Consuming popular songs online: Phoenix Legend’s audiences and Douban Music

2017 ◽  
Vol 24 (2) ◽  
pp. 295-310
Author(s):  
Chen Liu ◽  
Rong Yang
Keyword(s):  
Popular Music ◽  
Mainland China ◽  
Emotional Engagement ◽  
Global Marketplace ◽  
Chinese Nationalism ◽  
Popular Songs ◽  
Music Consumption ◽  
Online Music ◽  
Creative Writings

This article explores the creative consumption of popular music and explains how audiences involve their place-based emotions within their representations of popular music in an everyday setting, drawing on a qualitative study on people’s interpretations of Phoenix Legend (a popular music duo in mainland China) and its music. We collected the texts created by Phoenix Legend’s audiences from Douban Music ( http://music.douban.com/ ), a Chinese online music forum. Our analysis focuses on how fans, non-fans and anti-fans interpret and re-write the meanings of Phoenix Legend and its songs emotionally and how these interpretations shape and are shaped by these audiences’ senses of self and place. The key finding of this article argues that through the consumer-to-consumer network provided by social media (Douban Music), the rural–urban division, ethnic cultures and the role of Chinese nationalism in the global marketplace are generated by audiences’ creative writings and their interactions with other consumers. Moreover, we suggest that anti-fans’ and non-fans’ emotional engagement within music consumption and their interactions should be paid more attentions to.

scholarly journals DEMYSTIFYING MUSICAL PREFERENCES AT TURKISH MUSIC MARKET THROUGH AUDIO FEATURES OF SPOTIFY CHARTS

2019 ◽  
Vol 4 (3) ◽  
pp. 264-279
Author(s):  
Fatih PINARBAÅžI
Keyword(s):  
Descriptive Statistics ◽  
Popular Song ◽  
Energy Characteristics ◽  
Audio Features ◽  
Popular Songs ◽  
Music Consumption ◽  
Online Music ◽  
Streaming Services ◽  
Music Market ◽  
Music Streaming

Online music streaming services are one of the important actors in music consumption for today’s consumers. In addition to widespread use of mobile devices, many changes in the patterns of music consumption are witnessed such as the purchase of single tracks instead of albums, listening to music on different platforms, and personalized music consumption options. This study aims to examine the concept of music consumption in Turkey through audio characteristics of popular songs. Top 200 popular song-lists for 6 months period are chosen as sample and audio characteristics provided by Spotify API service regarding 676 unique songs are analyzed. Following descriptive statistics of Turkey Music Market, clustering methodology is employed and three different clusters for songs are concluded. Finally, decision tree methodology is employed to classify the dataset with popularity scores and audio characteristics together, while loudness and energy characteristics are found as significant classifiers.

What does the Song Show? Popular Music on Soviet Television. Part 2. 1980s

2015 ◽  
pp. 135-141
Author(s):  
D. A. Zhurkova
Keyword(s):  
Popular Music ◽  
Music Video ◽  
Main Role ◽  
Video Clips ◽  
Television Shows ◽  
Popular Songs ◽  
Official Policy ◽  
Tv Program

What does the Song Show? Popular Music on Soviet Television. Part 2. 1980s (by Dariya Zhurkova) continues to analyze the problems of popular songs’ adaptation to the rules of television shows. This part of the research is based on the example of “The Morning Mail” - a popular TV program in 1980s. The article traces the arrival and development of music video clips on television. Moreover, the article discovers the main role of television in creation of the cult of civilizational benefits and of the institute of “stars”, despite the fact that the processes actually ran counter to the official policy and ideology.

Looking Towards the Future: Popular Music Studies and Music Scholarship

2020 ◽  
pp. 1-9
Author(s):  
BRIAN F. WRIGHT ◽  
AMY CODDINGTON ◽  
ANDREW MALL
Keyword(s):  
Popular Music ◽  
Colleges And Universities ◽  
Academic Journals ◽  
Academic Journal ◽  
Book Series ◽  
Area Of Interest ◽  
Popular Songs ◽  
Popular Music Studies ◽  
The Future

In the foreword to the first issue of Popular Music and Society, published in 1971, Ray B. Browne wrote that, ‘until very recently … academics, with a few notable exceptions, were by and large indifferent to the role of popular music in their world’; he then recounted a rejection he had received from an academic journal, whose editor had written that, ‘although this might be interesting, we both had to admit that popular songs really had no academic significance’. Today, exactly fifty years later, the position of popular music studies within the academy is far removed from Browne's experience: there are multiple academic journals and scholarly press book series devoted solely to popular music, scholars regularly present papers on popular music topics at academic conferences, and departments across colleges and universities offer an increasingly wide variety of popular music courses. Popular music has even become a viable area of interest within music scholarship.

