [to celebrate the birth of a] Child”). It then describes some Pasisir song-dances that are also performed by artists in and around other Malay areas, along with the spread of the violin and couples dancing to the Pasisir Sumando coast. The chapter hypothesizes that the musical genre's harmonic elements and use of the violin are derived from Malay-Portuguese contact during the Portuguese colonial era in Southeast Asia (1511–1641).Less
This chapter examines the two main musical genres performed at northwest-coastal Sumatran weddings and baby thanksgiving ceremonies between Singkil and Natal: lagu sikambang asli (original sikambang songs) and lagu sikambang kapri (sikambang songs with violin, harmony, and couples dancing). It considers the vocal style of the sikambang asli songs and how the harmonically generated violin accompaniment is blended with the Malay vocal style and frame-drum part in the sikambang kapri songs. The chapter begins with a discussion of “Buai,” a ceremonial lullaby, the Penang Island Song and the Umbrella Dance, and “Lagu Sikambang Tarian Anak” (“Sikambang Song-Dance [to celebrate the birth of a] Child”). It then describes some Pasisir song-dances that are also performed by artists in and around other Malay areas, along with the spread of the violin and couples dancing to the Pasisir Sumando coast. The chapter hypothesizes that the musical genre's harmonic elements and use of the violin are derived from Malay-Portuguese contact during the Portuguese colonial era in Southeast Asia (1511–1641).
Marc L. Moskowitz
- Published in print:
- 2009
- Published Online:
- November 2016
- ISBN:
- 9780824833695
- eISBN:
- 9780824870812
- Item type:
- book
- Publisher:
- University of Hawai'i Press
- DOI:
- 10.21313/hawaii/9780824833695.001.0001
- Subject:
- Anthropology, Asian Cultural Anthropology
Since the mid-1990s, Taiwan's unique brand of Mandopop (Mandarin Chinese-language pop music) has dictated the musical tastes of the mainland and the rest of Chinese-speaking Asia. This book explores ...
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Since the mid-1990s, Taiwan's unique brand of Mandopop (Mandarin Chinese-language pop music) has dictated the musical tastes of the mainland and the rest of Chinese-speaking Asia. This book explores Mandopop's surprisingly complex cultural implications in Taiwan and the PRC. It provides the historical background necessary to understand the contemporary Mandopop scene, beginning with the birth of Chinese popular music in the East Asian jazz Mecca of 1920s Shanghai. An overview of alternative musical genres in the PRC is included, followed by a look at the manner in which Taiwan's musical ethos has influenced the mainland's music industry and how Mandopop has brought Western music and cultural values to the PRC. This leads to a discussion of Taiwan pop's exceptional hybridity. The book addresses the resulting wealth of transnational musical influences from the rest of East Asia and the United States, and Taiwan pop's appeal to audiences in both the PRC and Taiwan. In doing so, it explores how Mandopop's “songs of sorrow,” with their ubiquitous themes of loneliness and isolation, engage a range of emotional expression that resonates strongly in the PRC. The book examines the construction of male and female identities in Mandopop and looks at the widespread condemnation of the genre by critics and attempts to answer the question: Why, if the music is as bad as some assert, is it so central to the lives of the largest population in the world? In response answer, it highlights Mandopop's important contribution as a poetic lament that simultaneously embraces and protests modern life.Less
Since the mid-1990s, Taiwan's unique brand of Mandopop (Mandarin Chinese-language pop music) has dictated the musical tastes of the mainland and the rest of Chinese-speaking Asia. This book explores Mandopop's surprisingly complex cultural implications in Taiwan and the PRC. It provides the historical background necessary to understand the contemporary Mandopop scene, beginning with the birth of Chinese popular music in the East Asian jazz Mecca of 1920s Shanghai. An overview of alternative musical genres in the PRC is included, followed by a look at the manner in which Taiwan's musical ethos has influenced the mainland's music industry and how Mandopop has brought Western music and cultural values to the PRC. This leads to a discussion of Taiwan pop's exceptional hybridity. The book addresses the resulting wealth of transnational musical influences from the rest of East Asia and the United States, and Taiwan pop's appeal to audiences in both the PRC and Taiwan. In doing so, it explores how Mandopop's “songs of sorrow,” with their ubiquitous themes of loneliness and isolation, engage a range of emotional expression that resonates strongly in the PRC. The book examines the construction of male and female identities in Mandopop and looks at the widespread condemnation of the genre by critics and attempts to answer the question: Why, if the music is as bad as some assert, is it so central to the lives of the largest population in the world? In response answer, it highlights Mandopop's important contribution as a poetic lament that simultaneously embraces and protests modern life.
