This article tracks the life of the song 'Umshini Wami' (My Machine Gun) adopted by Jacob Zuma, the President of the African National Congress, since early 2005. It explores the wider implications of ...political song in the public sphere in South Africa and aims to show how 'Umshini Wami' helped Jacob Zuma to prominence and demonstrated a longing in the body politic for a political language other than that of a distancing and alienating technocracy. The article also explores the early pre-Zuma provenance of the song, its links to the pre-1994 struggle period and its entanglement in a seamless masculinity with little place for gendered identities in the new state to come. It argues too that the song can be seen as unstable and unruly, a signifier with a power of its own and not entirely beholden to its new owner.
Male Megaptera novaeangliae produce complex and structured songs which are shared at the population level. Song patterns are culturally transmitted and evolve progressively through time, both over ...the breeding season and among years. The songs also undergo periods of relatively rapid change, termed “revolutions.” Acoustic monitoring was conducted from 2016 to 2018 in Reunion and throughout 2018 in Madagascar to assess spatiotemporal variation in song structures and population connectivity. A total of 46 high‐quality song samples were selected, representing 2,760 min of recordings in Reunion. In Madagascar, 12 samples representing 240 min of recordings were analyzed. Analysis of songs revealed 11 phrases and their variants. Low levels of temporal variations were observed over the breeding season. Songs recorded in June were very similar to those recorded in September. Greater variation was observed between years, and some phrases identified in 2018 may have evolved from phrases recorded in 2017. More variants were described for each phrase type in 2018 compared to 2016. All themes recorded in Reunion were shared with Madagascar, suggesting a high degree of population connectivity during the breeding season.
At South Indian village funerals, women cry and lament, men drink and laugh, and untouchables sing and joke to the beat of their drums.No One Cries for the Deadoffers an original interpretation of ...these behaviors, which seem almost unrelated to the dead and to the funeral event. Isabelle Clark-Decès demonstrates that rather than mourn the dead, these Tamil funeral songs first and foremost give meaning to the caste, gender, and personal experiences of the performers.
Weitreichende Veränderungen in Dichtung und Musik zeichnen sich um 1600 ab. Lyrik und Lied lassen sich kaum trennen, da die Lyrik dieser Zeit meist sangbar ist und entscheidend durch das weltliche ...Lied beeinflusst wird. Der maßgebliche Beitrag, den das Lied zum ästhetischen Wandel, zur Modernisierung und Europäisierung der deutschsprachigen Lyrik leistet, wird anhand von etwa 5200 Liedern in 340 Lieddrucken zwischen 1567 und 1642 herausgearbeitet. Vor dem Hintergrund dieses Quellenkorpus werden in der interdisziplinären Studie Einzellieder und Liedsammlungen aus dem deutschsprachigen Raum musik- und literaturwissenschaftlich analysiert. Neben sozial- und gesellschaftswissenschaftlichen Aspekten kommen Dimensionen der Novität ebenso zur Sprache wie das Verhältnis von Theorie, Poetik und Praxis, Kulturtransferprozesse sowie Fragen nach Kontinuitäten und Dynamiken literarischer und musikalischer Phänomene. Die Fallstudien sowie theoretische und poetische Äußerungen zum Lied erweisen, wie sich zwei Konzeptionen des Liedes profilieren: In der Verselbstständigung werden beide Liedkonzepte in Literatur und Musik aufgewertet. So trägt das weltliche deutschsprachige Lied zur Modernisierung und Europäisierung der deutschen Literatur bei.
" Containing ballads of martial heroism, tales of tragic lovers and visions of the nature of the world, Long Narrative Songs from the Mongghul of Northeast Tibet: Texts in Mongghul, Chinese, and ...English is a rich repository of songs collected amongst the Mongghul of the Seven Valleys, on the northeast Tibetan Plateau in western China. These songs represent the apogee of Mongghul oral literature, and they provide valuable insights into the lives of Mongghul people—their hopes, dreams, and worries. They bear testimony to the impressive plurilingual repertoire commanded by some Mongghul singers: the original texts in Tibetan, Mongghul, and Chinese are here presented in Mongghul, Chinese, and English. The kaleidoscope of stories told in these songs include that of Marshall Qi, a chieftain from the Seven Valleys who travels to Luoyang with his Mongghul army to battle rebels; Laarimbu and Qiimunso, a pair of star-crossed lovers who take revenge from beyond the grave on the families that kept them apart; and the Crop-Planting Song and the Sheep Song, which map the physical and spiritual terrain of the Mongghul people, vividly describing the physical and cosmological world in which they exist. This collection of songs is supported by an Introduction by Gerald Roche that provides an understanding of their traditional context, and shows that these works offer insights into the practices of multilingualism in Tibet. Long Narrative Songs from the Mongghul of Northeast Tibet is vital reading for researchers and others working on oral literature, as well as those who study Inner Asia, Tibet, and China’s ethnic minorities. Finally, this book is of interest to linguistic anthropologists and sociolinguists, particularly those working on small-scale multilingualism and pre-colonial multilingualism. "
Homegrown Schaefer, Alan; Patoski, Joe Nick; Jacobson, Nels
09/2023
eBook
Before Austin became the "live music capital of the world" and
attracted tens of thousands of music fans, it had a vibrant local
music scene that spanned late sixties psychedelic and avant-garde
rock ...to early eighties punk. Venues such as the Vulcan Gas Company
and the Armadillo World Headquarters hosted both innovative local
musicians and big-name touring acts. Poster artists not only
advertised the performances-they visually defined the music and
culture of Austin during this pivotal period. Their posters
promoted an alternative lifestyle that permeated the city and
reflected Austin's transformation from a sleepy university town
into a veritable oasis of underground artistic and cultural
activity in the state of Texas.
