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The ABDC 2021 Workshop Descriptions and Bios
The ABDC 2021 Workshop Descriptions and Instructor Bios Table of Contents below alphabetical Ahava 2 Workshop Title: All the Feels 2 Workshop Title: Classical Egyptian Technique and Combos 2 Amara 3 Workshop Title: Let’s Prepare for an Amazing Week of Dance! - Free 3 Workshop Title: Let’s Talk about Swords 3 Amel Tafsout 4 Workshop Title: Nayli Dance of the Ouled Nayl 4 Workshop Title: City Dances: Andalusian Court Dance with Scarves 6 April Rose 8 Workshop Title: Dance as an Offering 8 Arielle 9 Workshop Title: Egyptian Street Shaabi: Mahraganat Choreography 9 Athena Najat 10 Workshop Title: Oriental Roots in Anatolia: Exploring the Greek branch of the Bellydance Tree 10 Bahaia 11 WorkshopTitle: Takht & Tahmila 11 DeAnna 12 Workshop Title: Spins and Turns! 12 Devi Mamak 14 Workshop Title: Hot Rhythms, Cool Head 14 Lily 15 WorkshopTitle: Rhythms 101 15 Loaya Iris 15 WorkshopTitle: Let’s Go Pop! Modern Egyptian Style Technique and Combos. 15 Nessa 16 WorkshopTitle: Finding the Muse Within 16 Mr. Ozgen 17 WorkshopTitle: Turkish Bellydance 17 WorkshopTitle: Romani Passion 17 Roshana Nofret 18 Workshop Title: Poetry in Motion: Exquisite Arms & Hands for All Dancers 18 Stacey Lizette 19 Workshop Title: By Popular Demand: A Customized Workshop Experience Based Exploring Common Challenges 19 Ahava Workshop Title: All the Feels Date/Time: Sunday, June 27, 2021,10-12pm Central Time Workshop Description: Do you need help with stage presence? Connecting to your audiences? Courage to push through the fourth wall on stage and fully entertain a crowd? Ahava presents exercises, tips and combinations on how to emote while on stage. -
Rhythms and Rhymes of Life
RHYTHMSRHYMES AND RHYTHMS AND RHYMES OF LIFE Rhythms and Rhymes of Life: Music and Identification Processes of Dutch- Moroccan Youth is a comprehensive anthropological study of the social significance of music among Dutch-Moroccan youth. In the Netherlands, a Dutch-Moroccan music scene has emerged, including events and websites. Dutch-Moroccan youth are often pioneers in the Dutch hip- OF hop scene, using music as a tool to identify with or distance themselves from others. They (re)present and position themselves in society through LIFE music and musical activities. The chapters deal with the development of the Dutch-Moroccan music scene, the construction of Dutch-Moroccan identity, the impact of Islam on female artists and the way Dutch- Moroccan rappers react to stereotypes about Moroccans. All along, Dutch society, its struggles with multiculturalism and its debates on integration, the position of Islam and fear of terrorism, form the backdrop to this story. RHYTHMS AND MIRIAM GAZZAH Miriam Gazzah has studied Mediterranean studies at the Radboud RHYMES OF LIFE University Nijmegen. She graduated in 2001. Her master thesis focused on the development of the raï music subculture in the seventies, eighties and nineties in Algeria. Between 2003 and 2007 she was a PhD Fellow at MUSIC AND IDENTIFICATION International Institute for the Study of Islam in the Modern World (ISIM) in Leiden and the Radboud University Nijmegen. PROCESSES OF DUTch- ISBN 978 90 8964 062 8 MIRIA MOROCCAN YOUTH M GAZZAH Miriam Gazzah ISIM ISIM DISSERTATIONS ISIM AUP-ISIM-PS-Gazzah-OM-04.indd 1 17-07-2008 12:54:08 RHYTHMS AND RHYMES OF LIFE MUSIC AND IDENTIFICATION PROCESSES OF DUTCH- MOROCCAN YOUTH Miriam Gazzah Cover illustration: Bert Smits, www.bertsmits.com Cover design and lay-out: De Kreeft, Amsterdam ISBN 978 90 8964 062 8 E-ISBN 978 90 4850 649 1 NUR 761 © ISIM / Amsterdam University Press, Amsterdam 2008 Alle rechten voorbehouden. -
The Textuality of Contemporary Hiplife Lyrics