The political meaning of Hong Kong popular music: a review of sociopolitical relations between Hong Kong and the People's Republic of China since the 1980s

Popular Music ◽  
2000 ◽  
Vol 19 (3) ◽  
pp. 341-353 ◽  
Author(s):  
Wai-chung Ho
Keyword(s):  
Hong Kong ◽  
Popular Music ◽  
Political Identity ◽  
Mainland China ◽  
Transitional Period ◽  
People’S Republic Of China ◽  
The Political ◽  
People's Republic Of China ◽  
Republic Of China ◽  
Popular Songs

IntroductionThe aim of this paper is to analyse shifting themes in the meanings of Hong Kong popular songs relating to ideological and political changes in Hong Kong since the 1989 Tiananmen Square incident (TSI). In particular, the paper examines the relationship between Hong Kong and the People's Republic of China (PRC) concerning the transmission of Hong Kong popular music, and argues that Chinese, Hong Kong and Taiwanese popular musics articulate fluctuating political meanings. Attention will be focused predominantly on the lyrics, but some aspects of the music are also invoked. After highlighting the political and cultural relations between Hong Kong and the PRC, I discuss the social transformations and the struggles for democracy delineated in Chinese popular music during the 1989 TSI. This is followed by an examination of the intensification of the conflict between the PRC and Hong Kong over the dissemination of popular songs carrying democratic messages in Hong Kong. Finally, the paper considers the rise of patriotism and/or nationalism through lyrics rooted in the notion of educating Hong Kong Chinese people into accepting the cultural and political identity of mainland China, and the promotion of popular songs in the official language of the PRC, Putonghua, since the late transitional period.

Dažu vācu muzikālo tradīciju pārnese latviešu kultūrtelpā 18. gadsimta II pusē

Letonica ◽  
2020 ◽  
Author(s):  
Māra Grudule
Keyword(s):  
18Th Century ◽  
Musical Instrument ◽  
German Society ◽  
Original Form ◽  
Musical Life ◽  
Popular Songs ◽  
Death Of Jesus ◽  
Musical Traditions ◽  
Insight Into

The article gives insight into a specific component of the work of Baltic enlightener Gotthard Friedrich Stender (1714–1796) that has heretofore been almost unexplored — the transfer of German musical traditions to the Latvian cultural space. Even though there are no sources that claim that Stender was a composer himself, and none of his books contain musical notation, the texts that had been translated by Stender and published in the collections “Jaunas ziņģes” (New popular songs, 1774) and “Ziņģu lustes” (The Joy of singing, 1785, 1789) were meant for singing and, possibly, also for solo-singing with the accompaniment of some musical instrument. This is suggested, first, by how the form of the translation corresponds to the original’s form; second, by the directions, oftentimes attached to the text, that indicate the melody; and third, by the genres of the German originals cantata and song. Stender translated several compositions into Latvian including the text of the religious cantata “Der Tod Jesu” (The Death of Jesus, 1755) by composer Karl Heinrich Graun (1754–1759); songs by various composers that were widely known in German society; as well as a collection of songs by the composer Johann Gottlieb Naumann (1741–1801) that, in its original form, was published together with notation and was intended for solo-singing (female vocals) with the accompaniment of a piano. This article reveals the context of German musical life in the second half of the 18th century and explains the role of music as an instrument of education in Baltic-German and Latvian societies.

scholarly journals How Do Instant Messages Reduce Psychological Withdrawal Behaviors?—Mediation of Engagement and Moderation of Self-Control

2021 ◽  
Vol 18 (6) ◽  
pp. 2983
Author(s):  
Xia Jiang ◽  
Jing Du ◽  
Tianfei Yang ◽  
Yujing Liu
Keyword(s):  
Instant Messaging ◽  
Cognitive Engagement ◽  
Time Instant ◽  
Self Control ◽  
Emotional Engagement ◽  
Short Text ◽  
Mediating Role ◽  
Withdrawal Behaviors ◽  
The Relationship

Enabling people to send and receive short text-based messages in real-time, instant messaging (IM) is a communication technology that allows instantaneous information exchanges. The development of technology makes IM communication widely adopted in the workplace, which brings a series of changes for modern contemporary working life. Based on the conservation of resource theory (COR), this paper explores the mechanism of workplace IM communication on employees’ psychological withdrawal, and investigates the mediating role of work engagement in the relationship and the moderating role of self-control. Using the experience sampling method (ESM), a 10-consecutive workdays daily study was conducted among 66 employees. By data analysis of 632 observations using SPSS and HLM, results found that: (1) IM demands had a positive relation with emotion and cognitive engagement. (2) Emotion and cognitive engagement were negatively correlated with psychological withdrawal. (3) Emotion and cognitive engagement mediated the relations of IM demands and psychological withdrawal. (4) Self-control moderated the relationship between emotional engagement and psychological withdrawal.

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