The Cambridge History of World Music

2013 ◽  
Keyword(s):  
World Music ◽  
History Of

5. Music of the nations

2020 ◽  
pp. 68-86
Author(s):  
Philip V. Bohlman
Keyword(s):  
World Music ◽  
Nation State ◽  
Complex Relationship ◽  
National Anthem ◽  
Eurovision Song Contest ◽  
History Of ◽  
Music Nationalism ◽  
Socialist Movement ◽  
Crimean Tatar ◽  
Modern Nation State

Looking at the contentious history of the Eurovision Song Contest, ‘Music of the nations’ considers the complex relationship between world music, nationalism, and the modern nation-state. In her winning song in 2016, ‘1944’, the Ukrainian entry Jamala switched from English to Crimean Tatar, a political reference to the Russian annexation of Ukraine. Zimbabwe changed its anthem from ‘God Save the Queen’ to an African song via ‘Ode to Joy.’ ‘HaTikva’ went from a chorus at an international congress to the Israeli national anthem. There are also supra- or international anthems like the ‘Internationale’, a standard of the socialist movement worldwide.

scholarly journals Fado – głos Portugalii

2019 ◽  
Vol 16 (1/2) ◽  
pp. 203
Author(s):  
Renata Gozdecka
Keyword(s):  
Cultural Identity ◽  
19Th Century ◽  
World Music ◽  
The World ◽  
The Matrix ◽  
History Of ◽  
The Voice

<p>Głównym założeniem niniejszego artykułu jest ukazanie dziejów pieśni fado oraz przybliżenie ich poetycko-muzycznej specyfiki. Stosownie do tego pierwszą część opracowania wypełni ogólny rys historyczny gatunku, drugą część natomiast poświęcimy omówieniu poetyki pieśni fado – rozpatrywanej od strony tekstu, cech muzycznych, z uwzględnieniem także roli najwybitniejszych śpiewaków.</p><p><strong>Fado – the Voice of Portugal</strong></p>SUMMARY<p>Fado – a characteristic genre of Portugal music which dates back to the mid-19th century – has gained importance and popularity for a several dozen years, not only in Portugal but in many other places in the world as well. Fado songs emanate with an emotional load and symbolic message especially due to the interpretations of expressive performers (such as Amalia Rodrigues or Mariza). Fado is, at the same time, one of the clearest genres in international circles of the world music and at the same time it is an image of the cultural identity of Portugal. It coexists with other genres of performative musical-poetic art, both popular and artistic ones; moreover as the matrix of identity of this country it is widespread among Portugal diaspora. The article presents the history of fado songs and their poetic-musical specifi city. The fi rst part of the study concerns historical description of the genre, the second part discusses the poetics of fado song – from the angle of its verbal text, music features, taking into consideration the most famous singers.</p>

scholarly journals Fenomena Multikulturalisme Dalam Musik: Sebuah Telaah Elemen Elemen Musikal Non Barat dalam Karya Komposer Musik Barat

2012 ◽  
Vol 10 (1) ◽  
Author(s):  
Esy Maestro
Keyword(s):  
American Music ◽  
World Music ◽  
The Political ◽  
Music Culture ◽  
African American Music ◽  
The World ◽  
Long Time ◽  
History Of ◽  
The Difference ◽  
History Of Literature

The study of the music phenomenon has long been an important discussion due to its role in upholding the accretion of the history of literature of the world of music. Among the two poles music’s idealism, which is between European and American, they both have different opinion about multiculturalism. The multiculturalism in the Europe is the unification of the music culture with the lowest integrity level between the music cultures which possibly experience the multicultural process. It means, with the music culture base which just established like music classic, so that the multicultural process will cannot be seen easily from the music which recommended, because its interference usually dissolved is the music substance which intrinsically used, at rhythmic, melodies, form and others.  Meanwhile the multiculturalism phenomenon in the America will offers the explicit structures, which accurately occurs the powerful and influential multiculturalism process. This thing also based on the heterogeneous America’s people as the interference of many cultures by means of the difference music. The multiculturalism music in America also develop faster because in its accretion it influence with the political period and the crime-infested unsafe makes the countries which moves to America feels that they the same. So, it is not surprise if the performance of the African-American music or the America’s World Music will demonstrate the music multiculturalism process which actual and has been growth for a long time. Keywords: the music, multiculturarism, America and Europe

World Music: A Very Short Introduction

2020 ◽  
Author(s):  
Philip V. Bohlman
Keyword(s):  
Music Industry ◽  
Folk Song ◽  
World Music ◽  
Short Introduction ◽  
National Pride ◽  
The Enlightenment ◽  
The World ◽  
History Of ◽  
Different Cultures

World Music: A Very Short Introduction looks at the history of world music and its many definitions. ‘World music’ is more than a marketing term for the music industry. During the Enlightenment, the idea of the ‘folk song’ encouraged European audiences to imagine music from around the world. Technology helped to create the ‘audio moment’—the transformation of sound into material which could be recorded and distributed worldwide. Throughout history, music has been used to express unity and national pride. World music both foregrounds and transgresses borders. Ideas in different cultures about world music, and indeed about music, are as diverse as ever.

