scholarly journals A Preliminary Bibliographical Guide to Doctoral Theses on Music in Nigeria (1990 – 2010)

2012 ◽  
Vol 12 (2) ◽  
Author(s):  
Charles Onomudo Aluede
Keyword(s):  
Music Therapy ◽  
Popular Music ◽  
Music Educators ◽  
Doctoral Degrees ◽  
Doctorate Degree ◽  
Popular Music Studies

This study is essentially a referential guide which explores simply, the titles of doctoral degrees in music acquired by Nigerians in the last two decades. It presents a diary of the areas of specialisations of their holders. To this effect, doctorate degree titles in music were collected. The study revealed that there are more ethnomusicologists than music educators, composers, performers, popular music studies, music media and music therapy practitioners presently in Nigeria based on the titles of the theses collected.  In reaction to this, it is suggested, among other things, that stake holders should explore other avenues such as workshops and master classes to serve as an initial proactive forum where these palpable lapses will be redressed.  

Are Popular Music Curricula Antiracist?: The CCNY Music Department as a Case Study

2021 ◽  
Vol 15 (4) ◽  
pp. 447-451
Author(s):  
Matthew K. Carter
Keyword(s):  
New York ◽  
Popular Music ◽  
Contemporary Music ◽  
Music Educators ◽  
American Music ◽  
Ear Training ◽  
Music Department ◽  
City College ◽  
Popular Music Studies ◽  
Music Theorist

In a recent virtual talk at the Hitchcock Institute for Studies in American Music, music theorist Philip Ewell considered how music educators and researchers might begin to “undo the exclusionist framework of our contemporary music academy.” Ewell's enterprise resonated with me not only as one who teaches undergraduate courses in music theory, history, performance, and ear training, but also as an instructor in a recently adopted Popular Music Studies program at the City College of New York (CCNY). The CCNY music department's shift in focus from a mostly white, mostly male, classical-based curriculum towards a more diverse and polystylistic repertory of popular music chips away at the exclusionist framework to which Ewell refers.

The Underground Cultural Ecology

2019 ◽  
pp. 1-20
Author(s):  
Trever Hagen
Keyword(s):  
Music Therapy ◽  
Popular Music ◽  
Social Power ◽  
Social Activity ◽  
Cultural Ecology ◽  
Eastern Bloc ◽  
The Czech Republic ◽  
Popular Music Studies ◽  
Power And Agency

Chapter 1 gives an overview of the music in “Merry Ghetto,” the Underground’s assembled cultural ecology, before moving on to discuss memory in post-socialist Czechoslovakia and the Czech Republic. I continue by examining associations between music and social activity in context: namely revolutions, memory, and popular music in the former Eastern bloc. The chapter critiques and draws on insights from literature of popular music studies and sociology of music to construct an approach to studying music as a social activity that is grounded in events, peoples, places, and their relations. These are the mechanisms of how music takes on meaning and provides empowering affordances. I analyze these questions using perspectives developed in music sociology and music therapy in order to understand the interactive piece-by-piece assembly of groups, bodies, and consciousness—and thus social power and agency—showing what is possible, what can be accomplished through and with music.

Pop and the Nation-State: towards a theorisation

Popular Music ◽  
1999 ◽  
Vol 18 (2) ◽  
pp. 193-207 ◽  
Author(s):  
Martin Cloonan
Keyword(s):  
Popular Music ◽  
State Level ◽  
The Other ◽  
Nation State ◽  
Popular Music Studies ◽  
Music Scene ◽  
The One

Recent years have seen two noticeable trends in Popular Music Studies. These have been on the one hand a series of works which have tried to document the ‘local’ music scene and, on the other, accounts of processes of globalisation. While not uninterested in the intermediate Nation-State level, both trends have tended to regard it as an area of increasingly less importance. To state the matter more boldly, both trends have underplayed the continually important role of the Nation-State.

scholarly journals Gender messages in contemporary popular Malay songs

2013 ◽  
Vol 2 (1) ◽  
Author(s):  
Collin Jerome
Keyword(s):  
Gender Roles ◽  
Romantic Relationships ◽  
Popular Music ◽  
Gender Stereotypes ◽  
Text Analysis ◽  
Women's Roles ◽  
Socially Constructed ◽  
Popular Songs ◽  
Popular Music Studies ◽  
Content Analyses

Gender has been an important area of research in the field of popular music studies. Numerous scholars have found that contemporary popular music functions as a locus of diverse constructions and expressions of gender. While most studies focus on content analyses of popular music, there is still a need for more research on audience’s perception of popular music’s messages. This study examined adult Malay listeners’ perceptions of gender messages in contemporary Malay songs. A total of 16 contemporary Malay songs were analysed using Fairclough’s (1992) method of text analysis. The content of the songs that conveyed messages about gender were the basis for analysis. The results showed that the messages revolve mainly around socially constructed gender roles and expectations in romantic relationships. Gender stereotypes are also used in the songs to reinforce men’s and women’s roles in romantic relationships. The results also showed that, while listeners acknowledge the songs’ messages about gender, their own perceptions of gender and what it means to be a gendered being in today’s world are neither represented nor discussed fully in the songs analysed. It is hoped the findings from this, particularly the mismatch between projected and perceived notions of gender, contribute to the field of popular Malay music studies in particular, and popular music studies in general where gender messages in popular songs and their influence on listeners’ perceptions of their own gender is concerned.

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