“Is It All over My Face?”

2019 ◽  
pp. 147-171
Author(s):  
Micah E. Salkind
Keyword(s):  
Dance Music ◽  
Music Culture ◽  
South Side ◽  
Multiple Modes ◽  
Musical Performances ◽  
The Third ◽  
Ethnographic Fieldwork ◽  
House Music

Chapter 5, whose title is taken from dance music pioneer Arthur Russell’s classic vocal house anthem, examines the ways that dancers, DJs, and other cultural entrepreneurs who came of age in the teen scene central to the third and fourth chapters of the book memorialize and perform affiliations with house music culture at the Chosen Few Old School Reunion Picnic, a massive yearly celebration on Chicago’s South Side. Drawn from ethnographic fieldwork conducted at The Picnic in 2012, 2013, and 2014, and multiple modes of ethnographic engagement therein, this chapter interrogates Chicago house music’s classic repertoire in motion. Its close readings of musical performances are braided with analysis of Picnic space, foodways, dance, and adornment, elements that help sustain the trans-generational love ethic hailed by the event’s DJs.

scholarly journals § V.—Ancient Sites in the Strymon Valley

1919 ◽  
Vol 23 ◽  
pp. 64-66
Author(s):  
F. B. Welch
Keyword(s):  
The South ◽  
South Side ◽  
The Third ◽  
South West

I Here describe a few sites on the south side of the valley of the Strymon, which I noticed while stationed there in 1916–1918. All except No. 5 belong to the third type described by Wace and Thompson and consist of large, low flat-topped mounds covered with Hellenistic sherds. This part of the country was anciently inhabited by the Bisaltai.1. At kilometre 70 on the Salonika-Serres road, about three kilometres south-west of Sakavcha, and two-and-a-half kilometres west of Makesh. Round the edges the remains of ancient walls can be easily traced; in places they are still three feet high and the same thickness with small towers at irregular intervals. Remains of house walls can be found everywhere a few feet down.

scholarly journals Exploring dress, identity and performance in contemporary dance music culture

2014 ◽  
Vol 34 (5) ◽  
pp. 603-620 ◽  
Author(s):  
Dewi Jaimangal-Jones ◽  
Annette Pritchard ◽  
Nigel Morgan
Keyword(s):  
Contemporary Dance ◽  
Dance Music ◽  
Music Culture ◽  
And Performance

Gabber: Raising hell in technoculture1

2021 ◽  
Vol 7 (3) ◽  
pp. 399-421 ◽  
Author(s):  
Hillegonda C. Rietveld ◽  
Alexei Monroe
Keyword(s):  
The Netherlands ◽  
Information Technologies ◽  
Safety Valve ◽  
Electronic Noise ◽  
Dance Music ◽  
Electronic Dance Music ◽  
Music Genre ◽  
House Music ◽  
Digital Capital

Gabber is a hardcore electronic dance music genre, typified by extreme speed and overdrive, which developed in the Netherlands, with Rotterdam as its epicentre, during the early 1990s, when house music-inspired dance events dominated. The use of distorted noise and references to popular body horror, such as Hellraiser, dominated its scene, and soon gabber was commented on as ‘the metal of house music’, a statement that this article aims to investigate. Applying a genealogical discographic approach, the research found that the electronic noise music aesthetic of industrial music was crucial for the formation of the sound of gabber. The hardcore electronic dance music that developed from this is at once ironically nihilistic, a contrary critique, and a populist safety valve. The digital machine noise of hardcore seems to offer an immersive means to process the experience of (emasculating) fluidity within post-human accelerated technoculture, itself propelled by rapid digital capital and information technologies.

scholarly journals A terceira margem do Rio Oiapoque: comércio e garimpo na fronteira franco-brasileira

2020 ◽  
Vol 16 (32) ◽  
pp. 242
Author(s):  
Antonio Sabino da Silva Neto ◽  
Leonardo Damasceno de Sá
Keyword(s):  
Social Life ◽  
French Guiana ◽  
Social Experience ◽  
Analytical Tool ◽  
Social Actors ◽  
The Third ◽  
Ethnographic Fieldwork ◽  
First Approximation ◽  
The Social

Este artigo discute as formas da experiência social na fronteira franco-brasileira. A partir da ideia heurística de terceira margem, pensa a fronteira como lugar de deslocamentos e tensões. Baseado em trabalho de campo etnográfco, descreve e analisa as atividades de garimpagem e comércio do ponto de vista dos atores sociais. O objetivo é realizar uma primeira aproximação do campo, discutindo fronteira como ferramenta analítica. Percebe-se como principal conclusão que as dimensões morais e simbólicas estão conectadas com as atividades propriamente socioeconômicas, que a vida social na fronteira franco-brasileira exige uma abordagem de suas múltiplas realidades.Palavras-chave: Amapá. Guiana Francesa. Fronteira franco-brasileira. Garimpo. Comércio.THE THIRD MARGIN OF THE OIAPOQUE RIVER: COMMERCE AND MINING IN THE BRAZILIAN-FRENCH BORDERAbstractThis article discusses the forms of social experience on the Franco-Brazilian frontier. From the third-margin heuristic idea, it thinks of the frontier as a place of displacements and tensions. Based on ethnographic fieldwork, it describes and analyzes the activities of garment and trade from the standpoint of social actors. The objective is to make a first approximation of the field, discussing frontier as an analytical tool. It is perceived as the main conclusion that the moral and symbolic dimensions are connected with the activities properly socioeconomic, that the social life in the French--Brazilian border requires an approach of its multiple realities.Keywords: Amapá. French Guiana. French-Brazilian border. Mining. Trade.

