scholarly journals Building an integrated history of musical numbers in Brazilian chanchadas

2020 ◽  
pp. 13-27
Author(s):  
Flávia Cesarino Costa
Keyword(s):  
Popular Music ◽  
Cultural Practices ◽  
Music Industry ◽  
History Of ◽  
Historical Accounts ◽  
Domestic Influences

This article discusses industrial and aesthetical aspects of the musical numbers in 1950s Brazilian chanchadas. The chanchadas were a body of films made between the 1930s and 60s, that combined a mixed style derived from domestic influences of radio and popular music routines and from local forms of comic theatrical revues. I propose an examination of the entertainment industry’s influence on the musical numbers chosen for these 1950s chanchadas. This intermedial approach is based on the strong links between cinema and other cultural practices. I will argue the need to take into account not only theatrical practices, but also the routines of carnival culture, as well as the music industry and radio performances, in order to reconsider longstanding historical accounts based on the specificity of film media.

scholarly journals Alternative Conceptions of Modernity in the History of Iban Popular Music

2017 ◽  
Vol 3 (2) ◽  
pp. 55
Author(s):  
Connie Lim Keh Nie
Keyword(s):  
Popular Music ◽  
Music Industry ◽  
Cultural Development ◽  
Alternative Conceptions ◽  
Physical Environments ◽  
Indigenous Ethnic Group ◽  
Historical Processes ◽  
The Social ◽  
Agents Of Change ◽  
History Of

This paper examines how modernity has historically shaped developments in the industry of Iban popular music. The Iban make up one third of the Sarawakian population and are the largest indigenous ethnic group in Sarawak, Malaysia. As with other ethnicities in the nationstate, modernity has presented challenges for socio-cultural development and lifestyle of Iban people. Historically, the Iban are a cultural group located geographically and politically on the periphery of the multi-cultural nation of Malaysia. Throughout much of the 20th century, the music industry has experienced a rapid embrace of modernity through the nation to the detriment of traditional practices in culture in order to adapt themselves in the era of modernization. Iban society had gone through a state of flux where people have gone through the process of readapting themselves in meeting the demanding challenges of Malaysian nationalism. Drawing upon Barendregt’s (2014) ‘alternative conceptions of modernity’ this paper examines how the Iban reference both a national as well as a local music industry particularly through their use of language as an expression of Iban. First the paper will examine changes in Iban society through political and economic modernization. Then I look at differential transformation within Iban music industry because of relative exposure to agents of change such as the influence through Christian missionary and education. This reflects how the Iban react and reflect in adaptation of modern demands of change as a result of the effects of historical processes on the social, cultural and physical environments.

Turkish popular music videos as a multimodal site of resistance

2012 ◽  
Vol 1 (3) ◽  
Author(s):  
Lyndon C.S. Way
Keyword(s):  
Popular Music ◽  
Free Market ◽  
Music Industry ◽  
Music Videos ◽  
Religious Values ◽  
Multimodal Analysis ◽  
Indigenous Music ◽  
History Of ◽  
Dominant Discourses ◽  
Western Democracies

AbstractCountercultural, alternative and subversive values share a history with some popular music, it being subjected to political scrutiny in both western democracies and less tolerant states. In Turkey, despite a thriving indigenous music industry, there has been a long history of censorship, arrests and even exiles due to popular music and its politics. Since 2002, the Justice and Development Party (AKP) has governed Turkey, embracing free market policies, privatisation of state services and monopolies alongside conservative Islamic social and religious values. Many of AKP’s dominant discourses are articulated in Turkey’s media, due to intertwined relations. This paper asks how popular music videos can express subversion to AKP’s dominant discourses. A sample of Turkish videos is examined using a multimodal analysis of images, lyrics and music to reveal how these three modes and relations between them shape discourses of subversion. This is contextualised by examining AKP policies and a history of Turkish popular music. This study demonstrates how popular music videos can articulate discourses of subversion to dominant conservative ideologies that benefit those with power to the detriment of those without.

