Music- a Literary Social Science
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Learnenglish Professionals
LearnEnglish Professionals INDIAN POP MUSIC AUDIOSCRIPT Listen to an interview with Mahesh Gupta, tabla player and DJ about his music. Optional exercise: Decide if these statements are true or false. (Answers below). 1. Mahesh thinks that the two styles of music he plays are completely different. 2. Rhythm is something fundamental to all music. 3. Mahesh thinks that live music doesn’t work in clubs. 4. He thinks that it is too early to try Djing at a classical music concert. 5. Indian audiences are far more lively than Western ones. 6. Mahesh is always looking for new experiences. Interviewer (I): Mahesh, you trained as a classical Indian musician, but now you spend most of your time playing records in nightclubs…they’re two very different things! Mahesh (M): Well, yes, they are…the two worlds are very different, but there is something that connects them… I: …and what’s that? M: Rhythm. An interest in rhythm. Rhythm is fundamental to everything that I do. Whether it’s the rhythmic section of a classical Indian raga, or some “Asian Underground” electronic beats in a club… I: And you mix the two things don’t you? M: Yes…I’ve played live tabla to electronic accompaniment in clubs in Europe. I: How has that gone down? M: Really well…I think people are getting bored of ordinary clubs and faceless DJs. Some live music is a great addition. I: And have you tried djing for a classical Indian audience on the other hand? M: No! I’m not quite sure the world’s ready for that yet…still, it’s an interesting idea! I: How are audiences for your music different in India and in Europe? M: Well, the classical audiences are far more sedate in Europe than in India. -
Cover Next Page > Cover Next Page >
cover next page > title: Indian Music and the West : Gerry Farrell author: Farrell, Gerry. publisher: Oxford University Press isbn10 | asin: 0198167172 print isbn13: 9780198167174 ebook isbn13: 9780585163727 language: English subject Music--India--History and criticism, Music--Indic influences, Civilization, Western--Indic influences, Ethnomusicology. publication date: 1999 lcc: ML338.F37 1999eb ddc: 780.954 subject: Music--India--History and criticism, Music--Indic influences, Civilization, Western--Indic influences, Ethnomusicology. cover next page > < previous page page_i next page > Page i Indian Music and the West < previous page page_i next page > < previous page page_ii next page > Page ii To Jane < previous page page_ii next page > < previous page page_iii next page > Page iii Indian Music and the West Gerry Farrell OXFORD UNIVERSITY PRESS < previous page page_iii next page > < previous page page_iv next page > Page iv OXFORD UNIVERSITY PRESS Great Clarendon Street, Oxford OX2 6DP Oxford University Press is a department of the University of Oxford. It furthers the University's objective of excellence in research, scholarship, and education by publishing worldwide in Oxford New York Athens Auckland Bangkok Bogotá Buenos Aires Calcutta Cape Town Chennai Dar es Salaam Delhi Florence Hong Kong Istanbul Karachi Kuala Lumpur Madrid Melbourne Mexico City Mumbai Nairobi Paris São Paulo Singapore Taipei Tokyo Toronto Warsaw and associated companies in Berlin Ibadan Oxford is a registered trade mark of Oxford University Press in the UK and in certain other countries Published in the United States by Oxford University Press Inc., New York © Gerry Farrell 1997 First published 1997 New as paperback edition 1999 The moral rights of the author have been asserted Database right Oxford University Press (maker) All rights reserved. -
Copyright by Peter James Kvetko 2005