THE TEXTUALITY OF CONTEMPORARY HIPLIFE LYRICS by PETER ARTHUR A thesis submitted to the University of Birmingham for the degree of DOCTOR OF PHILOSOPHY Centre of West African Studies School of History and Cultures University of Birmingham Edgbaston Birmingham, B15 2TT University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT This research looks at the textuality of hiplife - the Ghanaian version of hip hop - by investigating the hiplife discursive and non discursive practices. The thesis of this research is that hiplife provides the platform for self expression or a new culture for the Ghanaian youth. This ethnography of hiplife covers two main areas of investigation: hiplife as a syncretic and a protest culture. Chapter one presents the background and research design of the study while chapter two provides a broad scholarly exploration of hiplife, taking into account the history and culture of hiplife against the background of African hip hop literature. Chapter three explores the cultural production of hiplife while chapter four investigates the very core of hiplife rap, its oral rhythmic production. In chapter five, the hiplife culture, like all hip hop cultures, seeks to redefine the Ghanaian normative moral grounds. -
Cahiers D'ethnomusicologie, 25
Cahiers d’ethnomusicologie Anciennement Cahiers de musiques traditionnelles 25 | 2012 La vie d’artiste Édition électronique URL : http://journals.openedition.org/ethnomusicologie/272 ISSN : 2235-7688 Éditeur ADEM - Ateliers d’ethnomusicologie Édition imprimée Date de publication : 31 décembre 2012 ISSN : 1662-372X Référence électronique Cahiers d’ethnomusicologie, 25 | 2012, « La vie d’artiste » [En ligne], mis en ligne le 31 décembre 2014, consulté le 06 mai 2019. URL : http://journals.openedition.org/ethnomusicologie/272 Ce document a été généré automatiquement le 6 mai 2019. Article L.111-1 du Code de la propriété intellectuelle. 1 « La vie d’artiste » envisagera le statut social du musicien, et plus particulièrement du musicien professionnel. Dans certaines sociétés, ce statut est reconnu de longue date, et il fait l’objet de codifications qui déterminent son rôle, ses prérogatives et ses devoirs ; en d’autres cas, la professionnalisation de l’activité musicale est une donnée récente, qui s’est imposée sous l’influence de divers facteurs : nouveaux contextes de performance, nouveaux débouchés, tournées à l’étranger, tourisme, médiatisation, instrumentalisation de la musique... Dans quelle mesure la professionnalisation de l‘activité du musicien influence-t-elle les divers paramètres de son expression : les répertoires, les contenus esthétiques, le comportement des musiciens, leur rapport à leurs auditeurs, etc. ? Ce dossier propose d’examiner ces questions à partir d’une série d’études de cas et de réflexions générale sur le devenir -
Tese Não Defendida Na Unila
UNIVERSIDADE DE SÃO PAULO FACULDADE DE FILOSOFIA, LETRAS E CIÊNCIAS HUMANAS PROGRAMA DE PÓS-GRADUAÇÃO EM LÍNGUA ESPANHOLA E LITERATURAS ESPANHOLA E HISPANO-AMERICANA LARISSA FOSTINONE LOCOSELLI De rocks, murgas e maracatus: o fazer musical e a construção do “local” sob o neoliberalismo latino-americano da virada de século. Um estudo comparativo das bandas Bersuit Vergarabat (Argentina) e Chico Science & Nação Zumbi (Brasil) São Paulo 2019 Versão Corrigida LARISSA FOSTINONE LOCOSELLI De rocks, murgas e maracatus: o fazer musical e a construção do “local” sob o neoliberalismo latino-americano da virada de século: Um estudo comparativo das bandas Bersuit Vergarabat (Argentina) e Chico Science & Nação Zumbi (Brasil) Tese apresentada ao Programa de Pós-Graduação em Língua Espanhola e Literaturas Espanhola e Hispano-Americana do Departamento de Letras Modernas da Faculdade de Filosofia, Letras e Ciências Humanas da Universidade de São Paulo, para obtenção do título de Doutora em Letras. Orientador: Prof. Dr. Adrián Pablo Fanjul São Paulo 2019 Versão Corrigida Autorizo a reprodução e divulgação total ou parcial deste trabalho, por qualquer meio convencional ou eletrônico, para fins de estudo e pesquisa, desde que citada a fonte. Catalogação na Publicação Serviço de Biblioteca e Documentação Faculdade de Filosofia, Letras e Ciências Humanas da Universidade de São Paulo Locoselli, Larissa Fostinone L819r De rocks, murgas e maracatus: o fazer musical e a construção do “local” sob o neoliberalismo latino- americano da virada de século. Um estudo comparativo das bandas Bersuit Vergarabat (Argentina) e Chico Science & Nação Zumbi (Brasil) / Larissa Fostinone Locoselli ; orientador Adrián Pablo Fanjul. - São Paulo, 2019. 304 f. Tese (Doutorado)- Faculdade de Filosofia, Letras e Ciências Humanas da Universidade de São Paulo. -
Urbanization and African Pop Music: the Nigerian Experience