Building the youth music industry in South Wales, 1996–2020

2021 ◽  
Vol 5 (1) ◽  
pp. 119-125 ◽  
Author(s):  
Spike Griffiths
Keyword(s):  
Young People ◽  
Popular Music ◽  
Music Industry ◽  
Self Esteem ◽  
Career Pathways ◽  
Creative Potential ◽  
South Wales ◽  
History Of ◽  
Youth Music ◽  
New Gateway

This article shines a light on the tailored and targeted popular music provision provided by Sonig, Rhondda Cynon Taf County Borough Council’s (RCTCBC) long-standing music industry programme. Over a twenty-year period, Sonig has successfully engaged with young people in disenfranchised areas of South Wales, many of whom have never experienced a way of accessing the music industry. Through workshops, masterclasses, performance opportunities, mentoring, networking and signposting career pathways, Sonig has become a new gateway for young talent. Creating these pathways is key to an equality of access and furthermore, enabling young people to reach their creative potential, through developing confidence, self-esteem and raising their aspirations. This article tracks the history of Sonig and provides a focus on how its constant evolution has positively intervened in the lives of many young people living in Wales.

scholarly journals Reconstructing the History of Motown Session Musicians: The Carol Kaye/James Jamerson Controversy

2019 ◽  
Vol 13 (1) ◽  
pp. 78-109
Author(s):  
BRIAN F. WRIGHT
Keyword(s):  
Popular Music ◽  
Creative Process ◽  
Music Industry ◽  
Historical Record ◽  
Skilled Professional ◽  
History Of ◽  
The 1960S

AbstractMotown Records churned out hit singles with remarkable efficiency, thanks largely to a stable of skilled professional session musicians. However, exactly who played on their most iconic recordings remains a mystery because, as was standard within the music industry, no Motown release in the 1960s credited these musicians for their work. These practices have led to conflicting accounts, the most famous of which concerns bassists James Jamerson and Carol Kaye. To this day, Kaye alleges that she played on numerous classic Motown recordings but has been purposefully omitted from Motown history. Conversely, Jamerson—who died more than thirty years ago—continues to be vehemently defended by acolytes such as biographer Allan Slutsky, who see Kaye's claims as blasphemous. Drawing on previously unexamined sources, this article reconstructs Kaye's involvement with Motown and, in so doing, reevaluates the merits of the Kaye/Jamerson controversy. Building on the work of Andrew Flory, I explore the role of session musicians in Motown's creative process and argue that critics and fans have propagated a problematic discourse in which Jamerson has been valorized and Kaye has been dismissed. Ultimately, Kaye's story not only provides a useful corrective to the historical record, it also demonstrates the need for further research into session musicians’ contributions to popular music.

The state of rock: a history of Finland’s cultural policy and music export

Popular Music ◽  
2008 ◽  
Vol 27 (2) ◽  
pp. 257-269 ◽  
Author(s):  
Janne Mäkelä
Keyword(s):  
Popular Music ◽  
Cultural Policy ◽  
Rock Music ◽  
Music Industry ◽  
State Intervention ◽  
Nation State ◽  
The Past ◽  
History Of ◽  
Historical Basis ◽  
High Level

AbstractThe Finnish government has historically been active in regulating the practices of popular music. At the same time, the music industry, rock media and musicians have traditionally insisted on markets free from state intervention. This article focuses on the history of the interrelationship between cultural policy and popular music, especially rock exports, in Finland. It argues that the high level of organised forms of culture and the lure of internationalism form the historical basis for the nation-state–popular music relationship in Finland. Following the demands for ‘competitive society’ in the 1990s and the international breakthroughs of Finnish pop and rock music performers after 2000, this relationship has intensified. Contemporary policy is in many ways healthier than in the past, yet it also raises crucial questions about hierarchies and identity relationships in popular music and society.

Sentimentality and high pathos: popular music in fascist Germany

Popular Music ◽  
1985 ◽  
Vol 5 ◽  
pp. 149-158 ◽  
Author(s):  
Peter Wicke
Keyword(s):  
Popular Music ◽  
Political Responsibility ◽  
Continuity And Change ◽  
The Past ◽  
History Of ◽  
The Subject ◽  
Historical Accounts ◽  
The Way

This article deals with one of the darkest chapters in the history of popular music: the way in which it was pressed into the service of the cynical and ultra-reactionary goals of German fascism between the years 1933 and 1945. The aim, however, is not simply to fill a gap in historical accounts, which hitherto have always ignored this period. The subject is far from being merely of historical interest: it concerns the mechanisms whereby popular music can be socially and politically misused – mechanisms to which it can more easily fall victim, the more professionally it is produced. It is a fatal error to assume, for example, that popular music serving reactionary interests unmasks itself self-evidently as such. Rather, at no time has the lack of political responsibility on the part of performing musicians and composers been so clear, and had such disastrous eventual consequences, as was the case in Germany between 1933 and 1945. And this is what makes the subject as topical today, forty years after the ending of fascist tyranny in Germany, as it was then. ‘Continuity and change’ requires that the bitter experience of the past be combined with the urgent call to learn lessons from it now, after so long. The next time could be the last time!

