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You are looking at 1-10 of 13 items for: keywords : musical genre

Analytical and Cross-Cultural Studies in World Music Michael Tenzer and John Roeder (eds)

Published in print: 2011 Published Online: Publisher: Oxford University Press January 2012 DOI: 10.1093/ ISBN: 9780195384581 eISBN: 9780199918331 acprof:oso/9780195384581.001.0001 Item type: book

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.

Musical creativity, biography, genre, and learning Graham F. Welch

in Musical Imaginations: Multidisciplinary perspectives on creativity, performance and perception Published in print: 2011 Published Online: May Publisher: Oxford University Press 2012 DOI: 10.1093/ ISBN: 9780199568086 eISBN: 9780191731044 acprof:oso/9780199568086.003.0024 Item type: chapter

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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.

Epilogue

Judith Becker in Divine Inspirations: Music and Islam in Indonesias Published in print: 2011 Published Online: Publisher: Oxford University Press September 2011 DOI: 10.1093/ ISBN: 9780195385410 eISBN: 9780199896974 acprof:oso/9780195385410.003.0013 Item type: chapter

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.

Music, Health, and Wellbeing

Raymond MacDonald, Gunter Kreutz, and Laura Mitchell (eds) Published in print: 2012 Published Online: May Publisher: Oxford University Press 2012 DOI: 10.1093/ ISBN: 9780199586974 eISBN: 9780191738357 acprof:oso/9780199586974.001.0001 Item type: book

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 Page 2 of 6

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?

Music and the Elusive Revolution: Cultural Politics and Political Culture in France, 1968-1981 Eric Drott

Published in print: 2011 Published Online: May Publisher: University of California Press 2012 DOI: 10.1525/ ISBN: 9780520268968 eISBN: 9780520950085 california/9780520268968.001.0001 Item type: book

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.

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A Transplanted Musical Practice Flourishing in the African Diaspora George Worlasi and Kwasi Dor

in West African Drumming and Dance in North American Universities: An Ethnomusicological Perspective Published in print: 2014 Published Online: Publisher: University Press of Mississippi September 2014 DOI: 10.14325/ ISBN: 9781617039140 eISBN: 9781621039952 mississippi/9781617039140.003.0006 Item type: chapter

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.

Cries of Joy, Songs of Sorrow: Chinese Pop Music and Its Cultural Connotations Marc L. Moskowitz

Published in print: 2009 Published Online: Publisher: University of Hawai'i Press November 2016 DOI: 10.21313/ ISBN: 9780824833695 eISBN: 9780824870812 hawaii/9780824833695.001.0001 Item type: book

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 Page 4 of 6

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.

Race and the Roots/Routes Traced by Latin Musicians Christina D. Abreu

in Rhythms of Race: Cuban Musicians and the Making of Latino New York City and Miami, 1940-1960 Published in print: 2015 Published Online: Publisher: University of North Carolina Press January 2016 DOI: 10.5149/ ISBN: 9781469620848 eISBN: 9781469620862 northcarolina/9781469620848.003.0001 Item type: chapter

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.

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What's Not on Egyptian Television and Radio! Locating the ‘popular’ in Egyptian Sha‘bi Michael Frishkopf

in Music and Media in the Arab World Published in print: 2010 Published Online: Publisher: American University in Cairo Press September 2011 DOI: 10.5743/cairo/9789774162930.003.0008 ISBN: 9789774162930 eISBN: 9781617970139 Item type: chapter

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.

Belief into Organization

in I Belong to This Band, Hallelujah!: Community, Spirituality, and Tradition among Sacred Harp Singers Published in print: 2011 Published Online: Publisher: University of Chicago Press March 2013 DOI: 10.7208/ ISBN: 9780226109589 eISBN: 9780226109633 chicago/9780226109633.003.0004 Item type: chapter

This chapter, which examines how the beliefs and ideals of the individual members influenced the behaviors and organizational forms of Sacred Harp communities in the United States, identifies the key themes relevant to the practices of Sacred Harp communities. These include religion, musical genre, authenticity and tradition, authority, and history. The chapter analyzes how the preconceptions of singers were reshaped through their engagement with Sacred Harp practices and communities.

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