Narco-Rap Goßen, Christiane M
2021, 20211020, Volume:
55
eBook
Der mexikanische Narco-Rap entstand im Jahr 2008 innerhalb des Drogenkriegs in den Städten entlang der US-amerikanischen Grenze. Er dokumentiert die bewaffneten Auseinandersetzungen, welche die ...Grenzstädte fast täglich erschüttern. Gleichzeitig wird er vom organisierten Verbrechen zu Propagandazwecken instrumentalisiert, wodurch er sich von anderen Rap-Genres abhebt. Christiane M. Goßen zeigt, wie durch diese Instrumentalisierung im Narco-Rap aus einer ungewöhnlichen Perspektive soziale und existenzielle Räume, Imaginarien und urbane Identitäten inklusive bestimmter Rollenerfüllungen (re-)präsentiert werden. Damit bietet ihre Studie einen Einblick in die Bedeutung der Drogenkriminalität für das Leben in den Grenzstädten Mexikos.
In India, the past two decades have been crucial for the growing popularity of Electronic Dance Music (EDM). This is largely due to the burgeoning presence and significance of EDM festivals as a ...performative site of a contemporary Indian youth culture. A salient feature capturing the zeitgeist of twenty-first century, urban, modern Indian youth is EDM's gradual permeation into the cultural fabric of India through crucial collaborations with cultural industries like Bollywood. It is a truism that the legacy of Goa Trance remains a dominant point of reference in the global imagination of the Indian EDM scene. This article, however, argues that the contemporary mode of Indian Electronic Dance Music Culture (EDMC) has largely developed independently of this legacy. The main proponent of contemporary EDMC in urban India has been the multiple greenfield EDM festivals held annually all over the country. This article draws on fieldwork data collected between 2016-2018 at Indian EDM festival sites. Using this empirical data, the article examines the 'performance' of Indian EDMC and considers whether it is viable to speak in terms of an Indian way of raving, as a variation of other 'local' ways of performing EDMC that may exist elsewhere in the world.
Through extensive research and exclusive interviews with many of the people who wrote and performed the music, this book presents for the first time a thorough library-quality reference work on the ...music and people who contributed to the genre of classic Carolina beach music. This volume includes an extensive preface and introduction, more than 200 photographs, and biographical background on more than 200 artists. The entries include details on songs such as release dates and label information, chart performance, and the story behind nearly 500 recordings now considered classic Carolina beach music.
editor's message Bell, Adam Patrick
Canadian music educator,
06/2023, Volume:
64, Issue:
4
Journal Article
Peer reviewed
...wind band teachers will benefit by reading Ren Challacombe's article on diversifying repertoire with the aim of fostering belonging. ...Robert Hrabluk shares his findings of a study on the ...experiences of music instructors who teach private lessons online. Popular Music Education features two columns, one by Steve Giddings on digital audio workstations (DAWs), which will be especially helpful for readers who are less experienced working with music technologies in teaching and learning contexts, and one by guest contributor Lloyd McArton using the concepts of push and pull to discuss the value(s) of popular music in music education. ...I recognize that the summer season is often a period in which teachers and learners take a much deserved break from their regular roles, and if that's you, I wish you all the best in this regard.
In this article, I discuss deconstruction and cultural resistance to commercial culture as a strategy practiced by the Residents in the 1974-1980period. The band questioned the mechanisms governing ...popular culture by a critique of novelty cults, rock-idol worship, simplicity of chart hits, and the art-promotion strategies following practices of commercial advertising. Their LPs deconstructed, reversed, mocked, and distorted the music industry as commercial profit-gaining undertaking. The group's esthetics include references to the primary forms of rock and roll music, modernism, and the avant-garde of twentieth-century music and are rooted ideologically in the Surrealist and Dadaist movements.
