Though only fifteen at the time and originally from Pakistan, Nazia Hassan arguably reshaped female playback singing in popular Hindi cinema with 'Aap jaise koi,' the hit song she recorded for ...Qurbani (1980). Hassan's song for this film, and her ensuing hit songs for the subsequent film, Star (1982), can be seen as ushering in a new type of female playback singing which corresponds in many ways with the simultaneous advent of the disco phenomenon and the new woman in Hindi cinema. Yet this paper will explore how Hassan's voice became disarticulated from the heroine performing (to) this singing, through her shifting pitch and ensuing release of private albums, including Disco Deewane (1981), which became the first successful pop album in South Asia. Hassan's sonic detachment from the Bollywood ecumene can also be seen in the attendant onscreen female performer's inability to effectively match this new female sound via her subsequent dance performance. Such disarticulation has deeper resonances for both representations of the heroine in Hindi cinema and the segmentation of such female representation, between desiring, offscreen voice and moving, onscreen body. Along with exploring how Hassan played a key role in rearticulating such dynamics, this paper will examine the broader legacy of her voice, as in contemporary Bollywood homages such as 'The Disco Song,' from Student of the Year (2012), in which Hassan's voice is supplanted by contemporary playback singer Sunidhi Chauhan's, as well as how its erasure reformulates the attendant historiography of early '80s Hindi cinema.
With the emergence of YouTube, social media and video creation technologies, music education can expand its scope to include video-based music creation. This multimodal study examines how ...undergraduate music education students created music videos during an informal music learning project
in an introduction to music education and technology course at a large, Midwestern, public university. Data were collected in three modes: observation of students' music video projects, a web survey including both quantitative and qualitative questions, and student interviews. Excerpts
from the projects were shown during class and students were encouraged to share their videos with others on the Internet thus developing a community in the classroom that expanded through social media. Overall, students reacted positively to creating music videos as part of the curriculum.
The projects led to a self-reported sense of accomplishment and satisfaction for almost all of the respondents. Because the students were given the opportunity to create music videos on their own terms, a diversity of video types emerged: covers, instrumental explorations, activism and awareness
videos, musical artistic statements and virtual ensemble arrangements. The respondents used a variety of hardware and software, approaches to recording and musical genres. The informal music learning practice of 'dropping students in the deep end' proved to be initially intimidating,
but ultimately freeing.
The design analysis of the media presented in this article focuses on the representation of female musicians, looking at the ways in which they stage both themselves and their gender in music videos. ...According to my observation, the visual portrayal of female artists has been defined by a long history of stereotypical gender representations that have to be overcome. In the music videos published by female musicians, we can observe design strategies for selfportrayal and gender staging, as well as sources of aesthetic inspirations and trends. Different oppositional design strategies are described that either blur gender, provoke the viewer or overcome stereotypical gender representations.
There is now widespread agreement that different types of short music videos can cause viewers to have psychological emotions, and significant new findings have been discovered in the study of how ...music affects listeners' affective reactions. However, there is still controversy regarding research on the inclinations toward behavior and autonomic neurophysiological reactions of musical emotions. The psychological states of viewers of various types of short music videos are yet unknown and require further study. This study investigates how different types of short music videos affect viewers' psychological responses, placing particular emphasis on the following variables: rhythm type (stable rhythm and flow rhythm) and music short video type (narrative, live, and funny). In an experiment, viewers' psychological responses to several short music videos were investigated to determine the impact of different short music video styles and rhythms on musically induced emotions.
In 1873 Benjamin Disraeli could bemoan, "an author who speaks about his own books is almost as bad as a mother who talks about her own children." Today, however, authorship is a consumable that ...demands endless promoting in order to be profitable. The ironic predicament of the author within contemporary (technocratic) culture is his frequent invisibility. Another Country is an apposite vehicle for raising the quandary of contemporary authorship since it is first, a music video and thus a promotional tool itself and second, an authorial collaboration between musical artists Mango Groove and "fine artist" William Kentridge.
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