1 What Is World Music? Fact Sheet
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An Anthropological Perspective on Eastern and Western Folk Music
An Anthropological Perspective on Eastern and Western Folk Music Item Type text; Electronic Thesis Authors Gurczak, Adam Stanley Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 28/09/2021 21:02:58 Item License http://rightsstatements.org/vocab/InC/1.0/ Link to Item http://hdl.handle.net/10150/625002 AN ANTHROPOLOGICAL PERSPECTIVE ON EASTERN AND WESTERN FOLK MUSIC By ADAM STANLEY GURCZAK ____________________ A Thesis Submitted to The Honors College In Partial Fulfillment of the Bachelors Degree With Honors in Music Performance THE UNIVERSITY OF ARIZONA MAY 2017 Approved by: _________________________ Dr. Philip Alejo Department of Music EASTERN AND WESTERN FOLK MUSIC 1 TABLE OF CONTENTS ABSTRACT 2 ARTIST’S STATEMENT 2 INTRODUCTION 3 ARGENTINE TANGO 4 PRE-TANGO HISTORY: RISE OF THE GAUCHOS 5 A BORDELLO UPBRINGING 5 THE ROOTS AND RHYTHMS OF TANGO 8 A WORLDWIDE SENSATION 9 THE FOREFATHERS OF TANGO 11 CHINESE TRADITIONAL MUSIC 13 THE PHILOSOPHY OF MUSIC 14 INSTRUMENTS OF THE EARTH 16 THE SOUND OF SCHOLARS 18 KOREAN GUGAK 21 GUGAK: A NATIONAL IDENTITY 22 SHAMANS, SINAWI, AND SANJO 24 NOBLE COURTS AND FARMYARDS 28 AMERICAN BLUEGRASS 30 GRASSROOTS, BLUEGRASS, AND BLUES 30 THE POLYNATION OF BLUEGRASS 33 CONCLUSION 36 BIBLIOGRAPHY 37 EASTERN AND WESTERN FOLK MUSIC 2 ABSTRACT The birth of folk music has always depended on the social, political, and cultural conditions of a particular country and its people. -
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Andrew N. Weintraub. Dangdut Stories: A Social and Musical History of Indonesia's Most Popular Music. New York, NY: Oxford University Press, 2010. Photographs, musical notation, glossary, bibliography, index. 258+ pp. R. Anderson Sutton At last, a book on dangdut, and an excellent one. It is hard to imagine that anyone with experience in Indonesia over the past thirty-five years could be unaware of dangdut and its pervasive presence in the Indonesian soundscape. The importance of this music was first recognized in the international scholarly world by William Frederick in his landmark article on Rhoma Irama in the pages of this journal almost thirty years ago.1 Other scholars have devoted chapters to dangdut,2 but it is only with this meticulously researched and engagingly written book-length study by Andrew Weintraub that we have the important combination of perspectives—historical, musicological, sociological, gender, and media/cultural studies—that this rich and multifaceted form of expression deserves. Weintraub offers this highly informative study under the rubric of "dangdut stories," modestly pointing to the "incomplete and selective" nature of the stories he tells. But what he has accomplished is nothing short of a tour de force, giving us a very readable history of this genre, and untangling much about its diverse origins and the multiplicity of paths it has taken into the first decade of the twenty-first century. Near the outset, following three telling vignettes of dangdut events he observed, Weintraub explains that the book is a "musical and social history of dangdut within a range of broader narratives about class, gender, ethnicity, and nation in post independence Indonesia" (p. -
"World Music" and "World Beat" Designations Brad Klump
Document généré le 26 sept. 2021 17:23 Canadian University Music Review Revue de musique des universités canadiennes Origins and Distinctions of the "World Music" and "World Beat" Designations Brad Klump Canadian Perspectives in Ethnomusicology Résumé de l'article Perspectives canadiennes en ethnomusicologie This article traces the origins and uses of the musical classifications "world Volume 19, numéro 2, 1999 music" and "world beat." The term "world beat" was first used by the musician and DJ Dan Del Santo in 1983 for his syncretic hybrids of American R&B, URI : https://id.erudit.org/iderudit/1014442ar Afrobeat, and Latin popular styles. In contrast, the term "world music" was DOI : https://doi.org/10.7202/1014442ar coined independently by at least three different groups: European jazz critics (ca. 1963), American ethnomusicologists (1965), and British record companies (1987). Applications range from the musical fusions between jazz and Aller au sommaire du numéro non-Western musics to a marketing category used to sell almost any music outside the Western mainstream. Éditeur(s) Canadian University Music Society / Société de musique des universités canadiennes ISSN 0710-0353 (imprimé) 2291-2436 (numérique) Découvrir la revue Citer cet article Klump, B. (1999). Origins and Distinctions of the "World Music" and "World Beat" Designations. Canadian University Music Review / Revue de musique des universités canadiennes, 19(2), 5–15. https://doi.org/10.7202/1014442ar All Rights Reserved © Canadian University Music Society / Société de musique Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des des universités canadiennes, 1999 services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. -
