Frames

2020 ◽  
pp. 151-175
Author(s):  
Aleysia K. Whitmore
Keyword(s):  
North America ◽  
Music Performance ◽  
World Music ◽  
Cutting Edge ◽  
Avant Garde ◽  
The World ◽  
Market Niche ◽  
Music Genre

Part III examines who world music audiences are and what draws them to Orchestra Baobab and AfroCubism. This chapter sets the scene by offering an ethnography of world music performance venues in Europe and North America. Orchestra Baobab and AfroCubism have performed at Bonaroo, Jazz à Marciac, and WOMAD. They have shared venues with Prince and fun., classic and avant-garde jazz, and Nigerian funk. Venues experiment with how performers can fit into and expand their market niche and image (e.g., cutting edge, worldly, charitable) as they look to attract the most (and right kind of) audiences. The chapter argues that heterogeneous performance frames do not just help redefine the world music genre culture. They offer a path to the label’s destruction—and the music’s reconstruction as a more mainstream genre culture.

Setting the Scene

2020 ◽  
pp. 41-54
Author(s):  
Aleysia K. Whitmore
Keyword(s):  
North America ◽  
Music Industry ◽  
World Music ◽  
Historical Overview ◽  
American Industry ◽  
Culture Industries ◽  
The World ◽  
Points Of View

Part I examines the world music industry from the points of view of European and American industry personnel (e.g., booking agents, record labels personnel, tour managers). Chapter 1 contextualizes the world music industry in the larger music and culture industries. Since its birth in 1987, world music has been a vague category. It has encompassed an enormous variety of music: traditional and folk musics, newly composed traditional musics, and vintage and contemporary popular musics. What, then, is “world music”? Where did it come from? After providing a historical overview of world music through its emergence as a genre category in the 1980s and its growth in the ’90s, the chapter examines how culture industries have, in collaboration with consumers, developed a market for, and expectations of, ethnic “others” in Europe and North America.

Early Encounters in Bimusicality

2020 ◽  
pp. 23-46
Author(s):  
Elizabeth A Clendinning
Keyword(s):  
United States ◽  
North America ◽  
Music Education ◽  
Early Development ◽  
The United States ◽  
World Music ◽  
Educational Practices ◽  
The World ◽  
Music Ensemble ◽  
World’S Fairs

The chapter presents an overview of the introduction of gamelan to North America and examines how the ensembles assumed a key role within the philosophy and practice of American collegiate world music education. Musical and cultural exhibitions at world’s fairs, the dispersion of early recordings of gamelan music, transnational performance tours, and the work of Western composers and pedagogues led to the importation of instruments and founding of early academic gamelans. The world music ensemble programs modeled after those founded at UCLA by Mantle Hood embodied a new and important paradigm in ethnomusicology termed bimusicality, as well as sparking the collegiate world music ensemble movement. The chapter concludes with a brief overview of the current gamelan scene in the United States that reconnects the early development of academic gamelan ensembles to contemporary artistic and educational practices.

Blockchain in Philanthropic Management

2021 ◽  
pp. 187-197
Author(s):  
Sini Anna Alex ◽  
Anita Kanavalli ◽  
Drishya Ramdas
Keyword(s):  
Cutting Edge ◽  
Third Party ◽  
Healthcare Sector ◽  
Social Aspect ◽  
Avant Garde ◽  
Smart Contract ◽  
The Social ◽  
The World ◽  
Money Transfer

In the world of cutting-edge technology, a buzzword that has been thrown around quite often is blockchain. It has gained prominence in a wide array of fields ranging from the money transfer industry to that of the healthcare sector. The primordial reason for this varied use is the concept of smart contract that makes it intangible and less susceptible to errors. Using this platform of blockchain, the authors propose an avant-garde method of contributing donations to charities through a pivotal body, namely the trust. This application is paramount in the sense that it binds the advancements made on the technological frontier with the social aspect of life, that is, charities in the form of NGO's or other such beneficiaries. This enforces the scrupulous way of donating, ensuring that the money does not get consumed by outsiders or any third-party bodies because ultimately, safeguarding the needs and necessities of the lesser privileged folks is the primary goal, which should be addressed with immediate effect.

scholarly journals (Re)defining tradition: the example of the world music phenomenon

2016 ◽  
Vol 9 (1) ◽  
pp. 69
Author(s):  
Marija Ristivojević
Keyword(s):  
World Music ◽  
Music Festival ◽  
Cultural Policies ◽  
Cultural Phenomenon ◽  
Anthropological Theory ◽  
Musical Tradition ◽  
The World ◽  
Music Genre ◽  
Global And Local ◽  
Local Narratives

The paper problematizes the understanding of the concept of tradition in the context of the world music phenomenon. Marketed as a hybrid music genre, from the perspective of anthropological theory, the world music genre is a complex cultural phenomenon, the result of mixing global and local influences which are reflected not only in the creation of a specific sound, but through different perceptions of music itself (the audience, musicians, producers, creators of cultural policies etc.) By analyzing the Serbian world music scene as exemplified by the work of the World Music association of Serbia, as well as the Serbia World Music Festival in Takovo, I will attempt to determine the way in which the concept of world music is perceived in local narratives, whether it is experienced as a form of musical tradition and if so, what is signified and represented as tradition in this context.

