The Musical Cultures of Children

2005 ◽  
pp. 57-69 ◽  
Author(s):  
Patricia Shehan Campbell
Keyword(s):  
Musical Cultures

From Trinidad and Tobago to the World: Determining the role of Calypso in a new Era

2020 ◽  
Vol 5 ◽  
pp. 7-11
Author(s):  
Malek Abdel-Shehid
Keyword(s):  
Trinidad And Tobago ◽  
Regional Integration ◽  
West African ◽  
Major Influence ◽  
New Era ◽  
Transatlantic Slave Trade ◽  
Cultural Sovereignty ◽  
Caribbean Culture ◽  
Musical Cultures

Calypso is a popular Caribbean musical genre that originated in the island nation of Trinidad and Tobago. The genre was developed primarily by enslaved West Africans brought to the region via the transatlantic slave trade during the seventeenth and eighteenth centuries. Although West-African Kaiso music was a major influence, the genre has also been shaped by other African genres, and by Indian, British, French, and Spanish musical cultures. Emerging in the early twentieth century, Calypso became a tool of resistance by Afro-Caribbean working-class Trinbagonians. Calypso flourished in Trinidad due to a combination of factors—namely, the migration of Afro-Caribbean people from across the region in search of upward social mobility. These people sought to expose the injustices perpetrated by a foreign European and a domestic elite against labourers in industries such as petroleum extraction. The genre is heavily anti-colonial, anti-imperial, and anti-elitist, and it advocated for regional integration. Although this did not occur immediately, Calypsonians sought to establish unity across the region regardless of race, nationality, and class through their songwriting and performing. Today, Calypso remains a unifying force and an important part of Caribbean culture. Considering Calypso's history and purpose, as well as its ever-changing creators and audiences, this essay will demonstrate that the goal of regional integration is not possible without cultural sovereignty.

EVGENY GOLUBEV AND NATIONAL MUSICAL CULTURES

2021 ◽  
Vol 1 (4) ◽  
pp. 187-194
Author(s):  
A. K. Sanko ◽  
Keyword(s):  
Folk Art ◽  
Musical Culture ◽  
National Cultures ◽  
Musical Cultures ◽  
Russian Composers ◽  
First Time

The article is devoted to the pedagogical activity of Evgeny Kirillovich Golubev (1910– 1988) — composer, professor of the Moscow State Conservatory, whose 110th birthday was celebrated in 2020. The relevance of the study lies in the fact that for the first time Golubev's contribution to the education of not only Russian composers, but also representatives of different national cultures — Hrant Grigoryan, Kapan Musin, Todor Popov, Andrey Eshpai and others is considered. The questions of the master's compositional pedagogy, which were little studied until now, are touched. The object of the research is Golubev's diary "Alogisms", as well as the memories of his students. The author highlights activities of Golubev's students who connected their creativity with other national cultures. Among them were Valentin Konchakov (1933–1993) who worked in Karelia and contributed greatly to the development of folk art in this republic, and the composer Aida Isakova (1940–2012) who participated in the formation of Kazakh musical culture in Alma-Ata and wrote essays on national themes.

Aesthetic Music Therapy

2015 ◽  
Author(s):  
Colin Andrew Lee
Keyword(s):  
Music Therapy ◽  
Therapeutic Work ◽  
The Arts ◽  
Musical Cultures ◽  
The World ◽  
Medicine Community ◽  
Theoretical Reflection

This chapter provides an overview of a music-centered model of music therapy entitled Aesthetic Music Therapy (AeMT). AeMT was developed over many years of practice and theoretical reflection not only as a music-centered approach to therapeutic work, but also as a way to consider the myriad means by which humans experience the world of self and others. By placing AeMT within the framework of other present-day music therapy models, the need for music-centered thinking to be considered equal to those of medicine, community, and psychotherapy is endorsed. By expanding our knowledge and use of diverse musical cultures, music therapy will remain at the forefront of contemporary theories in both the field of health and the arts.

scholarly journals Religiosity versus Spirituality in the Contemporary Nigerian Gospel Music

