Brazilian native metal and the experience of transculturation

2021 ◽  
Vol 7 (1) ◽  
pp. 171-177 ◽  
Author(s):  
Marcelo Velloso Garcia ◽  
Vítor Castelões Gama
Keyword(s):  
Heavy Metal ◽  
Latin American ◽  
Big Five ◽  
Folk Music ◽  
Theoretical Concept ◽  
Core Beliefs ◽  
Native Metal ◽  
Musical Style ◽  
Musical Identity ◽  
Brazilian Culture

Politics and identity go together in Brazilian heavy metal. Headbangers often experience accusations regarding their less-than-Latin-American identity for enjoying a foreign musical style more than their own native styles. Even though this is partially true, Brazilian heavy metal engages national and musical identity in at least two different ways. The first is through the denial of any connection to Brazilian culture and its roots by accepting this anglophone genre. The second is through the transformation of the musical genre itself, thanks to the influence of Brazilian folk music. Based on these changes, we intend to describe how Sepultura laid down the roots that eventually flourished in the music of Arandu Arakuaa, a band associated with a movement known as the ‘Insurgency of Native Metal’, which describes itself as a union of Brazilian metal bands that write and perform songs about their country. We will also delve into how Sepultura, a highly regarded group often added as part of the ‘big five’ of thrash metal, used this influence to pave the way for other Brazilian bands, specifically Arandu Arakuaa, encouraging them to explore further possibilities regarding transculturation. Thus, in this article we intend to contemplate transculturation as a theoretical concept and as a tool to understand Brazilian heavy metal within its contradictions and core beliefs.

Bartók and Scarlatti: A study of motives and influence

2009 ◽  
Vol 50 (1-2) ◽  
pp. 3-27
Author(s):  
Balázs Mikusi
Keyword(s):  
Folk Music ◽  
Structural Model ◽  
Musical Style ◽  
Clear Cut ◽  
Short Overview ◽  
Historical Figure ◽  
Human Emotions

The long-held notion that Bartók’s style represents a unique synthesis of features derived from folk music, from the works of his best contemporaries, as well as from the great classical masters has resulted in a certain asymmetry in Bartók studies. This article provides a short overview of the debate concerning the “Bartókian synthesis,” and presents a case study to illuminate how an ostensibly “lesser” historical figure like Domenico Scarlatti could have proved important for Bartók in several respects. I suggest that it must almost certainly have been Sándor Kovács who called Scarlatti’s music to Bartók’s attention around 1910, and so Kovács’s 1912 essay on the Italian composer may tell us much about Bartók’s Scarlatti reception as well. I argue that, while Scarlatti’s musical style may indeed have appealed to Bartók in more respects than one, he may also have identified with Scarlatti the man, who (in Kovács’s interpretation) developed a thoroughly ironic style in response to the unavoidable loneliness that results from the impossibility of communicating human emotions (an idea that must have intrigued Bartók right around the time he composed his Duke Bluebeard’s Castle ). In conclusion I propose that Scarlatti’s Sonata in E major (L21/K162), which Bartók performed on stage and also edited for an instructive publication, may have inspired the curious structural model that found its most clear-cut realization in Bartók’s Third Quartet.

scholarly journals From Scarlatti to “Guantanamera”: Dual Tonicity in Spanish and Latin American Musics

2002 ◽  
Vol 55 (2) ◽  
pp. 311-336 ◽  
Author(s):  
Peter Manuel
Keyword(s):  
Twentieth Century ◽  
Seventeenth Century ◽  
Latin American ◽  
Folk Music ◽  
American Music ◽  
Caribbean Basin ◽  
Latin American Music ◽  
Music Genres ◽  
Hispanic Caribbean

Abstract This essay explores the sense of dual tonicity evident in a set of interrelated Spanish and Latin American music genres. These genres include seventeenth-century Spanish keyboard and vihuela fandangos, and diverse folk genres of the Hispanic Caribbean Basin, including the Venezuelan galerón and the Cuban punto, zapateo, and guajira. Songs in these genres oscillate between apparent “tonic” and “dominant” chords, yet conclude on the latter chord and bear internal features that render such terminology inapplicable. Rather, such ostinatos should be understood as oscillating in a pendular fashion between two tonal centers of relatively equal stability. The ambiguous tonicity is related to the Moorish-influenced modal harmony of flamenco and Andalusian folk music; it can also be seen to have informed the modern Cuban son and the music of twentieth-century Cuban composer Amadeo Roldán.

scholarly journals Heavy Metal and Globalization

2018 ◽  
pp. 129
Author(s):  
Hanan Hadžajlić
Keyword(s):  
Heavy Metal ◽  
Communication Systems ◽  
Cultural Practice ◽  
Symbolic Language ◽  
Musical Style ◽  
Alternative Music ◽  
Specific Alternative ◽  
The Aesthetic ◽  
Definition Of ◽  
North And South America

Heavy Metal is a specific, alternative music genre that exists on the fringe of popular music, where it is classified by its own culture: musical style, fashion, philosophy, symbolic language and political activism. For over five decades of the existence of heavy metal, its fans have developed various communication systems through different types of transnational networks, which significantly influenced the development of all aspects of metal culture, which relates both to divisions within the genre itself and to various philosophical and political aspects of heavy metal activism – of a global heavy metal society. Going through the processes of globalization, and so glocalization, heavy metal is today a significant part of popular culture in North and South America, Europe, Asia, Australia; while in some societies it represents the cultural practice of a long tradition with elements of cultural tourism, in some countries where conservative, religious policies are dominant, it represents subversive practices and encounters extreme criticism as well as penalties. Globalization in the context of the musical material itself is based on the movement from idiomatic, cultural and intercultural music patterns to transcultural – where heavy metal confronts the notion of one's own genre. Post-metal, the definition of a genre that goes beyond the aesthetic concepts of heavy metal, contains the potential of overcoming the genre itself. Article received: March 30, 2018; Article accepted: May 10, 2018; Published online: October 15, 2018; Preliminary report – Short CommunicationsHow to cite this article: Hadžajlič, Hanan. "Heavy Metal and Globalization." AM Journal of Art and Media Studies 17 (2018): 129−137. doi: 10.25038/am.v0i17.276

scholarly journals Genre and style priorities of accordion performance in traditional common culture of USA

