scholarly journals Folklore motives in the early compositions of Nikola Borota - Radovan

Muzikologija ◽  
2014 ◽  
pp. 173-192
Author(s):  
Jelena Jovanovic
Keyword(s):  
Popular Music ◽  
World Music ◽  
Point Of View ◽  
Italian Renaissance ◽  
Music Culture ◽  
Folk Revival ◽  
The Balkans ◽  
Music Production ◽  
Anglo American

The creative work of Nikola Borota - Radovan (musician, composer, lyricist, arranger and record producer, based in New Zealand - formerly from Yugoslavia) held a specific place in development of world music (poly)genre in his native homeland in the early 1970s. This study focuses on his creative principles, applied to works published between the years 1970 and 1975 (while the role of these works in social, cultural and political context of the time and place will be elaborated in another study, see Jovanovic 2014). The platform established to present this unique musical approach authenticaly was called kamen na kamen (a studio and stage outfit that has included number of collaborations over many years). Based on the musical models and aethetics of the folk revival and created under influence of The Beatles?, in adition to many other popular music production directions of the era, Borota?s works reveal significant musical, performance and production qualities, innovative expression and musical solutions, that need to be percieved from the contemporary (ethno)musicological point of view. Despite the fact that many prominent creative Yugoslav musicians of the time also worked within a similar framework I would argue that Mr. Borota?s creative outcome was signifficantly different from other Yugoslav popular music creative efforts. This is particularly noticeable in the author?s unique treatment of South-European and other folklore motives, which is the main topic of this study. Folk (ethnic) idioms exploited by Mr. Borota in his compositions originate from the rural traditions of western Dinaric regions. This is especially true for the rhythmic formations of deaf or silent dance; for the semi-urban and urban tradition of the Balkans and the Mediterranean; Middle European traditions; traditions from non-European peoples; elements of Italian Renaissance; and international (mostly Anglo-American) musical models. Compositions are analysed partly in accordance with the principles presented by Philip Tagg (1982), and following the principles of the ?Finnish method? in ethnomusicology. According to my best knowledge, there was no previous comparable (ethno) musicological ellaboration of folk revival, Beatlesque influences and early forrays into world music within Yugoslav popular music culture. I therefore consider this study to be the first contribution to the research in this subject.

scholarly journals The Balkans of the Balkans: The Meaning of Autobalkanism in Regional Popular Music

Arts ◽  
2020 ◽  
Vol 9 (2) ◽  
pp. 70 ◽  
Author(s):  
Marija Dumnić Vilotijević
Keyword(s):  
Popular Music ◽  
Folk Music ◽  
World Music ◽  
First Century ◽  
Special Focus ◽  
Western Balkans ◽  
Applied Music ◽  
The Balkans ◽  
The People ◽  
Musical Characteristics

In this article, I discuss the use of the term “Balkan” in the regional popular music. In this context, Balkan popular music is contemporary popular folk music produced in the countries of the Balkans and intended for the Balkan markets (specifically, the people in the Western Balkans and diaspora communities). After the global success of “Balkan music” in the world music scene, this term influenced the cultures in the Balkans itself; however, interestingly, in the Balkans themselves “Balkan music” does not only refer to the musical characteristics of this genre—namely, it can also be applied music that derives from the genre of the “newly-composed folk music”, which is well known in the Western Balkans. The most important legacy of “Balkan” world music is the discourse on Balkan stereotypes, hence this article will reveal new aspects of autobalkanism in music. This research starts from several questions: where is “the Balkans” which is mentioned in these songs actually situated; what is the meaning of the term “Balkan” used for the audience from the Balkans; and, what are musical characteristics of the genre called trepfolk? Special focus will be on the post-Yugoslav market in the twenty-first century, with particular examples in Serbian language (as well as Bosnian and Croatian).

