Neo-traditional popular music in East Africa since 1945

Popular Music ◽  
1981 ◽  
Vol 1 ◽  
pp. 83-104 ◽  
Author(s):  
Gerhard Kubik

Since 1945 the musical scene in East Africa has been characterised by a series of important developments which ran parallel to an extensive political–cultural change of consciousness. All the musical forms which arose in this connection were ‘popular’ in the sense that they were appreciated by broad sections of society.

Popular Music ◽  
1984 ◽  
Vol 4 ◽  
pp. 279-300 ◽  
Author(s):  
Chris Cutler

This article falls into three loosely related parts. The first and third of these are derived from addresses given to the Popular Music Research Symposium at Exeter in September 1982, and at the Festival des Politischen Liedes in East Berlin in February 1982 respectively. The second forms a newly written bridge.


Popular Music ◽  
1990 ◽  
Vol 9 (3) ◽  
pp. 291-306 ◽  
Author(s):  
Johan Fornäs

What is moving in rock and pop? This question concerns both what levels change in the popular music arena, and how music can initiate changes inside and outside itself. Revolution in popular music can mean radical transformations of music itself, as well as the way in which social and psychic changes express themselves in music. Musical forms can go through revolutionary changes, and musical content can thematise revolutions.


2008 ◽  
Vol 13 (1) ◽  
pp. 41-50 ◽  
Author(s):  
Thomas Shave

AbstractCommunicative contract analysis constructs an analytic methodology, taking musical semiotics as a theoretical basis, to look at the ways in which pieces of popular music define themselves generically, and how they make reference to other genres. By taking the different components of a sound as referential to parent genres or foreign genres, one can tease out these references in hybrid musical forms. The method is then applied to three contemporary works, The Kaiser Chiefs' Ruby, Hadouken!'s That Boy, That Girl and Bjork's Joga, and the pertinent issues raised in these works are discussed.


Author(s):  
Héctor Vidal Rendón Marín ◽  
Gustavo Adolfo López Gil ◽  
Gustavo Adolfo López Gil ◽  
Fernando Mora Ángel ◽  
Fernando Mora Ángel