This book presents a definitive survey of music poster art
produced in Austin between 1967 and 1982. It vividly illustrates
four distinct generations of posters-psychedelic art of the Vulcan
Gas Company, early works from the Armadillo World Headquarters, an
emerging variety of styles from the mid-1970s, and the radical
visual aesthetic of punk-produced by such renowned artists as
Gilbert Shelton, Jim Franklin, Kerry Awn, Micael Priest, Guy Juke,
Ken Featherston, NOXX, and Danny Garrett. Setting the posters in
context, Texas music and pop-culture authority Joe Nick Patoski
details the history of music posters in Austin, and artist and
poster art scholar Nels Jacobson explores the lives and techniques
of the artists.
Dark side of the tune Johnson, Bruce; Cloonan, Martin
c2008., 2009, 20170705, 2009-09-01, 2017-07-05
eBook
"Written against the academically dominant but simplistic romanticization of popular music as a positive force, this book focuses on the 'dark side' of the subject. It is an examination of the ways ...in which popular music has been deployed in association with violence, ranging from what appears to be an incidental relationship, to one in which music is explicitly applied as an instrument of violence." "A preliminary overview of the physiological and cognitive foundations of sounding/hearing which are distinctive within the sensorium, discloses in particular their potential for organic and psychic violence. The study then elaborates working definitions of key terms (including the vexed idea of the 'popular') for the purposes of this investigation, and provides a historical survey of examples of the nexus between music and violence, from (pre)Biblical times to the late nineteenth century." "The second half of the book concentrates on the modern era, marked in this case by the emergence of technologies by which music can be electronically augmented, generated, and disseminated, beginning with the advent of sound recording from the 1870s, and proceeding to audio-internet and other contemporary audio-technologies. Johnson and Cloonan argue that these technologies have transformed the potential of music to mediate cultural confrontations from the local to the global, particularly through violence. The authors present a taxonomy of case histories in the connection between popular music and violence, through increasingly intense forms of that relationship, culminating in the topical examples of music and torture, including those in Bosnia, Darfur, and by US forces in Iraq and Guantanamo Bay."--BOOK JACKET.
The Old Songs of Skye Bassin, Ethel
1977, 20151222, 2015, 2015-12-22, Letnik:
1
eBook
Originally published in 1977. Frances Tolmie (1840-1926) was one of the foremost Gaelic folklore and folksong experts. This account of her life and work places her unique contribution to human song ...against a full personal, historical and cultural background. The book includes a selection of the songs she heard and wrote down, together with the part they played in her life and that of her circle and the larger community.
Moving in a variety of circles, Frances Tolmie experienced the warm domesticity of an enlightened Skye manse, the cultural bustle of upper middle-class Edinburgh 'entrepreneurs', the romantic serious-mindedness of the first Cambridge women students, the sensitive nature-loving community round Ruskin at Coniston, and spent her later sociable years back in Scotland. This book, with its historical introduction by Flora MacLeod and musical introduction by Frank Howes along with Ethel Bassin's own detailed introduction, reflects her profound study of the song and folklore of her people, and describes how she recorded a precious part of British traditional culture, catching it alive and sharing it as truly as possible.
When thinking of indigenous music, many people may imagine acoustic instruments and pastoral settings far removed from the whirl of modern life. But, in contemporary Peru, indigenous chimaycha music ...has become a wildly popular genre that is even heard in the nightclubs of Lima. In Making Music Indigenous, Joshua Tucker traces the history of this music and its key performers over fifty years to show that there is no single way to "sound indigenous." The musicians Tucker follows make indigenous culture and identity visible in contemporary society by establishing a cultural and political presence for Peru's indigenous peoples through activism, artisanship, and performance. This musical representation of indigeneity not only helps shape contemporary culture, it also provides a lens through which to reflect on the country's past. Tucker argues that by following the musicians that have championed chimaycha music in its many forms, we can trace shifting meanings of indigeneity—and indeed, uncover the ways it is constructed, transformed, and ultimately recreated through music.
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