6-Wire World Music Ensemble
6-wire World Music Ensemble 6-wire is inspired by the historical connection between the erhu, the Chinese 2- stringed violin, and the 4-stringed violin – both essential leading instruments in the East and West. As a Chamber Music America grantee with unique instrumentation, the Delaware-based world music ensemble is a site-specific, pioneering American ensemble featuring 8 core members that mix traditional world music with pop and jazz elements. Founded and directed by the award-winning Chinese-American violinist, composer and producer Xiang Gao, 6-wire celebrates diversity in performance, weaves stories and context into their concerts, and transforms how live instrumental music is experienced. 6-wire offers the options of performing entirely on acoustic instruments or with their own wireless sound system and cutting edge electronic sound libraries designed by sound engineers exclusively for the ensemble. For select concert venues, 6-wire features the circular PianoArc seen during Lady Gaga’s Super Bowl halftime show. Ensemble-in-residence at the University of Delaware since 2010, 6-wire performs internationally in world music concerts, new music festivals, university concert series, community concerts, and for large TV and outdoor events to fulfill its mission: to promote cultural exchange while attracting new audiences with unique repertoire and sounds from around the world. With solid training and professional experience in styles from western classical to pop, 6-wire draws people of all ages to classical and world music concerts. 6-wire’s current concert project, “Conflict Connections”, includes pre/post concert lectures promoting world peace and cultural understanding, bringing artists and musical styles from historically conflicting regions/countries together on stage. -
Compare and Contrast Different Meanings of the Term World Music/World Music
Asian Journal of Social Science Studies; Vol. 4, No. 4; 2019 ISSN 2424-8517 E-ISSN 2424-9041 Published by July Press Compare and Contrast Different Meanings of the Term World Music/World Music Xueqian Li1 1 The University of Kent, Kent, United Kingdom Correspondence: Xueqian Li, The University of Kent, Kent, United Kingdom. Received: September 27, 2019 Accepted: November 4, 2019 Online Published: November 6, 2019 doi:10.20849/ajsss.v4i4.664 URL: https://doi.org/10.20849/ajsss.v4i4.664 Abstract With the booming popularity of the music industry today, there has been an equally increasing demand for new or refreshing music types. Over the years, this has a resulted in alternative/non-mainstream music genres gradually being accepted as popular music. To cater for the different tastes of music for consumers, in a world where advancement in technology has accelerated globalization to unprecedented levels, music Creators are producing music that have blurred the boundaries between music genres. On the other hand World Music is one that is seen by many as one which is routed in tradition. In that aspect, world music and popular music can be seen as two contrasting categories. Keywords: world music, pop music 1. Introduction Today, music that falls under the genre of world music takes up a tiny share of the music market, and only small group of audience still appreciate it. Many people just regard this genre of music as a research object in musicology department (Taylor, 1997). However, there are still some people who believe that world music plays a significant role in the development of Western popular music. -
Dicaire Eric 2019 Thesis.Pdf
Playing for Change: the Crystallization of Time, Space and Ideology in a Music Video from Around the World By Eric Dicaire A thesis submitted to the Faculty of Graduate and Postdoctoral Studies in partial fulfillment of the requirements for the degree of Master of Arts in Communication Supervisor: Boulou Ebanda De B’béri In the Department of Communication University of Ottawa © Eric Dicaire, Ottawa, Canada, 2019 PLAYING FOR CHANGE ii Abstract Online music videos have become a space for new cultural articulations. These articulations differ from one video to the next, as each instance mobilizes a particular set of production practices aimed at a specific purpose. From a theoretical standpoint, it is therefore challenging to qualify the broad cultural significance of these media objects. This thesis proposes a potential remedy to this issue, using a theoretical framework based on the theories of articulation, encoding/decoding, and crystallization to assess the cultural significance of an ideologically driven music video produced by Playing for Change—a not-for- profit organization with a mandate of uniting the world through music. These theories reveal how a cosmopolitan ideology is crystallized into the production practices of Playing for Change’s music video “One Love”. Through this theoretical mobilization, I examine the plurality of identities distilled in the music video, since it functions as a political, economic, and ideological object. These identities are crystallized on multiple levels, leading us to question whether complex articulations of this type can ever fully be conceptualized. Ultimately, I argue that the burgeoning field of music video studies must continue exploring theoretical models in order to develop adequate tools for analyzing the various elements, including discursive constructions, which characterize these complex, yet valuable, cultural objects. -