2016 ◽  
Vol 5 (2) ◽  
pp. 116-132
Author(s):  
Floribert Patrick Calvain Endong
Keyword(s):  
Music Industry ◽  
Secondary Data ◽  
Gospel Music ◽  
The Past ◽  
Literary Sources ◽  
Musical Cultures ◽  
Sex Scandals ◽  
Religious Landscape ◽  
Good Number

Abstract There have been remarkable (r)evolutions in the Nigerian gospel music industry for the past decades. These revolutions have led to the emergence and survival of various modern and controversial musical cultures/traditions, modes and performances including worldliness and paganism in the industry. In view of these relatively nefarious musical cultures, a good number of scholars and observers tend to arguably redefine and (re)brand Christian communication in general and Nigerian gospel music in particular. It is in following this premise that this paper examines the phenomenon of religiosity and worldliness in the Nigerian gospel music industry. Based on observations and secondary data (literary sources), the paper argues that the Nigerian gospel music industry is just a vivid reflection of the country’s gloomy socio-religious landscape, characterized by the emergence/prevalence of fake ministers and various ubiquitous instrumentalities that perpetrate spiritual bareness in the country. Aspects of religiosity observed in some Nigerian gospel songs include controversial rhythms, imitations/adaptations of worldly songs, lyrical emphasis on prosperity (materialism, fame and earthly glories) at the detriment of spirituality/salvation, gospel artists being associated with sex scandals and occult practices.

scholarly journals Imagined Engagements: Interpreting the Musical Relationship with the Canadian North

2019 ◽  
Vol 15 (2) ◽  
pp. 90-104
Author(s):  
Jeffrey Van den Scott ◽  
Lisa-Jo K. Van den Scott
Keyword(s):  
Sense Of Community ◽  
Imagined Communities ◽  
Musical Language ◽  
The West ◽  
Meeting Point ◽  
Canadian North ◽  
Musical Cultures ◽  
Interaction Order

In this article, we extend Benedict Anderson’s notion of imagined communities to examine the idea of an “imagined engagement” between or among people and groups that have not met. These imagined engagements include a blurring of temporal lines, as one group “interacts” with another’s past, present, or future. Imagined engagements are a form of failed interaction, and, as such, have their place in Goffman’s interaction order. We argue that musical language can comprise a meeting point of these engagements. We then demonstrate how two composers—one historic and one contemporary—have used the musical cultures of an Othered people, with a focus on Indigenous America, in an attempt to create a sense of community and common ties between the West and these Others—a sense of community in which the Othered have no part.

Some issues in formal music education in Nigeria: A case study of Kwara State

2011 ◽  
Vol 28 (3) ◽  
pp. 353-370
Author(s):  
Austin Emielu
Keyword(s):  
Music Education ◽  
Delivery System ◽  
Public Perception ◽  
Musical Cultures ◽  
Vertical Relationship ◽  
The Subject ◽  
Education Delivery ◽  
Goals And Objectives ◽  
Musical Literacy

Every educational system has its goals and objectives, curricula and modes of implementation. There is however the need for periodic assessment and evaluation. Specifically, this research paper sets out to evaluate the success or otherwise of the music education delivery system in Kwara state of Nigeria and its implications for the goals of music education in Nigeria. Data were gathered primarily from field situations using empirical and deductive methodologies and secondarily from government publications and other publications related to the subject matter. The paper observes that the noble idea of bi-musicality, a concept that stresses musical literacy in both one's own culture and that of the West is hampered by lopsidedness, crisis of perspectives and inadequate resource materials and persons. There is also a structural defect in the vertical relationship between the various levels of music education in the state. The paper further identifies public perception of music as a Christian subject as one of the obstacles to an effective music education delivery system in Nigeria. The paper concludes that until significant musical theories and conceptual approaches emerge from extensive fieldwork into Nigeria's diverse musical cultures, it will be difficult to develop and sustain an authentic and functional music education framework in Nigeria.

Audible Infrastructures

2021 ◽  
Keyword(s):  
Musical Cultures

Our day-to-day musical enjoyment seems so simple, so easy, so automatic. Songs instantly emanate instantaneously and almost magically from our computers and phones. The tools for playing and making music, such as records and guitars, wait for us in stores, ready for purchase and use. And when we’re done with all this stuff, we can kick it to the curb, where it disappears effortlessly and without a trace. These casual engagements often conceal the complex infrastructures that make our musical cultures possible.

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