2021 ◽  
pp. 150-155
Author(s):  
L. Shemet
Keyword(s):  
Folk Music ◽  
The United States ◽  
World Music ◽  
Dance Music ◽  
Musical Style ◽  
Important Place ◽  
Common Culture ◽  
The World ◽  
Historical Dynamics ◽  
Regional Specificity

The relevance of the study is determined by the wide popularity of accordion in various genres and styles of American folk music, significant achievements of American accordionists in preserving and developing performing traditions in accordance with the ethnocultural specifics of a particular region of the country and presentation of creative achievements of famous American folk groups in the world music space, as well as by lack of the studies on this issue in the field of musicology in Ukraine. The aim of the study is to define the genre and style priorities of accordion performance in the traditional common culture of Americans, highlight the regional specifics of styles and genres of American folk music, in the reproduction of which the accordion is directly involved, as well as describe textural, articulatory and picking, metric and rhythmic features of playing the instrument. The methodology. The methodological basis of the study is the interaction of scientific approaches, among which an important place is occupied by historical, cultural, systemic, structural and functional, musicological methods. The results. In the traditional common culture of Americans, the performance on the accordion is presented quite diversely in terms of the instruments, distribution areas, genre, and style palette of music performed. Historical, sociocultural and geopolitical factors, ethnocultural influences, multicultural tendencies determined the regional specificity of the instruments. The Cajun accordion, the diatonic button accordion, and the chromatic piano accordion have gained considerable popularity in the traditional common culture of various regions of the United States. Each of them took leading positions in the reproduction of a certain musical style: Cajun accordion — Cajun and Zydeco, diatonic button accordion — Cojunto, chromatic piano accordion — Zydeco. The button (diatonic or chromatic) and piano accordions were mainly used in the instrumental composition of dance music groups, in particular in the genre of polka, depending on the region with the corresponding ethnic specificity. The accordion performance vividly embodies the genre and style features of American folk music in the context of its historical dynamics and capability of artistic expression, including intonation expressiveness and characteristic techniques of playing, inherent in a certain design model of the instrument. The topicality of the study is to reproduce the genre and style specifics of accordion performance in the traditional common culture of Americans.

The Measure Matters

2019 ◽  
Vol 35 (3) ◽  
pp. 301-308 ◽  
Author(s):  
Tobias Altmann ◽  
Nico Liebe ◽  
Victoria Schönefeld ◽  
Marcus Roth
Keyword(s):  
Social Desirability ◽  
Big Five ◽  
Sensation Seeking ◽  
Theoretical Concept ◽  
Novelty Seeking ◽  
Factor Analyses ◽  
Cross Sectional ◽  
Order Factor ◽  
Similarities And Differences ◽  
Cross Sectional Design

Abstract. Several inventories have been developed to measure sensation seeking (SS), and each of these inventories has been based on an individual theoretical concept of the construct. However, most studies assessing SS disregarded the large theoretical diversity and have treated the measures as interchangeable. The goal of this research was to identify common and distinctive dimensions of SS across the different measures. Subsequent goals were to reveal similarities and differences in what is measured by the various subscales, to provide differential correlates of these dimensions, and thereby to analyze which of the subscales can or should not be used interchangeably. We administered the five most relevant SS measures ( Sensation Seeking-Scales Form V [SSS-V], Arnett Inventory of Sensation Seeking [AISS], Need Inventory of Sensation Seeking [NISS], the Impulsive Sensation Seeking [ImpSS] scale, and the Novelty Seeking scale) to a sample of adolescents ( N = 318) in a cross-sectional design. Second-order factor analyses of the measures’ subscales revealed three distinct facets: impulsive sensation seeking, intensity seeking, and stimulation seeking. The specific correlational patterns between the facets and external measures of impulsiveness, the Big Five, and social desirability supported the factorial differentiation. We characterize the necessary distinctions between the facets of the SS measures and recommend to not use them interchangeably. The best indicators of each SS measurement facet are discussed.

A Two-Headed Thinker: Rüdiger Bilden, Gilberto Freyre, and the Reinvention of Brazilian Identity

2018 ◽  
Author(s):  
Maria Lúcia Pallares-Burke
Keyword(s):  
Latin American ◽  
The Other ◽  
Academic World ◽  
Other Hand ◽  
German Scholar ◽  
Brazilian Identity ◽  
Brazilian Culture

This chapter discusses how the creative use of Franz Boas's ideas to analyze Brazilian culture and society and to “discover” Brazil for the Brazilians was the work of two scholars, the Brazilian Gilberto Freyre and the German Rüdiger Bilden. Freyre has been credited with the invention of Brazilian identity with the publication of his Casa-Grande & Senzala (translated into English as The Masters and the Slaves) in 1933 and is described as Boas's most outstanding Latin American disciple. On the other hand, Bilden, a German scholar who was closer to Boas and once seemed to have a brilliant future, later dropped out of the academic world and disappeared into obscurity.

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