‘Play it again Sam’: Some notes on the productivity of repetition in popular music

Popular Music ◽  
1983 ◽  
Vol 3 ◽  
pp. 235-270 ◽  
Author(s):  
Richard Middleton
Keyword(s):  
Popular Music ◽  
Cultural Production ◽  
Mass Culture ◽  
Cultural Theory ◽  
Point Of View ◽  
Musical Structure ◽  
Music Production ◽  
Popular Songs ◽  
Fredric Jameson

Repetition, as a component of musical structure in popular songs, has long played an important part in ‘popular common-sense’ definitions, and criticisms, of the music. ‘It's monotonous’; ‘it's all the same’; ‘it's predictable’: such reactions have probably filtered down from the discussions of mass culture theorists. From this point of view, repetition (within a song) can be assimilated to the same category as what Adorno termed standardisation (as between songs). Of course, the significance of the role played by such techniques in the operations of the music industry – their efficacy in helping to define and hold markets, to channel types of consumption, to pre-form response and to make listening easy – can hardly be denied; it is, however, equally difficult to reduce the function of repetition simply to an analysis of the ‘political economy’ of popular music production and its ideological effects. Despite Adorno's critical assault (see Adorno 1941), despite later twists to the theory by, for instance, Fredric Jameson (1981), who argues that rather than being a negative quality of mass culture, repetition is simply a fundamental characteristic of all cultural production under contemporary capitalism, the question of repetition refuses to go away. Why do listeners find interest and pleasure in hearing the same thing over again? To be able to answer this question, which has troubled not only mass cultural theory but also traditional philosophical aesthetics, as well as more recent approaches such as psychoanalysis and information theory, would tell us more about the nature of popular music, and hence, mutatis mutandis, about music in general, than almost anything else. We must start by locating repetition within an overall theory of musical syntax.

Investigating the origins of contemporary basics on the drum kit: an exploration of the role of the hi-hat in Anglo-American popular musics from 1960 until 1974

Popular Music ◽  
2014 ◽  
Vol 33 (2) ◽  
pp. 293-314 ◽  
Author(s):  
Paul Fleet ◽  
Jonathon Winter
Keyword(s):  
Popular Music ◽  
Driving Force ◽  
Music History ◽  
Anglo American ◽  
Popular Music History ◽  
Selection Of

AbstractThe hi-hat is an instrument within the kit that is often the driving force of numerous grooves, and how the playing of this instrument developed across the period 1960–1974 in Anglo-American popular musics is a useful guide when considering how the drum kit has in turn defined certain genres and styles. This paper will study a selection of grooves that use the hi-hat as a discriminating factor which will help trace the origin of certain basics within straight rhythms. The first iterations of these grooves are traced and analysed to uncover the origin of particular patterns that have since become accepted and well used within popular musics. This date period is a particularly rich seam of popular music history in this respect, beginning with the earliest recorded examples of particular hi-hat techniques and leading to what could be considered a period where these techniques became commonplace.

scholarly journals Music code of poetry Dmitry Kremeny

2019 ◽  
Vol 66 (3) ◽  
pp. 186-190
Author(s):  
Olha Petrenko
Keyword(s):  
World Music ◽  
Music Culture ◽  
Semantic Richness ◽  
Wide Range ◽  
The World ◽  
The Subject ◽  
Poetic Texts ◽  
The One ◽  
Musical Cues

The article deals with the role of musical images in the poetry of Dmitry Kremen. The subject of study is the music code, which is present in many works of the poet. Musical signs, symbols, links play a significant role in vocabulary, phraseology and other ways of poetic expressiveness. Familiarity with the subject world of D. Kremin's poetic texts includes a wide range of concepts related to the world of sounds. The additional accents of a musical-conceptual thesaurus arise when musical cues form certain speech turns that acquire the meaning of metaphors. Musical signs in the lyrics of Dmitry Kremin imply awareness of a wide range of sound associations, which the poet interprets from the standpoint of his own value attitude to them. Beethoven, Chopin, Mozart are the names-symbols of the world music culture, which occupy a significant place in the thesaurus of Dmitry Kremin's poetic texts. Behind these subject designations lies the vast world of artistic and figurative generalization and lyrical and philosophical reflections that are gaining coded meaning. Familiarity with the poetry of Dmitry Kremin proves that the leitmotif of many of his texts is the image of a violin, which acquires different semantic shades. Thus, in Beethoven's poetry, the poet emphasizes the value of music as a special language, devoid of words, but empowered to embody emotional and semantic richness, and therefore capable of being the language of angels. Music code the poetry of Dmitry Kremen is a multidimensional system in which the concept of "music" acts as a concept as a set of meaningful characters and their semantic meanings. In the process of decoding Dmitry Kremin's poetry, one can discover the deep semantic loads of the musical code, on the one hand – as the embodiment of the categories of high, sublime, valuable and eternal in the human sense, on the other – as a symbol of the extra-material, mystical, language of which the angels speak. Decoding the poet's texts is the process of extracting recognition codes and perception codes. The codes of perception in the poetry of Dmitry Kremenya are meaningful loads of texts, its semantic components, which highlight the deep meanings of texts. Through the musical code, the poet embodies the content of the categories of the sublime and the beautiful. The music code shows the understanding of poetry of Dmitry Kremenin a deeply metaphorical sense.