Catherine M. Appert
- Published in print:
- 2019
- Published Online:
- December 2018
- ISBN:
- 9780190913489
- eISBN:
- 9780190913526
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190913489.003.0001
- Subject:
- Music, Ethnomusicology, World Music, Popular
This chapter traces how the stories people tell through and about hip hop produce diasporic connections. It introduces two fundamental and interlinked origin myths that are central to how music means ...
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This chapter traces how the stories people tell through and about hip hop produce diasporic connections. It introduces two fundamental and interlinked origin myths that are central to how music means in Senegalese hip hop (Rap Galsen). One connects hip hop to griots and indigenous oralities; the other centers on the South Bronx and urban marginalization. It argues that analyzing hip hop within specific local musical histories complicates frameworks of resistance in global hip hop studies. Rather than objectifying the sounds of hip hop or reducing them to a medium of resistance, it approaches hip hop meaning through an ethnographic analysis of musical genre that examines the social significances of sound and musical gesture. It shows how hip hop’s aural palimpsests relate to strategic practices of memory.Less
This chapter traces how the stories people tell through and about hip hop produce diasporic connections. It introduces two fundamental and interlinked origin myths that are central to how music means in Senegalese hip hop (Rap Galsen). One connects hip hop to griots and indigenous oralities; the other centers on the South Bronx and urban marginalization. It argues that analyzing hip hop within specific local musical histories complicates frameworks of resistance in global hip hop studies. Rather than objectifying the sounds of hip hop or reducing them to a medium of resistance, it approaches hip hop meaning through an ethnographic analysis of musical genre that examines the social significances of sound and musical gesture. It shows how hip hop’s aural palimpsests relate to strategic practices of memory.
Michael Frishkopf
- Published in print:
- 2010
- Published Online:
- September 2011
- ISBN:
- 9789774162930
- eISBN:
- 9781617970139
- Item type:
- chapter
- Publisher:
- American University in Cairo Press
- DOI:
- 10.5743/cairo/9789774162930.003.0008
- Subject:
- Society and Culture, Middle Eastern Studies
The role of the new Arab mediascapes is quite important in reconfiguring the Arab popular music industry. The division between the rich and the poor is demarcated by access to the technological ...
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The role of the new Arab mediascapes is quite important in reconfiguring the Arab popular music industry. The division between the rich and the poor is demarcated by access to the technological gadgets required to receive popular music disseminated via new and costly technology. Egyptian sha'bi music, though extremely popular among the masses, has not been granted access to emerging media equal to that bestowed upon other forms of Egyptian music. Although there are many similarities among international music that are identified as “popular,” Egyptian popular music defies some of the basic Western understanding of popular music. The categorical dynamism of Egyptian music means that the classification “popular” must be construed as an index of currency and acclaim, as opposed to designating a specific musical genre.Less
The role of the new Arab mediascapes is quite important in reconfiguring the Arab popular music industry. The division between the rich and the poor is demarcated by access to the technological gadgets required to receive popular music disseminated via new and costly technology. Egyptian sha'bi music, though extremely popular among the masses, has not been granted access to emerging media equal to that bestowed upon other forms of Egyptian music. Although there are many similarities among international music that are identified as “popular,” Egyptian popular music defies some of the basic Western understanding of popular music. The categorical dynamism of Egyptian music means that the classification “popular” must be construed as an index of currency and acclaim, as opposed to designating a specific musical genre.