Copyright by Peter James Kvetko 2005 The Dissertation Committee for Peter James Kvetko certifies that this is the approved version of the following dissertation: Indipop: Producing Global Sounds and Local Meanings in Bombay Committee: Stephen Slawek, Supervisor ______________________________ Gerard Béhague ______________________________ Veit Erlmann ______________________________ Ward Keeler ______________________________ Herman Van Olphen Indipop: Producing Global Sounds and Local Meanings in Bombay by Peter James Kvetko, B.A.; M.M. Dissertation Presented to the Faculty of the Graduate School of the University of Texas at Austin in Partial Fulfillment for the Degree of Doctor of Philosophy The University of Texas at Austin May 2005 To Harold Ashenfelter and Amul Desai Preface A crowded, red double-decker bus pulls into the depot and comes to a rest amidst swirling dust and smoke. Its passengers slowly alight and begin to disperse into the muggy evening air. I step down from the bus and look left and right, trying to get my bearings. This is only my second day in Bombay and my first to venture out of the old city center and into the Northern suburbs. I approach a small circle of bus drivers and ticket takers, all clad in loose-fitting brown shirts and pants. They point me in the direction of my destination, the JVPD grounds, and I join the ranks of people marching west along a dusty, narrowing road. Before long, we are met by a colorful procession of drummers and dancers honoring the goddess Durga through thundering music and vigorous dance. The procession is met with little more than a few indifferent glances by tired workers walking home after a long day and grueling commute. -
Sooloos Collections: Advanced Guide
Sooloos Collections: Advanced Guide Sooloos Collectiions: Advanced Guide Contents Introduction ...........................................................................................................................................................3 Organising and Using a Sooloos Collection ...........................................................................................................4 Working with Sets ..................................................................................................................................................5 Organising through Naming ..................................................................................................................................7 Album Detail ....................................................................................................................................................... 11 Finding Content .................................................................................................................................................. 12 Explore ............................................................................................................................................................ 12 Search ............................................................................................................................................................. 14 Focus .............................................................................................................................................................. -
Korea Wave Foundation
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by SOAS Research Online The Foundations Of Hallyu – K-Pop’s Coming Of Age Keith Howard We are, collectively, still struggling to come to terms with Hallyu, Korean Wave. This is seen in the multitude of contrasting perspectives that have been applied by journalists and academics alike since the turn of the new millennium. There is a lack of consensus, and perspectives run from fear and criticism by what Cho Hae-joang calls the postcolonial camp, through pride and celebration in what is happening (Cho’s nationalist camp), to economic planning (the neoliberal camp; Cho Hae-joang 2005).1 The three camps seem to trend chronologically in the order given here,2 but are no longer sufficient now that Korean Wave has spread to the world beyond Asia. Indeed, recent foreign commentaries about the economy of Korean Wave have diverged, often markedly, from Korean accounts of its global popularity. New models are needed, one of which, Ingyu Oh and Gil-Sung Park’s supply chain model (2012), seems to have considerable utility.3 Their theory throws out existing, albeit dated, accounts of the music industry, and demonstrates how the internationalization of Korean Wave moves the industry from a fan-oriented service business (B2C) to business servicing (B2B). Our accounts do, though, agree on key moments in Korean Wave: 1999, when the term, hallyu, began to be used; 2003 when “Winter Sonata” reached Japan; 2008 or shortly after when Korean pop again moved into a global frame; and 2012 as the date when Psy conquered YouTube. -