Symphonic compositions of Boris Tishchenko and the world music culture

2021 ◽  
pp. 10-17
Author(s):  
Iurii Eduardovich Serov
Keyword(s):  
World Music ◽  
Musical Language ◽  
Music Culture ◽  
The World ◽  
The Subject ◽  
The 1960S ◽  
Artistic Image

The subject of this research is the symphonic works of the prominent Russian composer of the late XX century Boris Ivanovich Tishchenko (1939 – 2010). His symphonic pieces synthesize different images, ideas, genres, and forms. This article explores various stylistic and linguistic effects upon his works, reveals the origins of fresh and unique artistic thinking. Emphasis is placed on the innovative role of B. Tishchenko in the revival of Russian symphonic style of the 1960s. Special attention is given to Tishchenko's succession of the great Russian symphonic tradition. The main conclusion lies in the thought that B. Tishchenko is one of the few among his contemporaries to remain faithful to the genre of great, “pure” symphony, as well as is the successor of the symphonic line of his brilliant teacher D. Shostakovich. The novelty consists in proving the thesis that symphonic style of B. Tishchenko is a holistic, meaningful, and truly modern phenomenon. Tishchenko amusedly delved into the new composing techniques, highlighting dodecaphony, aleatoric music, sonorism, pointillist music; however he did no remain faithful to these genres to the end; he constantly “refined” his musical language, introduced novelties for creating an artistic image.

scholarly journals O espaço religioso, a geografia e a MPB: Uma proposta para o ensino médio

GEOgraphia ◽  
2010 ◽  
Vol 9 (18) ◽  
Author(s):  
Rui Ribeiro de Campos
Keyword(s):  
Popular Music ◽  
Point Of View ◽  
Religious Institutions ◽  
Role Of Religion ◽  
The City ◽  
Geographical Locations

O artigo discute o uso da música e sua função nas escolas, fazendo análises sobre o estudo da religião pela Geografia, sobre os espaços geográficos considerados sagrados e sobre as características e o papel da religião no Brasil, incluindo letras da Música Popular Brasileira (MPB ) para colaborar na discussão a respeito do tema. Discute também o sincretismo religioso e a cidade de Aparecida do Norte (SP). e cita letras de músicas que criticam o papel de instituições religiosas elou de membros de sua hierarquia. Além disso, coloca diversas letras de MPB que podem ser utilizadas em sala de aula de ensino fundamental e médio pois pretende, basicamente, proporcionar alternativas de ensino para quem ministra aulas de Geografia. Abstract  The article discusses the use of music and its role at school, analyzing the study of religion from Geography's point of view, the Geographical locations considered sacred and also the features and the role of religion in Brazil, enriching the analysis with lyrics of the Brazilian Popular Music (MPB). It discusses as well the reliiious syncretism and the city of Aparecida do Norte (SP), mentioning lyrics that criticize the role of the religious institutions andlor members of its hierarchy. Besides, it includes MPB lyrics that can be used at classroom at different school levels. Mainly, it intends to provide alternatives of teaching for Geography teachers.  

