Introduction

2021 ◽  
pp. 3-26
Author(s):  
Sue Miller
Keyword(s):  
New York ◽  
Music Performance ◽  
Musical Analysis ◽  
Dance Music ◽  
And Performance ◽  
Musical Arrangement

This chapter offers an overview of the book’s content, terms, and the author’s methods of research and analysis. Central to this research is an examination of “Latin” performance aesthetics using the Cuban charanga format (flute, violins, timbales, congas, güiro, piano, bass, and vocals), as the main case study. Here the concept of sabor in performance is explored and interrogated and the book’s main themes are therefore sabor, cubanía, and Cuban dance music performance aesthetics in the context of New York. The introduction concludes with a chapter outline. Some chapters in the book provide historical and ethnographic detail and a focus on musical arrangement, style, and performance aesthetics; others draw on these contextual and stylistic matters to inform more detailed musical analysis of improvised solos.

Mainstreaming Dance Music and Articulating Femininity

2017 ◽  
Author(s):  
Hee-sun Kim
Keyword(s):  
Popular Music ◽  
Music Performance ◽  
Gender And Sexuality ◽  
Critical Discourse ◽  
Entertainment Industry ◽  
Pop Music ◽  
Dance Music ◽  
Cultural Meanings ◽  
Cultural Contexts ◽  
And Performance

Korean pop music, or K-pop, has emerged and taken its dominant place since the turn of this century, but its girl groups can trace their lineage back to the 1990s, while the dance music so characteristic of K-pop began in the dance music boom of the 1980s. This chapter examines the music, image, and performance styles of female dance divas from the 1980s into the 2000s. Its purpose is threefold: first, to properly historicize the female dance singers of Korean pop music within their socio-cultural contexts and trace how the image of sexuality has evolved from those early dance divas to the K-pop girl groups of today; second, to examine the ways in which multi-dimensional cultural meanings and voices are constructed through the music, performance styles, and images, atop discourses of body, gender, and sexuality; and third, to dispute earlier assumptions about Korean female dance singers as being merely innocent victims of the globalized commercial entertainment industry and patriarchal systems. This study seeks to reveal the female dance singers as major subjectivities in shaping modern Korean popular music, a role inevitably overshadowed by the strong critical discourse on K-pop girls that emphasizes their sexuality.

Los Tres Grandes

2021 ◽  
pp. 54-76
Author(s):  
Sue Miller
Keyword(s):  
New York ◽  
Music Performance ◽  
Dance Music ◽  
Music Venues ◽  
Music Recordings

This chapter examines the different manifestations of mambo in Havana and New York to demonstrate the musical connections between the big bands, son conjuntos, and charangas across three decades of regular Cuban dance music performance. The Palladium, in addition to the music venues in the Bronx, provided various opportunities for New York-based musicians to create their own versions of Cuban dance music. Recordings by mambo big bands are analyzed alongside Arsenio Rodríguez’s mambo diablos and Antonio Arcaño’s charanga composition “Mambo” to outline the historic connections between these formats.

Improvising Sabor

2021 ◽  
Author(s):  
Sue Miller
Keyword(s):  
New York ◽  
Twentieth Century ◽  
Music Performance ◽  
Music History ◽  
Dance Music ◽  
Performance Practices ◽  
Performance Culture ◽  
The Usa ◽  
Latin Music ◽  
The Rich

The term ‘salsa’ has come to stand for a particular standardized set of performance practices and the dominant narrative of its origins, particularly through the lens of the Fania Records story, has tended to over-simplify Latin music history in the USA. This book documents an understudied period of Latin music history across the divide of the Cuban Revolution of 1959 to demonstrate a wider narrative which includes the history of the influential charanga orquestas of 1960s New York. A típico aesthetic is shown to be an important one with the combination of charanga and conjunto stylings giving rise to a plurality of ensemble types, each with a distinctive sabor and varying degrees of cubanía. In this book Miller thus examines the New York contexts for Cuban dance music performance in the first part of the twentieth century before considering the mid twentieth-century developments. The text makes its argument for a distinctive New York sabor through interviews with performers and through the sensitive transcription and analysis of recordings by Orquesta Broadway, Pacheco y su Charanga, Charlie Palmieri’s Charanga Duboney, Eddie Palmieri’s La Perfecta, and Ray Barretto’s Charanga Moderna, amongst others. Analytical transcriptions of improvisations, in dialogue with musicians’ own perspectives, highlight a specific Latin music performance aesthetic or sabor that is rooted in both Cuban dance music forms and the rich performance culture of Latin New York.

Conclusion

2021 ◽  
pp. 221-232
Author(s):  
Sue Miller
Keyword(s):  
New York ◽  
Music Performance ◽  
Dance Music ◽  
Future Studies ◽  
History Of ◽  
Research Findings ◽  
Latin Music

In this final chapter research findings are summarized, defining a variety of distinctive New York performance aesthetics and sounds that go beyond the usual description of New York-based Latin music as being simply loud, gritty, and aggressive. Conclusions are drawn here which have implications for future studies on the history of clave-based Latin dance music, performance aesthetics, and improvisational creativity.