Onwuegbuna, I. E. (2010). Urbanization and African Pop Music: The Nigerian Experience. Awka Journal of Research in Music and the Arts, Vol. 7, pp.161-173. Published by the Department of Music, Nnamdi Azikiwe University, Awka. Urbanization and African pop music: The Nigerian experience By: Ikenna Emmanuel Onwuegbuna Department of Music, University of Nigeria, Nsukka, Enugu State. E-mail: [email protected] Cell: +2348035639139 Abstract African popular music, as an acculturative product of the African folk music, can be scrutinized along the lines of musical and social processes as inseparable pair in developing the various genres of this eclectic musical form. In Nigeria, it is the congruent collaboration of creativity and politico-socio-economic activities of the mid-1940s (the period following the World War II) that have evolved the various genres of popular music of the land—a process that is still in being! The social processes that span through the diverse fields of economics, politics, linguistics, sociology, philosophy, and religion make up a manifold agency of acculturation, commercialization, urbanization, and class stratifications. These processes then carried over into a parallel development of a neo-folk form that became popular. The popularity of this new form is due to a socio-musical interchange that is both structural and functional. The primary research process of survey method was backed-up with historical and descriptive methods to unearth the leaning on the rhythm of social life by pop musicians to develop the African popular musical genres and sub-genres—especially in Nigeria. Preamble Urbanization and industrialization, the offshoots of 19th century global modernization, and territorial expansion for commercialization of the excess products of some rich and powerful European nations, are responsible for the disruption of traditional attitudes and lifestyles of the poorer African nations. -
Écouter Les Musiques Du Monde
Pour connaître les ensembles et musiciens québécois M qui jouent de ce répertoire : www.cqm.qc.ca O D U L E I N I T I A INTRODUCTION T I O m N Le module de formation Initiation aux musiques du monde A U X u constitue une introduction générale à ces musiques. Son s contenu a été développé pour le Conseil québécois de la iq musique par Sophie Laurent, ethnomusicologue et réalisatrice u radio. Le présent document accompagne une formation de es e 90 min. avec animation. [Pour offrir cette formation, veuillez du d communiquer avec le CQM.] n Tout au long du XXe siècle, Mo les ethnomusico logues parcou rent couter les musiques du monde, c’est aller à la planète pour faire leurs recherches et collecter des musiques dans leur contexte afin de Éla rencontre d’autres cultures, s’imprégner de nou- connaître, de préserver, d’apprendre et d’étudier les musiques du monde. Ils s’intéressent velles sonorités et aborder des conceptions musicales non seulement à l’aspect sonore et musical, mais également aux aspects sociaux et cultu- différentes. Même si elles existent depuis très longtemps, rels qui entourent la musique. Plusieurs enregistrements réalisés par ces spécialistes au les musiques d’ailleurs sont devenues accessibles assez fil des années ont été publiés et ont permis au public de découvrir à son tour des univers récemment. Aujourd’hui, avec la mondialisation, les mu- musicaux étonnants. siques du monde se transforment : l’ancien côtoie le nou- Par la suite, les ethnomusicologues ont voulu briser la hiérarchie entre l’Occident et le reste veau et la tradition dialogue avec la création. -
Copyright by Tarek Adam Benchouia 2015
Copyright by Tarek Adam Benchouia 2015 The Thesis committee for Tarek Adam Benchouia Certifies that this is the approved version of the following thesis: Festivals: The Culture and Politics of Mahraganat Music in Egypt APPROVED BY SUPERVISING COMMITTEE Supervisor: ___________________________________ Tarek El-Ariss ___________________________________ Sofian Merabet Festivals: The Culture and Politics of Mahraganat Music in Egypt By Tarek Adam Benchouia, BA Thesis Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Master of Arts The University of Texas at Austin May 2015 Dedication For my mother and father And their mothers and fathers… Acknowledgements This project would not have been possible without the friendship, mentorship, and support of many people at home