O espaço religioso, a geografia e a MPB: Uma proposta para o ensino médio

GEOgraphia ◽  
2010 ◽  
Vol 9 (18) ◽  
Author(s):  
Rui Ribeiro de Campos
Keyword(s):  
Popular Music ◽  
Point Of View ◽  
Religious Institutions ◽  
Role Of Religion ◽  
The City ◽  
Geographical Locations

O artigo discute o uso da música e sua função nas escolas, fazendo análises sobre o estudo da religião pela Geografia, sobre os espaços geográficos considerados sagrados e sobre as características e o papel da religião no Brasil, incluindo letras da Música Popular Brasileira (MPB ) para colaborar na discussão a respeito do tema. Discute também o sincretismo religioso e a cidade de Aparecida do Norte (SP). e cita letras de músicas que criticam o papel de instituições religiosas elou de membros de sua hierarquia. Além disso, coloca diversas letras de MPB que podem ser utilizadas em sala de aula de ensino fundamental e médio pois pretende, basicamente, proporcionar alternativas de ensino para quem ministra aulas de Geografia. Abstract  The article discusses the use of music and its role at school, analyzing the study of religion from Geography's point of view, the Geographical locations considered sacred and also the features and the role of religion in Brazil, enriching the analysis with lyrics of the Brazilian Popular Music (MPB). It discusses as well the reliiious syncretism and the city of Aparecida do Norte (SP), mentioning lyrics that criticize the role of the religious institutions andlor members of its hierarchy. Besides, it includes MPB lyrics that can be used at classroom at different school levels. Mainly, it intends to provide alternatives of teaching for Geography teachers.  

scholarly journals Beyond the playlist: commercial radio as music culture

Popular Music ◽  
2017 ◽  
Vol 36 (2) ◽  
pp. 178-195
Author(s):  
Heikki Uimonen
Keyword(s):  
Popular Music ◽  
Case Studies ◽  
Empirical Data ◽  
Cultural Factors ◽  
Primary Data ◽  
Journal Articles ◽  
Music Culture ◽  
Radio Stations ◽  
Commercial Radio

AbstractThis article presents the historical transformation of Finnish commercial radio popular music policies from 1985 to 2005 and contemplates the role of terrestrial radio in contemporary digital age. It argues that a sender-centred paradigm of early commercial radio was replaced swiftly by receiver-centred paradigm, which has been applied since the early 1990s. The change of radio music cultures is described in detail by dividing it into three different eras: Block Radio, Format Radio and Media Convergence. The study draws on the research project consisting of case studies analysing the music content of various radio stations. The primary empirical data is composed of 32 interviews of radio personnel and the analysis of 4,500 individual songs broadcast by popular music radio stations with newspaper and journal articles supporting the primary data. Radio music culture is approached theoretically from the ethnomusicological perspective and thus defined as all practices that have an effect on broadcast music, including the processes of acquiring, selecting and governing music. The empirical results of the study show that the transformation of radio music cultures is affected by economic, technological, legal, organisational and cultural factors.

Israeli rock, or a study in the politics of ‘local authenticity’

Popular Music ◽  
1992 ◽  
Vol 11 (1) ◽  
pp. 1-14 ◽  
Author(s):  
Motti Regev
Keyword(s):  
Cultural Change ◽  
World Music ◽  
Political Resistance ◽  
Music Culture ◽  
The Usa ◽  
The Will ◽  
Anglo American ◽  
Local Traditions ◽  
Musical Elements ◽  
The Way

In recent years, pop/rock has ceased being an exclusive Anglo-American phenomenon. Local styles of rock might be found today in many countries, styles which merge local traditions with the rock aesthetic. Some products of these styles are distributed successfully in the USA and Britain under the large title of ‘ethnic pop’ (sometimes ‘world music’). The work on the emergence of these local styles tends to stress their ‘authenticity’ in one way or another: in the way they reflect political resistance, in the way they express cultural change (Szemere 1983; Fiori 1984; Vila 1987; Duran 1989; Siriyuvasak 1990; Bright 1986; Manuel 1988; Frith 1989). In addition, much of the work tends to be descriptive – there are hardly any attempts to theorise the emergence of pop/rock and its becoming ‘local authentic’ music. One salient exception is the work of Wallis and Malm (1984). They describe a two-way flow of musical elements, in which local or national music cultures both contribute to and pick up from an emerging body of music which they call transcultural. Anglo-American pop/rock is the nucleus of transcultural music. The simultaneous convergence of its influence, of access to music industry technologies, of local music culture and of the will to create something different explains, according to Wallis and Malm, the first stage of transculturation in the countries they studied.

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