Effects of Meditation on Music Performance Anxiety

2003 ◽  
Vol 18 (3) ◽  
pp. 126-130
Author(s):  
Joanne C Chang ◽  
Elizabeth Midlarsky ◽  
Peter Lin
Keyword(s):  
New York ◽  
State Anxiety ◽  
Music Performance ◽  
Performance Anxiety ◽  
Control Group ◽  
Music Performance Anxiety ◽  
School Of Music ◽  
Meditation Group ◽  
And Performance ◽  
Manhattan School Of Music

This study investigated the effect of meditation on music performance anxiety. Participants were 19 students between the ages of 18 and 41 yrs, who were recruited from the Manhattan School of Music, Mannes College of Music, Yale University School of Music, and State University of New York at Purchase. The experimental group received a series of eight meditation classes, and the control group received no meditation training. After the 8-week training period, all performed in a concert. Pretests and post-tests of music performance anxiety were given and post-tests of state anxiety and of performance concentration. Performance anxiety decreased among participants in the meditation group, in contrast to participants in the control group, whose performance anxiety did not decrease. Differences in regard to post-test state anxiety and performance concentration were not significant. An additional benefit of meditation was a reported increase in relaxation pleasure even in the period immediately before the performance. Results indicate that meditation may be a useful tool for aiding performers to combat performance anxiety.

Theoretizing A New Sustainable Business Event: Extension of Mair and Jago Model

2015 ◽  
Vol 3 (2) ◽  
pp. 55
Author(s):  
Norol Hamiza Zamzuri ◽  
Khairil Wahidin Awang ◽  
Yuhanis Abdul Aziz ◽  
Zaiton Samdin
Keyword(s):  
Social Impact ◽  
Geographical Area ◽  
Infrastructure Development ◽  
Structured Interviews ◽  
Sustainable Business ◽  
Knowledge Resources ◽  
Business Events ◽  
And Performance ◽  
Event Based

The growth of the event sector is underpinned by the demand of organizing a business event.  Thus, it leads to an increase in economic and social impact. However, the problems from the growth of this sector potentially results from the use of several event materials, transportation and infrastructure development.  Organizing a green event is seen as one of the strategies to reduce the environmental impact.  Therefore, the aim of this paper is to explore the issues involved throughout the process of greening an event by applying Mair and Jago Model.  Semi-structured interviews were conducted with event managers from six Malaysia business event companies that encourage green practices during their event.  Findings suggest that impact, initiative, support and performance motivates event organizers in organizing a green event.  It has also been found that knowledge, resources and behaviour are the barriers faced by event organizers throughout the process of organizing a green event.  Based on the findings it appears that two important factors have emerged from the data collection and analysis that showed a deviation from the Mair and Jago Model, namely “impact” for the motivation element and “support” for the barrier element.  The main limitation of this study was the scope of the study; as it only focuses on business events.  However, as the main purpose of this study is to explore the issues of organizing a green event, it has been found that there are other issues need to be explored in other contexts and geographical area.  Apart from this, as this is a case study, it can only replicate according to the circumstances of this case study. However, this study can be generalized in terms of the theory that has emerged from it.  It is suggested that further research should explore more issues in other contexts and geographical areas. 

Gending Karesmen: Teater Tradisional Ménak di Priangan 1904-19421

Panggung ◽  
2013 ◽  
Vol 23 (3) ◽  
Author(s):  
Tatang Abdulah ◽  
I. Syarief Hidayat ◽  
A. Sobana Hardjasaputra ◽  
Jakob Sumardjo
Keyword(s):  
Dominant Factor ◽  
Dance Music ◽  
And Performance

ABSTRACT This paper analyzes Gending Karesmen that had been living and developing in Priangan, cen- tered in Bandung City, in 1904 to 1942. Gending Karesmen emerged as Tunil Tembang which came up in 1904. In the begining, the performance of Tunil Tembang was plain and simple, then it gradu- ally became more complex and specific. The story, dance, music, and performance were established. The music became dominant factor related to the song (tembang) performed by the player in every dialog expression. Gending Karesmen grew well, almost without any hindrance, because it was sup- ported by the local officials (e.g. Bupati) and intellectuals. It was also because of the socio culture, economic and politic atmosphere in Priangan that were conducive in that period. Keywords: Gending Karesmen, Ménak Traditional Theater  ABSTRAK Tulisan ini menganalisis tentang Gending Karesmen yang hidup dan berkembang di Priangan, yang berpusat di Kota Bandung, pada tahun 1904-1942. Gending Karesmen mun- cul sebagai Tunil Tembang yang berkembang pada tahun 1904. Pada mulanya pertunjukan Tunil Tembang itu polos dan sederhana, kemudian secara bertahap menjadi lebih kompleks dan spesifik. Cerita, tarian, musik, dan pertunjukannya menjadi berkembang. Musiknya menjadi faktor dominan yang berhubungan dengan lagu (tembang) yang dimainkan oleh pemainnya dalam setiap ekspresi dialog. Gending Karesmen berkembang dengan baik, hampir tidak ada hambatan, karena didukung oleh para pejabat setempat (misalnya Bu- pati) dan intelektual. Hal ini juga dikarenakan sosial budaya, suasana ekonomi dan politik di Priangan yang kondusif pada periode tersebut. Kata kunci: Gending Karesmen, Teater Tradisional Ménak

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