Michael A. Uzendoski and Edith Felicia Calapucha-Tapuy
- Published in print:
- 2012
- Published Online:
- April 2017
- ISBN:
- 9780252036569
- eISBN:
- 9780252093609
- Item type:
- chapter
- Publisher:
- University of Illinois Press
- DOI:
- 10.5406/illinois/9780252036569.003.0008
- Subject:
- Anthropology, Latin American Cultural Anthropology
This chapter describes the modern musical genre Runa Paju, a genre that features clever Quichua lyrics, electronic amplification, and eclectic use of instruments and musical styles. It focuses on the ...
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This chapter describes the modern musical genre Runa Paju, a genre that features clever Quichua lyrics, electronic amplification, and eclectic use of instruments and musical styles. It focuses on the social dynamics of the music and its relationship to Quichua cosmology and mythological thought. It argues that, although Runa Paju is a new, modern genre, it follows the same communicative and social assumptions of storytelling as traditional genres. Runa Paju brings into artistic contour the experiences of life's problems and experiences with a larger narrative of cosmological destiny. By targeting the human soul, Runa Paju musicians must “reverse” many of the superficial or apparent relations of modern life and revert destiny to shared cosmology. The threads of Quichua life become newly interwoven into musical pathways of cosmological communitas, a moment of communitywide experience of the circularity and relatedness of all things.Less
This chapter describes the modern musical genre Runa Paju, a genre that features clever Quichua lyrics, electronic amplification, and eclectic use of instruments and musical styles. It focuses on the social dynamics of the music and its relationship to Quichua cosmology and mythological thought. It argues that, although Runa Paju is a new, modern genre, it follows the same communicative and social assumptions of storytelling as traditional genres. Runa Paju brings into artistic contour the experiences of life's problems and experiences with a larger narrative of cosmological destiny. By targeting the human soul, Runa Paju musicians must “reverse” many of the superficial or apparent relations of modern life and revert destiny to shared cosmology. The threads of Quichua life become newly interwoven into musical pathways of cosmological communitas, a moment of communitywide experience of the circularity and relatedness of all things.
Tanya Merchant
- Published in print:
- 2015
- Published Online:
- April 2017
- ISBN:
- 9780252039539
- eISBN:
- 9780252097638
- Item type:
- chapter
- Publisher:
- University of Illinois Press
- DOI:
- 10.5406/illinois/9780252039539.003.0007
- Subject:
- Music, Ethnomusicology, World Music
This conclusion considers the border-crossing process involved as women come together as a community, applying educational theorist Etienne Wenger's ideas about learning as engaged by a community of ...
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This conclusion considers the border-crossing process involved as women come together as a community, applying educational theorist Etienne Wenger's ideas about learning as engaged by a community of practice to musical activity—specifically to the musical activities of professional women musicians both inside and outside institutions. By contrasting practices within and beyond the Uzbek State Conservatory and by putting the rhetoric surrounding each of these musical styles into conversation, the diverse nature of women's musical contribution to the Uzbek national project comes into sharper focus. The more everyday context of a social gathering allows not only border crossing, but also an emphasis on the pleasure of music making and the joy of singing along. Institutions define musical genres, not musical experience. The conclusion emphasizes the complex relation of national identity to individual feminine experiences.Less
This conclusion considers the border-crossing process involved as women come together as a community, applying educational theorist Etienne Wenger's ideas about learning as engaged by a community of practice to musical activity—specifically to the musical activities of professional women musicians both inside and outside institutions. By contrasting practices within and beyond the Uzbek State Conservatory and by putting the rhetoric surrounding each of these musical styles into conversation, the diverse nature of women's musical contribution to the Uzbek national project comes into sharper focus. The more everyday context of a social gathering allows not only border crossing, but also an emphasis on the pleasure of music making and the joy of singing along. Institutions define musical genres, not musical experience. The conclusion emphasizes the complex relation of national identity to individual feminine experiences.