The Book Trade and Booksellers of Istanbul and Other Regions of the Ottoman Empire in the Nineteenth and Twentieth Centuries1
The Book Trade and Booksellers of Istanbul and other regions of the Ottoman Empire in the Nineteenth and Twentieth Centuries1 Ismail E. Erünsal It is well known that no clear political history of the first period of the Ottoman Empire can possibly be established, let alone its cultural history. Historical sources contain no significant information about the few educational institutions which were established in some of the regions conquered during the reign of Orhan Ghazi (1324 – 1360). The leading activity of this beylik* made up of ghazi* communities living along the Byzantine-Seljuk border was “gaza,” that is, military expeditions inspired by religion, and this subsumed cultural activities for a certain period. However, under Murad I (1362 – 1389), Edirne was conquered and Ottoman rule began to make itself felt in Rumeli; some beyliks in Anatolia were subjugated and others became allies. These developments hastened the influx of ulema* toward centers of learning in regions such as Damascus, Egypt and Khorasan, which had already started under Orhan Ghazi. The addition of cultural centers such as Kütahya, Manisa and Kastamonu to the Ottoman Empire under Yildirim Bayezid (1389 – 1402) further fostered an atmosphere of research and debate. Madrasah* students of the early Ottoman period most likely procured their school books by copying them. It does not seem possible to claim that the book trade started with the establishment of madrasahs. There were not enough books to establish a trade in cities such as Iznik, Izmit and Bursa, which did not have an Islamic cultural heritage. However, the multiplication of educational establishments and the increase of communication with other beyliks and important Islamic cultural centers led to the flow of both ulema and books into the Ottoman state. -
Xiami Music Genre 文档
xiami music genre douban 2021 年 02 月 14 日 Contents: 1 目录 3 2 23 3 流行 Pop 25 3.1 1. 国语流行 Mandarin Pop ........................................ 26 3.2 2. 粤语流行 Cantopop .......................................... 26 3.3 3. 欧美流行 Western Pop ........................................ 26 3.4 4. 电音流行 Electropop ......................................... 27 3.5 5. 日本流行 J-Pop ............................................ 27 3.6 6. 韩国流行 K-Pop ............................................ 27 3.7 7. 梦幻流行 Dream Pop ......................................... 28 3.8 8. 流行舞曲 Dance-Pop ......................................... 29 3.9 9. 成人时代 Adult Contemporary .................................... 29 3.10 10. 网络流行 Cyber Hit ......................................... 30 3.11 11. 独立流行 Indie Pop ......................................... 30 3.12 12. 女子团体 Girl Group ......................................... 31 3.13 13. 男孩团体 Boy Band ......................................... 32 3.14 14. 青少年流行 Teen Pop ........................................ 32 3.15 15. 迷幻流行 Psychedelic Pop ...................................... 33 3.16 16. 氛围流行 Ambient Pop ....................................... 33 3.17 17. 阳光流行 Sunshine Pop ....................................... 34 3.18 18. 韩国抒情歌曲 Korean Ballad .................................... 34 3.19 19. 台湾民歌运动 Taiwan Folk Scene .................................. 34 3.20 20. 无伴奏合唱 A cappella ....................................... 36 3.21 21. 噪音流行 Noise Pop ......................................... 37 3.22 22. 都市流行 City Pop ......................................... -
AR Rahman and the Global Routes of Indian Popular Music