2. The West and the world

2020 ◽  
pp. 18-36
Author(s):  
Philip V. Bohlman
Keyword(s):  
Balance Of Power ◽  
Folk Songs ◽  
World Music ◽  
Middle Passage ◽  
The West ◽  
Music Making ◽  
The World ◽  
History Of ◽  
Different Cultures

‘The West and the world’ investigates the unequal balance of power in the transcription, recording, and history of world music. World music may have been forged in the ‘Middle Passage’ from Africa to slavery elsewhere, but its musicians were nameless. Their music-making was documented by those with power. Collectors of world music have an anthological impulse, bringing together songs from different cultures. Johann Gottfried Herder’s collection of Volkslieder or ‘Folk Songs’ and two of the first anthologies on record—the Demonstration Collection and Music of the Orient—show that the products of the overarching anthological impulse can be very different.

scholarly journals Introduction of innovative technologies in the study of music disciplines in higher educational institutions of Ukraine

2021 ◽  
pp. 1618-1634
Author(s):  
Hanna Karas ◽  
Lesia Romaniuk ◽  
Iryna Novosiadla ◽  
Liudmyla Obukh ◽  
Zhanna Zvarychuk
Keyword(s):  
Teaching And Learning ◽  
Musical Training ◽  
World Music ◽  
Educational Institutions ◽  
Choral Conducting ◽  
Innovative Technologies ◽  
Musical Works ◽  
Information And Communication ◽  
History Of ◽  
Multimedia Technologies

The problem of modernisation of the modern educational system in Ukraine, updating the content and organisational forms of teaching and education, techniques and methods of pedagogical work in higher education encourages the search for new methods and tools of teaching and learning, introduction of innovative technologies, including information and communication. The study considers the application of multimedia technologies, interactive learning and coaching technologies in the study of music-theoretical and music-historical disciplines ("Music Theory", "Solfeggio", "Harmony", "Polyphony", "Analysis of Musical Works", "History of World Music" and "History of Ukrainian Music"), which constitute the fundamental basis of musical training of future professionals, the development of their musicological competencies of various types and content, as well as in mastering the disciplines ("Piano as the Major Instrument ", "Choral Conducting", "Choral Class"), which develop special competencies.

SERGEY YAKOVENKO: HE KNEW HOW TO EMBRACE THE IMMENSITY

2020 ◽  
Vol 1 (3) ◽  
pp. 173-182
Author(s):  
O. A. Podguzova ◽  
Keyword(s):  
Science Education ◽  
Musical Theater ◽  
World Music ◽  
Russian Culture ◽  
Wide Range ◽  
Performance Interpretation ◽  
History Of ◽  
Major Figure ◽  
Pedagogical Principles

The article is dedicated to the famous singer and teacher, Doctor of Arts Sergey Borisovich Yakovenko. It presents selected pages of the master's life, his performing activity, tells about the musician's creative contacts with representatives of Russian culture of the second half of the XXth – early XXIst centuries. The first performer of many modern vocal works, monooperas, cantatas and oratorios, outstanding and little-known works of world music, romances and songs by Soviet composers, S. B. Yakovenko is also a major figure in science, education and musical enlightenment. His research focuses on a wide range of issues related to vocal creativity, performance interpretation and singing traditions. The article also presents the basic pedagogical principles of the musician. The publication contains the material from one of the last works of S. B. Yakovenko "Three Hundred Years Without a Director", which never saw the light. It is devoted to the history of musical theater, the role of director, conductor and composer in it. The source for this research were the books of the prominent singer and teacher, articles about his work, personal conversations of the author with S. B. Yakovenko.

Postlude

2020 ◽  
pp. 207-226
Author(s):  
Aleysia K. Whitmore
Keyword(s):  
New World ◽  
New Technologies ◽  
World Music ◽  
Old World ◽  
Power Asymmetries ◽  
History Of

The Postlude examines how musicians, industry personnel, and audiences today reflect on the history of the industry and its future. New technologies and platforms offer exciting new tools for participating in the genre culture and for addressing the issues of (mis)representation and power asymmetries that world music has been grappling with for the last thirty years. New world music 2.0 actors are redefining world music and rejecting the label altogether. However, they also confront the same challenges as their predecessors. While they denounce “old” world music, power asymmetries, self-righteous attitudes, and colonialist associations, they too find themselves negotiating which sounds to record, how to sell them, and what values and identities these musics carry with them. This chapter argues that those working in world music 1.0 and 2.0 should speak with one another—collaborate—in order to productively negotiate these issues in the context of a changing genre culture.

Brooklyn Soca as Transnational Expression

Jump Up! ◽  
2019 ◽  
pp. 189-206
Author(s):  
Ray Allen
Keyword(s):  
Cultural Identity ◽  
International Marketing ◽  
World Music ◽  
Musical Style ◽  
Cultural Globalization ◽  
History Of ◽  
Production Practices ◽  
Music Recordings

Building upon the history of the Brooklyn-based record companies outlined in the previous section, chapter 7 interprets soca music as transnational expression, anchored in Trinidadian tradition but indelibly shaped by musical and production practices in the diaspora. The style, structure, and themes of Brooklyn-produced songs are examined and positioned within the broader context of Caribbean and world music recordings of the period. An alternative history of soca is proposed, one emphasizing transnational roots resulting from the confluence of Trinidadian and American musical influences. Various patterns of musical style, international marketing, and diasporic song content are useful in assessing the dynamics of cultural globalization. This chapter looks at issues of stylistic transformation, lyrical content, soca’s location vis-à-vis other popular diasporic world musics, and the interplay of musical hybridity and cultural identity.

Our Musical Heritage: A Short History of World Music

1948 ◽  
Vol 35 (2) ◽  
pp. 40
Author(s):  
Will Earhart ◽  
Curt Sachs
Keyword(s):  
World Music ◽  
Short History ◽  
History Of ◽  
Musical Heritage
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