Experiment role in the world music (based on the «The Road» album of the Ukrainian «Dakha Brakha» band)

2018 ◽  
pp. 215-227
Author(s):  
Iia Fedorova
Keyword(s):  
Folk Music ◽  
World Music ◽  
The Other ◽  
Modern Music ◽  
Musical Practice ◽  
The Road ◽  
Music Practice ◽  
The World ◽  
Binary Oppositions ◽  
Musical Practices

The main objective of this study is the substantiation of experiment as one of the key features of the world music in Ukraine. Based on the creative works of the brightest world music representatives in Ukraine, «Dakha Brakha» band, the experiment is regarded as a kind of creative setting. Methodology and scientific approaches. The methodology was based on the music practice theory by T. Cherednychenko. The author distinguishes four binary oppositions, which can describe the musical practice. According to one of these oppositions («observance of the canon or violation of the canon»), the musical practices, to which the Ukrainian musicology usually classifies the world music («folk music» and «minstrel music»), are compared with the creative work of «Dakha Brakha» band. Study findings. A lack of the setting to experiment in the musical practices of the «folk music» and «minstrel music» separates the world music musical practice from them. Therefore, the world music is a separate type of musical practice in which the experiment is crucial. The study analyzed several scientific articles of Ukrainian musicologists on the world music; examined the history of the Ukrainian «Dakha Brakha» band; presented a list of the folk songs used in the fifth album «The Road» by «Dakha Brakha» band; and showed the degree of the source transformation by musicians based on the example of the «Monk» song. The study findings can be used to form a comprehensive understanding of the world music musical practice. The further studies may be related to clarification of the other parameters of the world music musical practice, and to determination of the experiment role in creative works of the other world music representatives, both Ukrainian and foreign. The practical study value is the ability to use its key provisions in the course of modern music in higher artistic schools of Ukraine. Originality / value. So far, the Ukrainian musicology did not consider the experiment role as the key one in the world music.

scholarly journals The Emerging Global Tobacco Treatment Workforce: Characteristics of Tobacco Treatment Specialists Trained in Council-Accredited Training Programs from 2017 to 2019

2021 ◽  
Vol 18 (5) ◽  
pp. 2416
Author(s):  
Christine E. Sheffer ◽  
Abdulmohsen Al-Zalabani ◽  
Andrée Aubrey ◽  
Rasha Bader ◽  
Claribel Beltrez ◽  
...  
Keyword(s):  
North America ◽  
Tobacco Use ◽  
Training Programs ◽  
Systems Of Care ◽  
Eastern Mediterranean ◽  
Annual Number ◽  
Treatment Services ◽  
Tobacco Treatment ◽  
The World ◽  
Academic Settings

Tobacco use is projected to kill 1 billion people in the 21st century. Tobacco Use Disorder (TUD) is one of the most common substance use disorders in the world. Evidence-based treatment of TUD is effective, but treatment accessibility remains very low. A dearth of specially trained clinicians is a significant barrier to treatment accessibility, even within systems of care that implement brief intervention models. The treatment of TUD is becoming more complex and tailoring treatment to address new and traditional tobacco products is needed. The Council for Tobacco Treatment Training Programs (Council) is the accrediting body for Tobacco Treatment Specialist (TTS) training programs. Between 2016 and 2019, n = 7761 trainees completed Council-accredited TTS training programs. Trainees were primarily from North America (92.6%) and the Eastern Mediterranean (6.1%) and were trained via in-person group workshops in medical and academic settings. From 2016 to 2019, the number of Council-accredited training programs increased from 14 to 22 and annual number of trainees increased by 28.5%. Trainees have diverse professional backgrounds and work in diverse settings but were primarily White (69.1%) and female (78.7%) located in North America. Nearly two-thirds intended to implement tobacco treatment services in their setting; two-thirds had been providing tobacco treatment for 1 year or less; and 20% were sent to training by their employers. These findings suggest that the training programs are contributing to the development of a new workforce of TTSs as well as the development of new programmatic tobacco treatment services in diverse settings. Developing strategies to support attendance from demographically and geographically diverse professionals might increase the proportion of trainees from marginalized groups and regions of the world with significant tobacco-related inequities.

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