Musical Expression among Deaf and Hearing Song Signers

2016 ◽  
Author(s):  
Anabel Maler
Keyword(s):  
Deaf Culture ◽  
Deaf People ◽  
Musical Expression ◽  
Musical Performances ◽  
Use Of Space ◽  
The Third ◽  
Musical Works ◽  
Musical Resources

Deaf people are often portrayed as living in a world of silence, cut off both from experiencing musical works and from musical expression. There are, however, many different forms of musical expression in Deaf culture, including “song signing.” This essay explores the idea that deafness, rather than being a disadvantage for musical expression, actually enables distinctive musical performances within the context of song signing. The first section surveys the different varieties of signed song performance, the second contains analyses of videos, and the third compares the Deaf and hearing song-signing communities. Analysis of multiple song-signing videos reveals that deaf and hearing song signers exploit different techniques in expressing themselves musically. The analyses explore the signers’ principal differences in terms of communication, use of space, and rhythmic techniques. The videos analyzed throughout the article reveal how both deafness and hearing can be musical resources in the context of song-signing performance.

scholarly journals Imaginary Soundscapes: Electronic Music Culture and the Aesthetics of the Virtual

2021 ◽  
Author(s):  
Sara Wei-Ming Chan
Keyword(s):  
Digital Technology ◽  
Electronic Music ◽  
Digital Technologies ◽  
Production Performance ◽  
Dance Music ◽  
Music Culture ◽  
Electronic Dance Music ◽  
Composition Methods ◽  
Unique Manner ◽  
And Performance

This study is an exploration into how dance music cultures (better known as "rave" or "club" cultures) find ways to straddle the divide between human and machine through their incorporation of both of these oft-competing elements. Electronic dance music and its digital composition methods represent what Mike Berk calls "a new sonic paradigm." The different modes of production, performance and consumption within this paradigm require alternative ways of thinking about originality, creativity, and authenticity. While I do look briefly at issues of consumption and performance within dance music cultures, I focus specifically on how electronic music producers are bound by a unique vision of musical authenticity and creativity, borne out of their own "technological imagination" and the sonic possibilities enabled by digital technology. To use the concepts employed within my paper, I contend that dance music cultures make evident what Michael Punt calls the "postdigital analogue"--a cultural condition in which the decidedly more "human" or "analogue" elements of felt experience and authenticity coexist and converse with the predominance of the digital technologies of simulation and artifice. Dance music cultures are an emergent social formation, to use Williams' term, revising and questioning the typical relationships understood between digital and analogue. This postdigital analogue manifests in a number of ways in the cultural, aesthetic, and technological principles promoted by dance music cultures. In terms of production in particular, signs of digital and analogue coexist in a form of virtual authenticity, as the sound of the technological process engaged to make electronic dance music bears the mark of musical creativity and originality. This study reveals the unique manner in which dance music cultures incorporate both analogue and digital principles, bridging a sense of humanity with the acceptance of the technological.

scholarly journals Congruence in Music and Movement Enhances the Perception of Sports Routine Quality

2019 ◽  
Vol 19 ◽  
Author(s):  
Fung Chiat Loo ◽  
Fung Ying Loo ◽  
Yan Piaw Chua
Keyword(s):  
New Music ◽  
The Other ◽  
Original Music ◽  
Music Majors ◽  
Dance Music ◽  
The Third ◽  
Rhythmic Gymnastics ◽  
Video Stimulus ◽  
Sports Activities

Most studies of music and sports relate to the ergogenic effect of synchronization between music and movement in repetitive sports activities. As in dance, music is clearly important for sports routines that involve choreography. This study performs an experiment involving a rhythmic gymnastics routine to investigate whether increasing the congruence between music and movement enhances the quality of sports routines from a musical perspective. In preparing the video stimulus, the original music accompaniment was replaced with a new composition to increase the congruence between music and movement using six musical parameters that parallel dance, including tempo, rhythm, phrasing, accent, direction and dynamic. Fifty-two undergraduate music majors participated in the study and evaluated two videos of the same routine, one with the original music and the other with the new music. The participants completed a three-part questionnaire: the first part evaluates the perceived congruence between music and movement in terms of the six parameters, the second part evaluates acrobatic qualities, and the third part evaluates athletic qualities. The results show that the intended congruence was perceived as significantly improved in the routine with the new accompaniment, and both the acrobatic and sports qualities were also perceived as significantly improved.   Keywords: perceived congruence, sports routine, music and movement, choreomusical, music and sports

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