BEYOND KITSCH: A. R. RAHMAN AND THE GLOBAL ROUTES OF INDIAN POPULAR MUSIC Stephanie Lou Jackson A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC August 2010 Committee: David Harnish, Advisor Esther Clinton Jeremy Wallach © 2010 Stephanie Jackson All Rights Reserved iii ABSTRACT David Harnish, Advisor At the 2009 Academy Awards, A. R. Rahman became the first Indian composer to win Best Score and Best Song (“Jai Ho”) for his music in the film, Slumdog Millionaire (2008). This event not only granted Rahman another prestigious accolade for his accomplishments as a popular film music composer (i.e., he has been awarded many times over in India for his music), but it gave Rahman new star-status recognition among a Western audience. Although enormously famous in India and well-known among the South Asian diaspora located throughout many parts of the world, Rahman remained, up until that time, virtually unknown among mainstream U.S. audiences. U.S. audiences today are perhaps more likely than a decade ago to recognize the sounds and images of Indian cinema known as Bollywood, a cultural artifact, once considered “kitsch,” that increasingly traverses international popular cultures. Consequently, the appeal of Rahman’s Bollywood music among a wider global audience (as presented in Slumdog Millionaire) coincides with the global circulation and consumption of Bollywood films and music in recent years. I suggest that the appeal for Rahman’s music outside of India cannot be explained by the Western fascination with the exotic “Other," but instead involves a cultural affinity for a type of style and sound set forth in Rahman’s music. -
Appendix • Apéndice • Anhang • Appendice • Appendix • Appendice
07M1APPEND-WL-1A JESGFDISwPCkChAR Appendix y Apéndice y Anhang y Appendice y Appendix y Appendice y Bilaga y Apêndice y y y y 音色リスト y Tone List y Lista de sonidos y Klangfarben-Liste y Liste des sonorités y Toonlijst y Elenco dei timbri y Tonlista y Lista de sons y y y y 1 No. y No. y Nº y Nr. y No. y Nr. y Num. y Nr. y Nº y y y y 2 音色名 y Tone name y Nombre de sonido y Klangfarben-Name y Nom des sonorités y Toonnaam y Nome del tono y Tonnamn y Nome do som y y y y 3 プログラムチェンジ y Program Change y Cambio de programa y Klangprogramm-Wechsel y Changement de programme y Programma-verandering y Cambiamento programma y Program-ändring y Mudança de programa y y y y 4 バンクセレクト MSB y Bank Select MSB y MSB de selección de banco y Bankwahl MSB y MSB de sélection de banque y Bankkeuze MSB y MSB di selezione banco y Bankval MSB y MSB de seleção de banco y y y y 123412341234123412341234 PIANO 119 CLICK ORGAN 2 17 15 ENSEMBLE 357 CLARINET 71 2 476 SWEEP CHOIR 95 1 596 GM VIOLIN 40 0 001 STEREO GRAND PIANO 0 2 120 8’ORGAN 17 5 238 STRINGS 1 48 2 358 VELO.CLARINET 71 1 477 SWEEP PAD 95 2 597 GM VIOLA 41 0 002 STEREO BRIGHT PIANO 1 2 121 ORGAN PAD 1 16 10 239 STRINGS 2 48 12 359 BASS CLARINET 71 4 478 CLAVI PAD 96 1 598 GM CELLO 42 0 003 GRAND PIANO 0 1 122 ORGAN PAD 2 16 11 240 STRING ENSEMBLE 1 48 1 360 JAZZ CLARINET 71 3 479 RAIN DROP 1 96 2 599 GM CONTRABASS 43 0 004 CLASSIC PIANO 0 4 123 SEQUENCE ORGAN 17 12 241 STRING ENSEMBLE 2 48 3 361 OBOE 68 2 480 RAIN DROP 2 96 3 600 GM TREMOLO STRINGS 44 0 005 ROCK PIANO 1 3 124 CHURCH ORGAN 1 19 2 242 STRING ENSEMBLE -
Hindustani Music[Edit] Carnatic Music[Edit]
The music of India includes multiple varieties of folk, popular, pop, classical music andR&B. India's classical music tradition, including Carnatic and Hindustani music, has a history spanning millennia and developed over several eras. Music in India began as an integral part of socio-religious life and that Indian music is essentially melodic: sounds follow one another expressing an emotional state in an aesthetic unity.[1] Two main traditions of classical music are Carnatic music, found predominantly in the peninsular regions, and Hindustani music, found in the northern and central regions.[2] The basic concepts of this music includes Shruti, Swara, Alankar, Rāga, and Tāla. Its tonal system divides the octave into 22 segments called shrutis, not all equal but each roughly equal to one quarter of a whole tone of Western music. Melody is based on the system of ragas, which are melody types used as the basis for improvisation. Hindustani music[edit] Main article: Hindustani classical music Hindustani music tradition was developed around 13th and 14th centuries AD with Persian influences and from existing religious and folk music.