and abroad. I would first like to offer my utmost thanks and gratitude to my thesis committee. My advisor, Dr. Tarek El-Ariss’s, advice, knowledge, and spiritual guidance were absolutely invaluable to me throughout the formation of this project and during the writing process. Since I was an undergraduate at UT, Dr. El-Ariss has taken me under his wing and helped me develop into a hungry and intellectually curious student, and I cannot sufficiently express my appreciation for his counsel. Thank you also to my second reader, Dr. Sofian Merabet, who helped and encouraged me to find my ethnographic voice and believed in the idea behind this thesis from the beginning. I would also like to thank the many brilliant and inspiring professors and instructors I had the privilege of learning from at UT, including Dr. -
Taz.Globaltaz.Global Pop Pop
die verlagsseiteN ANZEIGE taz.die tageszeituNg taz.globaltaz.global pop pop www.taz.de | [email protected] | fon 030 • 25 90 23 14 | fax 030• 25 10 694 23./24./25. MAI 2015, PFINGSTEN 01 Impressum Daniel Bax | Layout: Christiane Voß | Anzeigen: Söntke Tümmler taz.die tageszeitung taz Verlags- und Vertriebs GmbH | Rudi-Dutschke-Straße 23 | 10969 Berlin | V.i.S.d.P.: Ines Pohl Die Taarab-Musik entstand am Hof der Sultane voN Sansibar und vereint arabische, europäische und indische Einflüsse DeN INdischeN OzeaN im RückeN: das Taarab-ENsemble voN Moham- med Issa MatoNa Foto: Mario Gerth Die musikalischen Blumen des Koran POP & RELIGION Islam Dem steht die ablehnende Und nicht nur diese, denn der Is- Die Taarab-Musik steht auch erlauben dort nur noch religiöse Ney-Flöte und sanfter Percus- Haltung vieler islamischer Auto- lam war ja nicht nur in Cordoba, im Zentrum des „Sauti za Busa- Gesänge, Nasheed genannt, die sion im Kreis drehen, bis sie ver- und Musik, wie geht ritäten zur Musik gegenüber. Bagdad oder Istanbul zu Hause, ra“-Festivals, das jeden Februar sie selbst zu Propagandazwecken boten wurden; heute erleben sie Dennobwohl–odergeradeweil– sondern gab auch in den eine steigende Zahl von Touris- einsetzen. Und sogar im pluralis- wieder ein Revival. Und in Nord- das zusammen? eine im Grunde musikalische Er- westafrikanischen Königreichen ten nach Sansibar lockt. In die- tischen Pakistan treten Qawwali- afrika sind die Gnawa-Bruder- Sehr gut, und sie fahrung im Zentrum des islami- imheutigenMali,indenPalästen sem Jahr wird sich die Inselgrup- Sänger heute lieber hinter gesi- schaften, die sich zu rhythmi- schen Glaubens steht, lehnen der Moghulherrscher in Nordin- pe im Indischen Ozean auf dem cherten Mauern auf als an Sufi- schem Trommelschlägen in haben sich in der konservative Kleriker fast jede dien oder den Sultanaten auf Su- „Africa-Festival“ in Würzburg Schreinen, nachdem diese zum Trance wiegen, bis heute aktiv. -
PLAYING OUT: WOMEN INSTRUMENTALISTS and WOMEN's ENSEMBLES in CONTEMPORARY TUNISIA by Alyson E. Jones a Dissertation Submitte
PLAYING OUT: WOMEN INSTRUMENTALISTS AND WOMEN’S ENSEMBLES IN CONTEMPORARY TUNISIA by Alyson E. Jones A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Music: Musicology) in The University of Michigan 2010 Doctoral Committee: Professor Emerita Judith O. Becker, Co-Chair Associate Professor Christi-Anne Castro, Co-Chair Professor Joseph S. C. Lam Associate Professor Naomi A. André Professor Marcia C. Inhorn, Yale University © Alyson E. Jones 2010 To my parents, Janice and Jeffrey Jones ii Acknowledgements The completion of this work owes to the support and assistance of numerous people. I wish to express my deepest gratitude to the musicians who generously welcomed me into their homes, lives, and performances: Myriam Slama, Khadija El- Afrit, and Myriam Lakhoua, Sirine Ouesleti, Hinda Bel Heni, Samia Ben Youssef, and Abir Zahra, and Yossr Labidi, Soumayya Mersni, Amina Srarfi, Jouda Najah, Olfa Baouab, Zina Bou ‘Ali, and Myriam Hadour. I thank these musicians and others for permitting me to record their performances and interviews. At the University of Michigan I am fortunate to have benefited from the untiring support and academic guidance of two mentors, Judith Becker and Christi-Anne Castro. Marcia Inhorn has also provided advice and encouragement even as she has moved to another university. I am indebted to this trio and to the other members of the dissertation committee, Joseph Lam and Naomi André. I also wish to acknowledge the intellectual communities of the Department of Musicology and the Center for Middle Eastern and North African Studies at the University of Michigan, and the faculty there who have shaped my thinking and provided friendly assistance. -