Space to play Reddington, Helen
Popular music history,
05/2021, Volume:
13, Issue:
3
Journal Article
Peer reviewed
British punk in the 1970s gave young women in the subculture the opportunity to play rock instruments that had previously been played by young men. They often learned to play through using reggae ...records, because the defined production made it easy to hear individual instruments. Much of 1970s reggae underlined Rastafarian principles regarding women’s behaviour, but these women ignored this aspect of the music and listened out for the sonic qualities of reggae. This article examines this apparent anomaly, noting a common purpose in the resistant musical activities of (especially women) punks and Rastas despite differences in culture and privilege between the two communities. New interviews by the author with Gina Birch from the Raincoats, and Tessa Pollitt from the Slits, are included to provide a retrospective viewpoint on this phenomenon.
In my tomb Carter, Dale
Popular music history,
05/2021, Volume:
13, Issue:
3
Journal Article
Peer reviewed
In recent decades, popular music in the USA, UK and elsewhere has increasingly been addressed as cultural heritage: by state authorities, commercial and professional interests, and fans. This article ...contributes to the growing scholarship on popular music heritage through a case study of the 2005 dedication of a California state historical landmark at the site of the Beach Boys’ childhood home and the process that enabled it. Drawing on concepts rehearsed by scholars in popular music, heritage studies and related fields, it identifies the discourses and interests attached to the exercise, and argues that the landmark’s establishment saw a high degree of cooperation between public officials, professional interests and grass-roots activists. Although the landmark risked enshrining and entombing the group in a monument to their early-era image of surf, sand and romance, its dedication ceremony saw fans recognizing the group in more informed, realistic, respectful and up-to-date ways.
Music preference was reported as a factor, which could elicit innermost music emotion, entailing accurate ground-truth data and music therapy efficiency. This study executes statistical analysis to ...investigate the distinction of music preference through familiarity scores, response times (response rates), and brain response (EEG). Twenty participants did self-assessment after listening to two types of popular music's chorus section: music without lyrics (Melody) and music with lyrics (Song). We then conduct a music preference classification using a support vector machine, random forest, and k-nearest neighbors with the familiarity scores, the response rates, and EEG as the feature vectors. The statistical analysis and F1-score of EEG are congruent, which says that the brain's right side outperformed its left side in classification performance. Finally, these behavioral and brain studies support that preference, familiarity, and response rates can contribute to the music emotion experiment's design to understand music, emotion, and listener. Not only to the music industry, the biomedical and healthcare industry can also exploit this experiment to collect data from patients to improve the efficiency of healing by music.
This article explores how the notion of the diva positions Beyoncé's star image within a larger tradition of black female superstardom at three different levels: (1) Beyoncé's performances as black ...divas from the past, such as Tina Turner and Diana Ross; (2) Beyoncé's challenging of the conventional definition of the diva in her 2009 "Diva" music video; and (3) Beyoncé's assumed status as a gay icon, including in the documentary Waiting for B. (directed by Paulo Cesar Toledo and Abigail Spindel, 2015). In this way, the concept of the diva can be used productively to discuss Beyoncé's star image, while simultaneously recognizing its restrictive character.
This article presents theoretical viewpoints for considering and understanding expression in popular music singing and pedagogy from the perspective of embodiment as outlined in Merleau-Ponty’s ...phenomenological philosophy. In our study, we apply his interpretations of such notions as intentionality, body schema, gesture, reversibility, and intersubjectivity to bring forth and discuss the holistic, embodied, and interpersonal nature of voice expression in singing. We argue that expression should be viewed as an intentional activity, based on the body’s innate mindful functioning as a whole, and in singing guided by the lyrics and emotions to be communicated. We propose that this requires a “free voice”, based on healthy vocal production, that also allows for the immediacy of expression as and through gestures that bring the meaning into existence. We further argue that expression is an interpersonal, interactive, and intersubjective process in which the performer and listener influence each other in many ways. The reversibility of perception in expression means that perception and the object perceived are intertwined and action and perception are interconnected. There is also a gap in reversibility, which implies that the perception of (one’s own) expression is never complete. In addition to our theoretical arguments, we make pedagogical suggestions, such as that the body itself has a lot of understanding of
how
and should be trusted in singing, both in terms of voice production and expression. The expression should not be primarily approached as a technical issue but taught in connection with and through expression. The expression should be viewed
from the inside out
, not the opposite. This means that expression builds on one’s personality and (emotional) experiences.
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