Getting into the groove?

Popular Music ◽  
2000 ◽  
Vol 19 (3) ◽  
pp. 397-402
Author(s):  
Jill Halstead
Keyword(s):  
New York ◽  
Popular Music ◽  
Media Studies ◽  
Cultural Theory ◽  
Gender And Sexuality ◽  
Popular Music Studies ◽  
And Performance ◽  
And Gender ◽  
Music And Gender

Sexing the Groove: Popular Music and Gender.Edited by Sheila Whiteley. London and New York: Routeledge, 1997, 353 pp.Sex, sexuality and articulations of gender are well-established components in the production and performance of popular music. Hence, Sexing the Groove, edited by Sheila Whiteley, is a very welcome addition to this vital and growing area of popular music studies and cultural theory more generally. The collection reflects the reality that studies of gender and sexuality in popular music are born of a hybrid lineage; accordingly the book approaches its subject from a range of disciplines such as sociology, cultural theory, media studies, sychology and musicology, and as such is a vibrant mix. Despite its relative diversity, the book's structure and progression is fluent and focused.

Are Popular Music Curricula Antiracist?: The CCNY Music Department as a Case Study

2021 ◽  
Vol 15 (4) ◽  
pp. 447-451
Author(s):  
Matthew K. Carter
Keyword(s):  
New York ◽  
Popular Music ◽  
Contemporary Music ◽  
Music Educators ◽  
American Music ◽  
Ear Training ◽  
Music Department ◽  
City College ◽  
Popular Music Studies ◽  
Music Theorist

In a recent virtual talk at the Hitchcock Institute for Studies in American Music, music theorist Philip Ewell considered how music educators and researchers might begin to “undo the exclusionist framework of our contemporary music academy.” Ewell's enterprise resonated with me not only as one who teaches undergraduate courses in music theory, history, performance, and ear training, but also as an instructor in a recently adopted Popular Music Studies program at the City College of New York (CCNY). The CCNY music department's shift in focus from a mostly white, mostly male, classical-based curriculum towards a more diverse and polystylistic repertory of popular music chips away at the exclusionist framework to which Ewell refers.

Malay Women Singers of Colonial Malaya

2017 ◽  
Author(s):  
Tan Sooi Beng
Keyword(s):  
Popular Music ◽  
Women Performers ◽  
New Music ◽  
British Colonialism ◽  
Performing Artists ◽  
Political Transformations ◽  
New Type ◽  
And Performance ◽  
And Gender ◽  
Experiences Of Women

Popular Malay music developed in Malaya in tandem with socio-political transformations which took place as a result of British colonialism. It was at this time that a new type of local commodified urban popular music known as lagu Melayu (Malay song) emerged to entertain the multiethnic urban audiences from different social and class backgrounds. This new music was shaped by the convergence of the new social conditions, technology such as print, gramophone, radio, film, microphones, cultural forms, and performance sites that emerged. By examining the song styles and texts of 78 rpm recordings of Lagu Melayu, oral interviews with performers, and published texts of the colonial period, this chapter illustrates how the new popular music accorded women performing artists voice and agency to negotiate dominant discourses regarding modern colonial subjectivity and gender. Women singers promoted a type of vernacular modernity that was not defined solely in European terms butwas characterized by continuity, difference, and hybridity. The musical recordings and stories of their lives reveal the complex polyvocal and sometimes contradictory experiences of women performers in colonial Malaya.

scholarly journals Evaluation of the performances of ‘typical’ imaging abnormalities of axial spondyloarthritis: results of the cross-sectional ILOS-DESIR study

RMD Open ◽  
2019 ◽  
Vol 5 (1) ◽  
pp. e000918 ◽  
Author(s):  
Anna Molto ◽  
Laure Gossec ◽  
Marie-Martine Lefèvre-Colau ◽  
Violaine Foltz ◽  
Romain Beaufort ◽  
...  
Keyword(s):  
New York ◽  
Chronic Back Pain ◽  
Axial Spondyloarthritis ◽  
Diagnostic Feature ◽  
Likelihood Ratios ◽  
Cross Sectional ◽  
Recent Onset ◽  
And Performance ◽  
And Gender ◽  
Sensitivity Specificity

ObjectiveTo evaluate the prevalence and performance as axial Spondyloarthritis (axSpA) diagnostic feature of radiographic and MRI lesions ‘typical’ of axSpA of the sacroiliac joint (SIJ) and spine in a mechanical chronic back pain (CBP) population and in an axSpA cohort.MethodsCross-sectional multicentre study. Patients: (1) recent onset axSpA (DESIR cohort) and (2) mechanical non-axSpA CBP matched for age and gender (ILOS study). Imaging: radiographs and MR scans were performed identically in both groups. All images were centrally read, blinded for diagnosis and for other imaging findings in the same patient. Statistical analysis: prevalence of lesions ‘typical of axSpA’ were compared in both groups. Sensitivity, specificity and positive likelihood ratios (LR+) of each lesion (and combination of lesions) were calculated.ResultsA total of 98 patients with CBP were included, and compared with 100 patients with recent onset axSpA. SIJ lesions were consistently more frequent in the axSpA group (35.0% vs 11.8% p<0.001, 35.0% vs 8.4% p<0.001% and 32.0% vs 10.0%. p<0.001 for modified New York criteria, MRI sacroiliitis and ≥3 erosions of the SIJ on MRI, respectively), and performed well (LR+ for ≥3 erosions 3.0 (95% CI 1.6 to 5.8)). Spine lesions were comparable across groups: radiographic lesions were rare, while all MRI lesions were frequent.ConclusionOur study confirms that ‘typical’ lesions can also be observed in patients with non-axSpA CBP but that SIJ lesions by all modalities remain the most valuable for diagnosis, including structural lesions of the SIJ. This suggests the potential interest of adding MRI SIJ structural lesions in the definition of MRI abnormalities for axSpA classification.