RESUMENEl Concierto Encuentro de Cuerdas Tradicionales Colombianas, evento anual que se realiza en la ciudad de Medellín y en varios municipios de Antioquia, es tomado aquí como una ventana para el análisis de la dinámica de esta práctica musical en el contexto regional. Se discute la participación de las nuevas generaciones, la disminución notoria de su público desde la óptica de una posible resistencia a cambios que no están a la altura de las exploraciones de las músicas populares en la actualidad; se establece una comparación entre las características de la práctica en la década previa a los inicios del evento y el período de su realización, y se examinan los mecanismos de apropiación, transmisión y circulación con que cuenta en la actualidad.PALABRAS CLAVECuerdas tradicionales de Colombia; bandola, tiple y guitarra; estudiantinas; música y cambio cultural; Concierto Encuentro de Cuerdas Tradicionales Colombianas.¿IMATAK ATUNKUNA SAKIPUSKA LLUKANKUNA KUNAURAMANDAKUNA? SUG KAWAI, SUG NIMANDA, KUNAURA KIÑANAKUSKATA LLULLACHISPA ÑUGPAMANDA KAUGSAIKUNA KAWACHISPASUGLLAPIKai tuna kuna rurankunami wata watapi kai Medellín sutipi chasallata kai pueblo kuna chillapita kaugsaikunapas rurankuna tapuchikuna chasallata kausakuna. Kawachinakami imasami kunaura ka rimai kaugsai kawachingapa kanchanimanda samunakuskata ima ruraikuna allilla kangapa tukikuna IMA SUTI RIMAI SIMI: Watachidiru ñugapamanda atun llagtapi tunai sugrigcha rurai, sugrigcha kaugsai, tunai tukuikunamanda ñugpa ullachidirukunawa.¿QUÉ LES QUEDA A LOS JÓVENES? UNA MIRADA DESDE EL CONCIERTO ENCUENTRO AL ROL DE LAS NUEVAS GENERACIONES EN LAS CUERDAS TRADICIONALES ANDINAS COLOMBIANAS EN ANTIOQUIAABSTRACTThe Concierto Encuentro de Cuerdas Tradicionales Colombianas (Concert Gathering of Traditional Colombian Strings), annual event that takes place in Medellin and several towns of Antioquia, is taken as a window to analyze the dynamics of this musical practice in the regional context. This article approaches and discusses the involvement of new generations and the noticeable decrease of its audience from the perspective of a possible resistance to change, or to changes that do not rise to the current explorations on popular music. A comparison is made between the characteristics of this practice in the decade prior to the beginning of the event and the period in which it started; the mechanisms of appropriation, transmission and circulation it currently has are examined as wellKEYWORDSColombian traditional strings; bandola, tiple and guitar; student bands; music and cultural change; Concierto Encuentro de Cuerdas Tradicionales Colombianas.QU’EST-CE QU’IL EN RESTE AUX JEUNES GENS ? UN REGARD, À PARTIR DU CONCIERTO ENCUENTRO, AU RÔLE DES NOUVELLES GÉNÉ- RATIONS DANS LES INSTRUMENTS À CORDES TRADITIONNELS DES ANDES COLOMBIENS EN ANTIOQUIAERÉSUMÉLe Concierto Encuentro de Cuerdas Tradicionales Colombianas (Concert-rencontre d’instruments à cordes traditionnels colombiens), événement annuel qui a lieu dans Medellin et plusieurs villes d’Antioquia, est considéré comme une fenêtre pour analyser la dynamique de cette pratique musicale dans le contexte régional. Cet article aborde et discute la participation des nouvelles générations et la diminution notable de son public dans la perspective d’une éventuelle résistance à un changement qui ne monte pas au niveau des explorations actuelles autour la musique populaire. Une comparaison est faite entre les caractéristiques de cette pratique dans la décennie qui a précédé le début de l’événement et celles de la période pendant laquelle il a commencé ; les mécanismes d’appropriation, de transmission et de circulation qu’elle possède actuellement sont examinés aussi bien. MOTS-CLEFS Instruments à cordes traditionnels colombiens ; bandola, tiple et guitare ; estudiantinas ; musique et changement culturel ; Concierto Encuentro de Cuerdas Colombianas Tradicionales.O QUE FICA AOS JOVENS? UMA OLHADA, DESDE O CONCERTO ENCONTRO, O PAPEL DAS NOVAS GERAÇÕES NAS CORDAS TRADICIONAIS ANDINAS COLOMBIANAS EM ANTIOQUIARESUMOO Concerto Encontro de Cordas Tradicionais Colombianas, evento anual que se realiza na cidade de Medellín e em vários municípios de Antioquia, é tomado aqui como uma janela para a análise da dinâmica desta prática musical no contexto regional. Discute-se a participação das novas gerações, a diminuição notória do seu público desde a ótica de uma possível resistência a mudanças que não estão à altura das explorações das músicas populares na atualidade: se estabelece uma comparação entre as características da prática na década previa aos inícios do evento e o período de sua realização, e se examinam os mecanismos de apropriação, transmissão e circulação com que conta na atualidade.PALAVRAS CHAVESCordas tradicionais da Colômbia; “Bandola”, “Tiple” e violão; estudantina; música e mudança cultural; Concerto Encontro de Cordas Tradicionais Colombianas. Recibido el 16 de abril de 2015 Aceptado el 16 de octubre de 2015


2015 ◽  
Vol 2 (5) ◽  
pp. 150081 ◽  
Author(s):  
Matthias Mauch ◽  
Robert M. MacCallum ◽  
Mark Levy ◽  
Armand M. Leroi

In modern societies, cultural change seems ceaseless. The flux of fashion is especially obvious for popular music. While much has been written about the origin and evolution of pop, most claims about its history are anecdotal rather than scientific in nature. To rectify this, we investigate the US Billboard Hot 100 between 1960 and 2010. Using music information retrieval and text-mining tools, we analyse the musical properties of approximately 17 000 recordings that appeared in the charts and demonstrate quantitative trends in their harmonic and timbral properties. We then use these properties to produce an audio-based classification of musical styles and study the evolution of musical diversity and disparity, testing, and rejecting, several classical theories of cultural change. Finally, we investigate whether pop musical evolution has been gradual or punctuated. We show that, although pop music has evolved continuously, it did so with particular rapidity during three stylistic ‘revolutions’ around 1964, 1983 and 1991. We conclude by discussing how our study points the way to a quantitative science of cultural change.


2017 ◽  
Vol 53 (1) ◽  
pp. 57-94 ◽  
Author(s):  
BRIAN IRELAND ◽  
SHARIF GEMIE

In this paper we analyse one particular interaction: the development of a self-consciously “Eastern”-sounding music within Western pop music. We understand this in the context of several “journeys to the East”: some virtual (the interest in oriental religions, the adoption of Eastern musical forms) and some real (the journeys taken to the East by some musicians and by thousands of young people). We will consider, first, the milieu within which these changes took place, and then analyse the methods, scale and motivations of those Western artists who took inspiration from Eastern, mainly Indian, music in the 1960s and 1970s to create what became known as “raga rock.” Our aim is to demonstrate that these developments added up to a “neo-orientalism”: resembling the older, imperial orientalism in its tendency to simplify and romanticize the East, but different from it in the passionate sincerity of its admiration for certain Eastern forms, which were taken to the point of challenging dominant cultural and even political norms within the West.


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