[3] The practice of singing based on notes was popular even from the Vedic times where the hymns in Sama Veda, a sacred text, were sung as Samagana and not chanted. Developing a strong and diverse tradition over several centuries, it has contemporary traditions established primarily in India but also in Pakistan and Bangladesh. In contrast to Carnatic music, the other main Indian classical music tradition originating from the South, Hindustani music was not only influenced by ancient Hindu musical traditions, historical Vedic philosophy and native Indian sounds but also enriched by the Persian performance practices of the Mughals. -
Downloaded Pakistani Song of the Year of Its Release
ROCKISTAN HISTORY OF THE MOST TURBULENT MUSIC GENRE IN PAKISTAN ROCKISTAN HISTORY OF THE MOST TURBULENT MUSIC GENRE IN PAKISTAN TAYYAB KHALIL COVER DESIGNED BY ANUM AMEER Copyright © 2021 by Tayyab Khalil All rights reserved This book or any portion thereof may not be reproduced or used in any manner whatsoever without the express written permission of the publisher except for the use of brief quotations in a book review ISBN: 978-969-23555-0-6 (Hard cover) ISBN: 978-969-23555-1-3 (E-book) Daastan Publications Floor # 1, Workspace 2, Office # 3, National Incubation Center, Islamabad Phone: +92-3219525753 Email: [email protected] www.daastan.com CONTENTS Preface 8 1. Only a Music Concert 11 2. A Game of Chance 20 3. Emergence of the Vital Empire 29 4. An Unholy Alliance 74 5. The Double-edged Sword 115 6. Underground Reverberations 169 7. Unveiling the Partition 236 8. Rock Renaissance 257 9. The Unconventional Path 315 10. Political Upheaval 344 11. Dimes, Crimes and Hard Times 368 12. Tragedy to Triumph 433 Acknowledgements 459 8 PREFACE The road travelled by Pakistani rock musicians is beset with challenges such as staunch criticism, struggling to have a socially acceptable image, having the door slammed in the face by record label owners and lowball offers by concert organizers. Not only are their careers mentally grueling and physically demanding but they also have an added risk of high investment and low returns. The rock genre has struggled to achieve its righteous place in the country whereas folk, qawalli, pop, bhangra and Bollywood music experienced skyrocketing popularity. -
Innerviews Book
INNERVIEWS: MUSIC WITHOUT BORDERS EXTRAORDINARY CONVERSATIONS WITH EXTRAORDINARY MUSICIANS Anil Prasad ABSTRACT LOGIX BOOKS CARY, NORTH CAROLIna Abstract Logix Books A division of Abstract Logix.com, Inc. 103 Sarabande Drive Cary, North Carolina 27513 USA 919.342.5700 [email protected] www.abstractlogix.com Copyright © 2010 by Anil Prasad ISBN 978-0-578-01518-7 Library of Congress Control Number: Pending Printed in India First Printing, 2010 All rights reserved. No part of this book may be reproduced in any form by any means without the written permission of the author. Short excerpts may be used without permission for the purpose of a book review. For Grace, Devin and Mimi CONTENTS Acknowledgements vii Foreword by Victor Wooten viii Introduction x Jon Anderson: Harmonic engagement 1 Björk: Channeling thunderstorms 27 Bill Bruford: Storytelling in real time 37 Martin Carthy: Traditional values 51 Stanley Clarke: Back to basics 65 Chuck D: Against the grain 77 Ani DiFranco: Dynamic contrasts 87 v Béla Fleck: Nomadic instincts 99 Michael Hedges: Finding flow 113 Jonas Hellborg: Iconoclastic expressions 125 Leo Kottke: Choice reflections 139 Bill Laswell: Endless infinity 151 John McLaughlin & Zakir Hussain: Remembering Shakti 169 Noa: Universal insights 185 David Sylvian: Leaping into the unknown 201 Tangerine Dream: Sculpting sound 215 David Torn: Mercurial mastery 229 Ralph Towner: Unfolding stories 243 McCoy Tyner: Communicating sensitivity 259 Eberhard Weber: Foreground music 271 Chris Whitley: Melancholic resonance 285 Victor Wooten: Persistence and equality 297 Joe Zawinul: Man of the people 311 Photo Credits 326 Artist Websites 327 About the Author 329 vi ACKNOWLEDGEMENTS Many people have contributed to Innerviews, both the website and the book, across the years.