Music Industry Workshop
Third United Nations Conference on the Least Developed Countries Proceedings of the Youth Forum MUSIC INDUSTRY WORKSHOP European Parliament Brussels, Belgium 19 May 2001 UNITED NATIONS New York and Geneva, 2003 NOTE The opinions expressed in this publication are those of the authors and do not necessarily reflect the views of the United Nations. The designations employed and the presentation of the material in this publication do not imply the expression of any opinion whatsoever on the part of the Secretariat of the United Nations concerning the legal status of any country, territory, city or area, or of its authorities, or concerning the delimitation of its frontiers or boundaries. All data are provided without warranty of any kind and the United Nations does not make any representation or warranty as to their accuracy, timeliness, completeness or fitness for any particular purposes. UNCTAD/LDC/MISC.82 i ACKNOWLEDGEMENTS This publication is the outcome of the proceedings of the Youth Forum Music Industry Workshop, a parallel event organized on 19 May 2001 during the Third United Nations Conference on the Least Developed Countries, held in the European Parliament in Brussels. Ms. Zeljka Kozul-Wright, the Youth Forum Coordinator of the Office of the Special Coordinator for LDCs, prepared this publication. Lori Hakulinen-Reason and Sylvie Guy assisted with production and Diego Oyarzun-Reyes designed the cover. ii CONTENTS Pages OPENING STATEMENTS Statement by Mr. Rubens Ricupero ............................................................................ 1 Statement by H.E. Mr. Mandisi B. Mpahlwa ............................................................... 5 Statement by Ms. Zeljka Kozul-Wright......................................................................... 7 INTRODUCTION Challenges and prospects in the music industry for developing countries by Zeljka Kozul-Wright................................................................................................. -
Unpacking the Louisiana Ballad Tradition: Cajun and Creole Songs of Love, Loss and Drink on the West Texas Stage Stacey Jocoy Mo
Unpacking the Louisiana Ballad Tradition: Cajun and Creole Songs of Love, Loss and Drink on the West Texas Stage Stacey Jocoy Modern Cajun music, Creole music, and Zydeco are often grouped together at festivals and dance halls throughout Louisiana and around the world. These music styles are considered distinct by scholars and fans, yet they are all the result of related generations of Creolization; the product of the variegated host of older localized styles created and impacted by patterns of immigration beginning in the eighteenth century. General audiences, from outside the Southwestern Louisiana area, experience this music as “traditional”: seemingly a closed style, particular to the people from that region and social culture. This perception, which has been both intentionally and unintentionally fostered over generations, has worked in a culturally exclusive fashion, creating stereotypes and socio-cultural barriers to understanding. These barriers can be mitigated, however, through performative study of the music, especially that of one of its integral genres, the ballad. Although ballads are not the first genre that most listeners associate with this region, as dance music by and large reigns supreme, songs with stories primarily of love, loss, and ameliorative drink form a notable backbone throughout this repertoire. Our Cajun Ensemble, part of the World Music Ensemble at Texas Tech University, is also part of the Texas Tech Vernacular Music Center, the mission of which is: “research, teaching, and advocacy.”1 As such, we study the music of the southern Louisiana regions, effectively deconstructing it with students and audiences to better illustrate the richness of its origins. -
World Music / MUSC 102