scholarly journals Theory and Fieldwork

2013 ◽  
Vol 19 (1) ◽  
pp. 4-18 ◽  
Author(s):  
John Shepherd ◽  
Beverley Diamond
Keyword(s):  
Popular Music ◽  
Cultural Theory ◽  
Current Work ◽  
Alternative Theory ◽  
Prominent Feature ◽  
Social Contingencies ◽  
Popular Music Studies ◽  
Disciplinary History ◽  
The Social ◽  
Academic Study

Abstracts John Shepherd This intervention suggests that the recent and welcome emergence of fieldwork as a prominent feature of much current work in popular music studies has deflected attention from an undertaking that characterized the early days of popular music studies: that of developing from within the various protocols of cultural theory concepts to explain the meanings, significances, and affects that music as a socially and culturally constituted form of human expression holds for people. In tracing a shift from theoretical to ethnographic concerns in work carried out in popular music studies by musicologists, ethnomusicologists, social anthropologists, and sociologists, it is suggested that a renewed emphasis on theory in musicological work in popular music studies may be of consequence for the academic study of music as a whole. Beverley Diamond In response to the editor's question concerning theory and fieldwork, this colloquy argues that the two are inseparable. Further, the importance of fieldwork in providing "alternative theory" which challenges the consistencies of academic thinking is emphasized. For this reason, the article eschews disciplinary history as a means of tracing important theoretical currents in music scholarship and, instead, presents arguments which confront the hegemonies of any history, any discourse of intellectual continuity, positing incidents which expose the social contingencies of theory.

scholarly journals Myths of Male Same-Sex Love in the Art of the Italian Renaissance

2015 ◽  
Vol 3 (1) ◽  
pp. 65-95
Author(s):  
Ann Haughton ◽  
Ann Haughton
Keyword(s):  
Social History ◽  
Gender And Sexuality ◽  
Italian Renaissance ◽  
Same Sex ◽  
Primary Case ◽  
Historical Discourse ◽  
Cultural Mores ◽  
History Of ◽  
And Performance ◽  
And Gender

Visual culture has much to contribute to an understanding of the history of sexuality. Yet, to date, the depiction of pederasty in the art of the Renaissance has not been covered adequately by dominant theoretical paradigms. Moreover, the interpretive approach of traditional art historical discourse has been both limited and limiting in its timidity toward matters concerning the representation of sexual proclivity between males. This article will address the ways in which Italian Renaissance artistic depictions of some mythological narratives were enmeshed with the period’s attitudes toward sexual and social relationships between men.Particular attention is paid here to the manner in which, under the veneer of a mythological narrative, certain works of art embodied a complex set of messages that encoded issues of masculine behaviour and performance in the context of intergenerational same-sex erotic relationships.  The primary case studies under investigation for these concerns of gender and sexuality in this particular context are Benvenuto Cellini’s marble Apollo and Hyacinth (1545), and Giulio Romano’s drawing of Apollo and Cyparissus (1524). By incorporating pictorial analysis, social history, and gender and sexuality studies, new possibilities will be offered for evaluating these artworks as visual chronicles of particular sexual and cultural mores of the period. Furthermore, this article will consider how visual representation of these mythic narratives of erotic behaviour between males conformed to the culturally defined sexual and social roles relating to the articulation of power that permeated one of the greatest milestones in art history.

Mainstreaming Dance Music and Articulating Femininity

2017 ◽  
Author(s):  
Hee-sun Kim
Keyword(s):  
Popular Music ◽  
Music Performance ◽  
Gender And Sexuality ◽  
Critical Discourse ◽  
Entertainment Industry ◽  
Pop Music ◽  
Dance Music ◽  
Cultural Meanings ◽  
Cultural Contexts ◽  
And Performance

Korean pop music, or K-pop, has emerged and taken its dominant place since the turn of this century, but its girl groups can trace their lineage back to the 1990s, while the dance music so characteristic of K-pop began in the dance music boom of the 1980s. This chapter examines the music, image, and performance styles of female dance divas from the 1980s into the 2000s. Its purpose is threefold: first, to properly historicize the female dance singers of Korean pop music within their socio-cultural contexts and trace how the image of sexuality has evolved from those early dance divas to the K-pop girl groups of today; second, to examine the ways in which multi-dimensional cultural meanings and voices are constructed through the music, performance styles, and images, atop discourses of body, gender, and sexuality; and third, to dispute earlier assumptions about Korean female dance singers as being merely innocent victims of the globalized commercial entertainment industry and patriarchal systems. This study seeks to reveal the female dance singers as major subjectivities in shaping modern Korean popular music, a role inevitably overshadowed by the strong critical discourse on K-pop girls that emphasizes their sexuality.

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