The widely held yet untenable assumption that the E minor chaconne in Brahms's Fourth Symphony is based on the final chorus of Cantata BWV 150 by J. S. Bach has its roots in a dubious anecdote ...attributed to Siegfried Ochs. Among numerous chaconne (passacaglia) themes between the seventeenth and nineteenth centuries that ostensibly could have served as a model, several resemble Brahms's E minor subject more closely than Bach's cantata theme. Notably, the theme of Beethoven's C Minor Chaconne (WoO 80) is strikingly similar to significant features of Brahms's theme. In fact, the overall form of Beethoven's variations cycle is nearly identical to the design of Brahms's final movement. Since it is known that Brahms was intimately familiar with Beethoven's piano chaconne—from 1856 on he performed the work repeatedly—everything points to its having served as the actual model for his symphonic chaconne.
Over the past decade, the State of Israel has approached pariah status in political debate, and its cultural sector and economy have been subject to boycott. Nevertheless, one multi-ethnic band has ...cultivated critical acclaim and a transnational audience by preaching integration and co-existence. This band, The Idan Raichel Project (IRP), advocates an Israeli society that accepts minorities and incorporates this worldview into a syncretic musical style that draws from the diverse influences of Israel's citizens, particularly from its Ethiopian minority. Yet, the IRP has drawn critique for enacting a hierarchy within the band between labour and management. Meanwhile, the IRP's approach to nationalist discourses is conventional, with the main discourses and apparatuses of the State-the military, the status of Israel as Jewish homeland-remaining uncontested. This article engages the dialectics of nationalism and cosmopolitanism in the IRP's Ethiopian-influenced songs. Through close analysis, I will argue that songwriter-producer Raichel projects a progressive nationalist ideology, framing Ethiopian-Israeli social problems within national/ist Israeli narratives of Home and Return. The band's musical texts might thus be considered a contact zone where struggles over power and exclusion are negotiated and contested in a public, global forum. Raichel's representation of Ethiopian music and musicians enacts a set of power relations that promotes nationalism and cosmopolitanism simultaneously. Through the analysis of three songs, I will argue that the IRP deploys a particular style of 'discrepant cosmopolitanism' as a deliberate political strategy, positioning the band's elite audience above polarising discussions of conflict and state legitimacy.
All in Time Mullaney, Jamie L.
Journal of contemporary ethnography,
12/2012, Letnik:
41, Številka:
6
Journal Article
Recenzirano
Drawing on forty-seven ethnographic interviews, this article explores how “straight-edgers” (sXers)—participants in the hardcore music scene who abstain from alcohol, cigarettes, drugs, and ...promiscuous sex—construct and evaluate authenticity. While research on music subcultures documents how authenticity hinges on factors such as gender and race and how it may change over time, sXers place special importance on age, in particular, the legal drinking age of twenty-one. Interviews reveal that, depending on their distance from the legal drinking age, sXers differentially construct authenticity by relying on their selective use of the past, present, and future. Rather than simply serving as one more dimension of authenticity, however, the issue of age and the debates surrounding it serve as an entry point to understanding the temporality of authenticity.
This study investigated the links between the preference for 4 rap music genres (American rap, French rap, hip hop/soul, and gangsta/hardcore rap) and 5 types of deviant behaviors in adolescence ...(violence, theft, street gangs, mild drug use, and hard drug use). The effects of peers' deviancy, violent media, and importance given to lyrics were statistically controlled. A self-report questionnaire was distributed to a sample of 348 bilingual French-Canadian adolescents (age: M = 15.32; SD = 0.9; 185 girls and 163 boys). Results indicated that rap music as a whole was linked to deviant behaviors, however the nature of the relation differed according to genres. Preference for French rap had the strongest links to deviant behaviors, whereas preference for hip hop/soul was linked to less deviant behaviors. Results are discussed within the psychosocial and sociocognitive perspectives on music influence in adolescence and also within the perspective of normative deviant behaviors in adolescence.
The sacred music is based on the dialectics of interrelations between the church and author styles. There are typical and distinguishing features in its concert versions. Russian composers of the ...20th century express their ideas, transplanting some features of the concert genres into their sacred composition. PUBLICATION ABSTRACT
Lyrics-to-melody generation is an interesting and challenging topic in AI music research field. Due to the difficulty of learning the correlations between lyrics and melody, previous methods suffer ...from low generation quality and lack of controllability. Controllability of generative models enables human interaction with models to generate desired contents, which is especially important in music generation tasks towards human-centered AI that can facilitate musicians in creative activities. To address these issues, we propose a controllable lyrics-to-melody generation network, ConL2M, which is able to generate realistic melodies from lyrics in user-desired musical style. Our work contains three main novelties: 1) To model the dependencies of music attributes cross multiple sequences, inter-branch memory fusion (Memofu) is proposed to enable information flow between multi-branch stacked LSTM architecture; 2) Reference style embedding (RSE) is proposed to improve the quality of generation as well as control the musical style of generated melodies; 3) Sequence-level statistical loss (SeqLoss) is proposed to help the model learn sequence-level features of melodies given lyrics. Verified by evaluation metrics for music quality and controllability, initial study of controllable lyrics-to-melody generation shows better generation quality and the feasibility of interacting with users to generate the melodies in desired musical styles when given lyrics.
Shipibo indigenous people perform a sophisticated array of vocal musical genres, including short 'laughing songs' called osanti. These song-jokes make fun of certain non-humans, mostly animals. They ...are by definition sung from within the non-humans' perspective. Osanti are only performed by trained specialists in indigenous medicine and sorcery (médicos), because it is crucial that the performer owns the faculty of transforming into the animal in question, although in osanti the singers do not transform. Songs involving actual transformation are not meant for laughing: these are magical songs including interaction with and transformation into animals or spirits that possess a more ample radius of perception and action than 'Real Human' beings. Osanti songs, with their position between secular and magical songs, allow for an analysis of humour and laughing in the construction of the indigenous ontology, thereby questioning some generalisations made in theories of animism and perspectivism.
El compositor chileno Juan Orrego-Salas, Premio Nacional de Artes Musicales 1992, hace un re- cuerdo de su amistad con Alberto Ginastera desde 1945, cuando ambos residieron junto a sus familias en ...Nueva York como becarios de la Fundación Guggenheim, además de sus encuentros ulteriores en festivales de música, escuelas de verano, estrenos de obras de Ginastera y su participación en proyectos institucionales afines. Incluye una consideración de las tendencias estilísticas de la obra de Ginastera, según se refleja en algunas obras representativas, y el valor estético de su música.
The ability of music to create differentiating effects on subjects’
impressions of product endorsers and brands of an advertisement were examined based
on the theory of ‘musical fit’. Subjects (N = ...132)
listened to one of three versions of a radio commercial in which the music varied in
each version. The music selections differed in style, tempo, rhythm, etc., but
matched product and message of the commercial in terms of ‘musical
fit’. After listening to the commercial, subjects rated the
endorser's personality via the external version of a personality inventory.
Impressions of the brand were measured using semantic differentials. The results
concur with previous findings: depending on musical style, music can lead to
significantly different impressions of the endorser as well as the brand without
affecting general evaluations of the product. Based on sex, interesting differences
concerning music perception and its impacts were found. Self-critical annotations
and suggestions for practitioners and future studies are discussed.
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