The Beginnings of Islam in Afghanistan

2017 ◽  
Author(s):  
Arezou Azad
Keyword(s):  
Paradigm Shift ◽  
Political System ◽  
Cultural Practices ◽  
Eighth Century ◽  
Religious Context ◽  
Early Islam ◽  
History Of ◽  
Initial Conversion ◽  
The Way

Covering the period from 709 to 871, this chapter traces the initial conversion of Afghanistan from Zoroastrianism and Buddhism to Islam. Highlighting the differential developments in four regions of Afghanistan, it discusses the very earliest history of Afghan Islam both as a religion and as a political system in the form of a caliphate.  The chapter draws on under-utilized sources, such as fourth to eighth century Bactrian documents from Tukharistan and medieval Arabic and Persian histories of Balkh, Herat and Sistan. In so doing, it offers a paradigm shift in the way early Islam is understood by arguing that it did not arrive in Afghanistan as a finished product, but instead grew out of Afghanistan’s multi-religious context. Through fusions with Buddhism, Zoroastrianism, early Abrahamic traditions, and local cult practices, the Islam that resulted was less an Arab Islam that was imported wholesale than a patchwork of various cultural practices.

The History of the Judahite Bench Tomb

2018 ◽  
Author(s):  
Matthew Suriano
Keyword(s):  
Iron Age ◽  
Hebrew Bible ◽  
Cultural Practices ◽  
Seventh Century ◽  
Mortuary Practices ◽  
Iron Age Ii ◽  
Gradual Development ◽  
History Of ◽  
The Dead ◽  
Insight Into

The history of the Judahite bench tomb provides important insight into the meaning of mortuary practices, and by extension, death in the Hebrew Bible. The bench tomb appeared in Judah during Iron Age II. Although it included certain burial features that appear earlier in the Middle and Late Bronze Ages, such as burial benches, and the use of caves for extramural burials, the Judahite bench tomb uniquely incorporated these features into a specific plan that emulated domestic structures and facilitated multigenerational burials. During the seventh century, and continuing into the sixth, the bench tombs become popular in Jerusalem. The history of this type of burial shows a gradual development of cultural practices that were meant to control death and contain the dead. It is possible to observe within these cultural practices the tomb as a means of constructing identity for both the dead and the living.

Music Downtown Eastside

2020 ◽  
Author(s):  
Klisala Harrison
Keyword(s):  
Human Rights ◽  
Popular Music ◽  
Social Deprivation ◽  
Cultural Practices ◽  
Urban Neighborhoods ◽  
Community Centers ◽  
Human Capabilities ◽  
Music Making ◽  
Downtown Eastside ◽  
Therapy Sessions

Music Downtown Eastside explores how human rights are at play in the popular music practices of homeless and street-involved people who feel that music is one of the rare things that cannot be taken away of them. It draws on two decades of ethnographic research in one of Canada’s poorest urban neighborhoods, Vancouver’s Downtown Eastside. Klisala Harrison takes the reader into popular music jams and therapy sessions offered to the poorest of the poor in churches, community centers and health organizations. There she analyzes the capabilities music-making develops, and how human rights are respected, promoted, threatened, or violated in those musical moments. When doing so, she also offers new and detailed insights on the relationships between music and poverty, a type of social deprivation that diminishes people’s human capabilities and rights. The book contributes to the human rights literature by examining critically how human rights can be strengthened in cultural practices. Harrison’s study demonstrates that capabilities and human rights are interrelated. Developing capabilities can be a way to strengthen human rights.

The Jewish Population of Tennessee

2018 ◽  
Author(s):  
Laurence Maslon
Keyword(s):  
Twentieth Century ◽  
Popular Music ◽  
Jewish Population ◽  
Music Industry ◽  
Major Power ◽  
Sheet Music ◽  
Early Music ◽  
Music Publishers ◽  
Popular Music Industry

At the beginning of the twentieth century, the first way that the imprimatur of Broadway reached consumers was through the immense distribution of colorful and tuneful sheet music. Early music publishers learned quickly that associating a song with a Broadway show such as the Ziegfeld Follies, Broadway personalities such as Al Jolson and Fanny Brice, or Broadway composers such as Victor Herbert gave that tune a special identity that increased its popularity. In addition, music publishers, such as Max Dreyfus, were major power brokers in the popular music industry, yielding the ability to make a song into a hit, and continued to be influential through the first half of the twentieth century.

Sign in / Sign up

Export Citation Format

Share Document