Margaret Kartomi
- Published in print:
- 2012
- Published Online:
- April 2017
- ISBN:
- 9780252036712
- eISBN:
- 9780252093821
- Item type:
- chapter
- Publisher:
- University of Illinois Press
- DOI:
- 10.5406/illinois/9780252036712.003.0005
- Subject:
- Music, Ethnomusicology, World Music
This chapter examines four genres of Muslim-associated performing arts in Minangkabau: indang, salawek dulang, dikia Mauluik, and dabuih. Indang is a song-dance performed by a row of men or women in ...
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This chapter examines four genres of Muslim-associated performing arts in Minangkabau: indang, salawek dulang, dikia Mauluik, and dabuih. Indang is a song-dance performed by a row of men or women in duduak (“sitting,” actually half-kneeling) position with rhythmic body movement, clapping, and frame-drum playing. Salawek dulang is performed by a pair of alternating male solo singers, each of whom accompany themselves on a brass percussion tray (dulang). Dikia Mauluik is a group vocal-instrumental form with mostly Sufi-oriented Muslim song texts based on dikia texts that are sung with body exercises and frame-drum accompaniment in the month of the Prophet's birth. Dabuihis a ritual form involving acts of self-harm as a demonstration of one's faith and physical invulnerability from pain (and sometimes in the colonial era in Aceh, readiness for battle). The chapter first considers the early history of Minangkabau Islam before discussing the styles, content, and history of eachof the four musical genres.Less
This chapter examines four genres of Muslim-associated performing arts in Minangkabau: indang, salawek dulang, dikia Mauluik, and dabuih. Indang is a song-dance performed by a row of men or women in duduak (“sitting,” actually half-kneeling) position with rhythmic body movement, clapping, and frame-drum playing. Salawek dulang is performed by a pair of alternating male solo singers, each of whom accompany themselves on a brass percussion tray (dulang). Dikia Mauluik is a group vocal-instrumental form with mostly Sufi-oriented Muslim song texts based on dikia texts that are sung with body exercises and frame-drum accompaniment in the month of the Prophet's birth. Dabuihis a ritual form involving acts of self-harm as a demonstration of one's faith and physical invulnerability from pain (and sometimes in the colonial era in Aceh, readiness for battle). The chapter first considers the early history of Minangkabau Islam before discussing the styles, content, and history of eachof the four musical genres.
Christina D. Abreu
- Published in print:
- 2015
- Published Online:
- January 2016
- ISBN:
- 9781469620848
- eISBN:
- 9781469620862
- Item type:
- chapter
- Publisher:
- University of North Carolina Press
- DOI:
- 10.5149/northcarolina/9781469620848.003.0001
- Subject:
- History, Latin American History
This chapter examines the development of the earliest Latino communities in New York during the 1940s and 1950s. It explores how music played a role in the growth of the community, looking into the ...
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This chapter examines the development of the earliest Latino communities in New York during the 1940s and 1950s. It explores how music played a role in the growth of the community, looking into the musical and cultural contributions of musicians Mario Bauzá, Marco Rizo, and many others. These musicians discussed topics about musical innovation, authenticity, and commercialism which disrupted “Cuban,” “Afro-Cuban,” and “Latin” as static or singular musical genres and identity categories. Racial ideas and practices, as well as cultural traditions and expectations, informed these conversations and prompted individual and collective desires for social mobility and racial equality, especially among Cuban musicians. The chapter highlights the role of race and class in shaping the stories of the musicians, describing their migration, participation in entertainment, and their sense of racial and ethnic identity.Less
This chapter examines the development of the earliest Latino communities in New York during the 1940s and 1950s. It explores how music played a role in the growth of the community, looking into the musical and cultural contributions of musicians Mario Bauzá, Marco Rizo, and many others. These musicians discussed topics about musical innovation, authenticity, and commercialism which disrupted “Cuban,” “Afro-Cuban,” and “Latin” as static or singular musical genres and identity categories. Racial ideas and practices, as well as cultural traditions and expectations, informed these conversations and prompted individual and collective desires for social mobility and racial equality, especially among Cuban musicians. The chapter highlights the role of race and class in shaping the stories of the musicians, describing their migration, participation in entertainment, and their sense of racial and ethnic identity.