World Music / MUSC 102 Monday / Wednesday 10:00-11:50 p.m. BMH 100 USC General Education: GE - Arts Spring 2018 Instructor – Dr. Scott Spencer [email protected] World Music (Syllabus draft - version January 7, 2018) MUSC 102 - 4 Units Monday / Wednesday 10:00-11:50 p.m. BMH 100 USC General Education: GE - Arts Spring 2018 Instructor – Dr. Scott Spencer [email protected] Catalog Description Exploration of music and cultures of the world. Engagement with international musicians, global issues, field work and musical diasporas in Los Angeles. Prerequisites This course does not require music literacy, performance ability or course prerequisites. However, it will require active listening, in-depth reading, engaged writing, discussion, experience, and acceptance of the unfamiliar during personal fieldwork. We will incorporate the facilities and people of USC, student engagement, visiting musicians from around the world, and the singular city of Los Angeles and its musical microclimates into our study. Overview We will investigate music from around the world as a social function rooted in local cultural contexts. Viewed through the academic lens of Ethnomusicology, the course will explore musical culture through a variety of means. Beginning with a classic cross-cultural approach, we will comparatively investigate regional music for a broad base of experience. We will gain a working knowledge of musical practices by area (Africa, Asia, Europe, etc.), instrument, and performance realm. We will detail the physical aspects of music (instrument, performance practice, the physics of music, recording technology, etc.). We will then undertake an in-depth study of the uses and functions of music in a variety of social and cultural settings in order to set them in their cultural contexts (politics, entertainment, education, societal norming, rite of passage, etc.). -
Arhai's Balkan Folktronica: Serbian Ethno Music Reimagined for British
Ivana Medić Arhai’s Balkan Folktronica... DOI: 10.2298/MUZ1416105M UDK: 78.031.4 78.071.1:929 Бацковић Ј. Arhai’s Balkan Folktronica: Serbian Ethno Music Reimagined for British Market* Ivana Medić1 Institute of Musicology SASA (Belgrade) Abstract This article focuses on Serbian composer Jovana Backović and her band/project Arhai, founded in Belgrade in 1998. The central argument is that Arhai made a transition from being regarded a part of the Serbian ethno music scene (which flourished during the 1990s and 2000s) to becoming a part of the global world music scene, after Jovana Backović moved from her native Serbia to the United Kingdom to pursue an international career. This move did not imply a fundamental change of her musical style, but a change of cultural context and market conditions that, in turn, affected her cultural identity. Keywords Arhai, Jovana Backović, world music, ethno, Balkan Folktronica Although Serbian composer, singer and multi-instrumentalist Jovana Backović is only 34 years old, the band Arhai can already be considered her lifetime project. The Greek word ‘Arhai’ meaning ‘beginning’ or ‘ancient’ it is aptly chosen to summarise Backović’s artistic mission: rethinking tradition in contemporary context. Нer interest in traditional music was sparked by her father, himself a professional musician and performer of both traditional and popular folk music (Medić 2013). Backović founded Arhai in Belgrade in 1998, while still a pupil at music school Slavenski, and continued to perform with the band while receiving instruction in classical composition and orchestration at the Belgrade Faculty of Music. In its first, Belgrade ‘incarnation’, Arhai was a ten-piece band that developed a fusion of traditional music from the Balkans with am bient sounds and jazz-influenced improvisation, using both acoustic and electric instruments and a quartet of fe male vocalists. -
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Reinterpreting the Global, Rearticulating the Local: Nueva Música Colombiana, Networks, Circulation, and Affect Simón Calle Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2012 © 2012 Simón Calle All rights reserved ABSTRACT Reinterpreting the Global, Rearticulating the Local: Nueva Música Colombiana, Networks, Circulation, and Affect Simón Calle This dissertation analyses identity formation through music among contemporary Colombian musicians. The work focuses on the emergence of musical fusions in Bogotá, which participant musicians and Colombian media have called “nueva música Colombiana” (new Colombian music). The term describes the work of bands that assimilate and transform North-American music genres such as jazz, rock, and hip-hop, and blend them with music historically associated with Afro-Colombian communities such as cumbia and currulao, to produce several popular and experimental musical styles. In the last decade, these new fusions have begun circulating outside Bogotá, becoming the distinctive sound of young Colombia domestically and internationally. The dissertation focuses on questions of musical circulation, affect, and taste as a means for articulating difference, working on the self, and generating attachments others and therefore social bonds and communities This dissertation considers musical fusion from an ontological perspective influenced by actor-network, non-representational, and assemblage theory. Such theories consider a fluid social world, which emerges from the web of associations between heterogeneous human and material entities. The dissertation traces the actions, interactions, and mediations between places, people, institutions, and recordings that enable the emergence of new Colombian music. In considering those associations, it places close attention to the affective relationships between people and music.