Egyptian Hip Hop and the January 25 Revolution Thesis Presented In
Egyptian Hip Hop and the January 25th Revolution Thesis Presented in Partial Fulfillment of the Requirements for the Degree Master of Arts in the Graduate School of the Ohio State University By Nicholas Rocco Mangialardi, B.A. Graduate Program in Near Eastern Languages and Cultures The Ohio State University 2013 Thesis Committee: Sabra Webber, Ph.D., Advisor Barry Shank, Ph.D. Copyright by Nicholas Rocco Mangialardi 2013 Abstract In 2011, the world watched as a wave of popular uprisings rippled through North Africa and the Middle East. These “revolutions,” as they came to be known, were aimed at overthrowing the region‟s dictatorial rulers and sought to address the growing social issues of police brutality, government corruption, and unemployment. During this time, Egypt took center stage with Cairo‟s Tahrir Square serving as the emblematic public space of revolutionary activity. Egypt‟s long-time president Hosni Mubarak resigned in February 2011 following weeks of mass demonstrations driven, in large part, by a disconcerted youth demographic in the country‟s urban centers. During this turbulent period, the voices of young Egyptians were amplified not only through megaphones and protest chants but also through art and music. In the past decade, hip hop music in particular has become one of the most visible outlets through which Egyptian youth are negotiating modern identities and engaging with local sociopolitical issues in their communities. Along with Egypt‟s emerging revolution came a wave of media coverage focused on the youth generation‟s “revolutionary” music and the growing hip hop scene. However, this media has frequently neglected to distinguish what it is about Egyptian hip hop that is, in fact, “revolutionary.” ii This thesis interrogates such claims by closely examining Egyptian hip hop music since its emergence, following its development through the 2011 revolution, and looking at its continued transformation in 2013. -
Recorder.Hu PÉTERF TTILA PÁCSER a Facebook.Com/Recorder.Hu C
terjesztési pontjainkon: ingyenes. előfizetőinknek: 789 Ft. zene fashion zene tech zene media zene design zene business zene art zene digital zene live rec 057 2017 / 11 THE THE FEVER RAY LOVASI 50 világzene 30 GORILLAZ ELEFÁNT BURIAL/DUbstEP BECK & BECK & BECK FRAN GALActic JAcksON PÉTERFY BORI PÁCSER ATTILA PALERMO. www.recorder.hu facebook.com/recorder.hu C M Y CM MY CY CMY K 20171103_A_Dal_Jelentkezesi_200x270mm.indd 1 2017.11.03. 14:47:06 tartalom 30 6 2 24 34 www.recorder.hu rec 057 facebook.com/recorder.hu 2017 / 11 diszkográf 22 Simon Broughton, a Songlines profil 2 Lovasi 50. magazin főszerkesztője. 38 The The. fotórecorder front rerecorder 6 Pácser Attila. 24 Fran Palermo. 42 Újrakiadások novemberben. trend trend profül 10 Külföldi pophungarikumok. 26 Burial és a dubstep. 44 Beckék (30Y) Beckről. világzene 30 28 Fiú-lány duettlemezek. recorder 14 A világzene elmúlt harminc éve. interjú 45 Lemezkritikák. 18 Aktuális elektronikus world 30 Péterfy Bori. programajánló music-trendek. 32 Elefánt. 48 November-decemberi koncertek 20 Chris Eckman, a Glitterbeat kollektor és partik. lemezcég vezetője. 34 Galactic Jackson. A Recorder magazin megjelenését támogatja: RECORDER • Ingyenes zenemagazin • REC057: 2017. november www.recorder.hu • facebook.com/recorder.hu • youtube.com/recorderhu • instagram.com/recorderhu • twitter.com/recorderhu • [email protected] Kiadó: Recorder Kft. • Felelős kiadó: a Kft. ügyvezetője. • ISSN: 2062-9656 • Postacím: 1277 Budapest, Pf. 106 Főszerkesztő: Dömötör Endre • Szerzők: Beck László, Beck Zoltán, Biczó Andrea, Csada Gergely, Egér János, Kollár Bálint, Lékó Tamás, Mihályi Dávid, Mika László, Rónai András, Salamon Csaba, Szabó Sz. Csaba, Velkei Zoltán, Weyer Balázs • Lapterv és tördelés: Simon Says Kreatív producer: Pawlowszky Tamás • Hirdetés: 06.30.2803098 • [email protected] • Előfizetés: www.recorder.hu/elofizetes Minden jog fenntartva.