Perceptions of Gender Diversity in the Philadelphia Independent Music Scene Test

2021 ◽  
Author(s):  
Darby Graeson Swab
Keyword(s):  
Gender Diversity ◽  
Independent Music ◽  
Music Scene

“We also can. We're not worse”: The Anglophone Wave in Russian indie music (Indi), 2008–2012

Popular Music ◽  
2020 ◽  
Vol 39 (2) ◽  
pp. 294-311
Author(s):  
Marco Biasioli
Keyword(s):  
English Language ◽  
Concerted Effort ◽  
Political Factors ◽  
Russian Music ◽  
Independent Music ◽  
Music Scene ◽  
Public Recognition ◽  
Music Community ◽  
Indie Music ◽  
East West

AbstractThis article analyses the main cultural and political factors that contributed to the emergence of local Anglophone music in Russia between 2008 and 2012. While Russian indie groups had extensively sung in English before (with scarce public recognition), a conjunction of circumstances encouraged the appearance of a conspicuous Russian Anglophone music scene in the Medvedev years. These were a perceived political relaxation, internally and in East–West relations; Russian economic growth and the subsequent renovation of Moscow; and the connectivity and expansion of the independent music community. The article also argues that the success of local Anglophone bands, as well as the appearance of an ‘indie’ sound and an ‘indie’ music scene (indi), was the result of a concerted effort by Russian music participants to bring and incorporate the Other – the West – into Russia's everyday life. The English language, correspondingly, functioned as a ‘tool’ for this operation.

Carnival Is Woman: Party Music and the Soca Diva

2016 ◽  
Author(s):  
Hope Munro
Keyword(s):  
Gender Roles ◽  
Popular Music ◽  
Trinidad And Tobago ◽  
Gender Diversity ◽  
Women Performers ◽  
Expressive Culture ◽  
Historical Trends ◽  
Music Scene ◽  
Performance Context ◽  
Musical Change

This chapter examines the agency of women in soca and related genres, including various controversies they confront in this performance context. As women have created a space for themselves in Carnival mas and at the Carnival fetes, a number of “soca divas” have emerged to give voice to female revelers. This and other historical trends in soca underscore the rapidly changing nature of the popular music scene in Trinidad. The chapter considers the shifting attitudes and norms regarding gender roles, giving rise to gender diversity in various performance contexts, how these changes have played out in soca music, and how musical change and innovation continue to expand the possibilities within expressive culture in Trinidad and Tobago. It discusses the ways in which soca and its offshoots have created platforms for expression by women performers, including the two top female soca artists in Trinidad: Destra Garcia and Fay-Ann Lyons.

Multi-Tasking and Making a Living from Music: Investigating Music Careers in the Independent Music Scene of Milan

2017 ◽  
Vol 12 (2) ◽  
pp. 208-223 ◽  
Author(s):  
Silvia Tarassi
Keyword(s):  
Significant Degree ◽  
Cultural Economy ◽  
Music Production ◽  
Grass Roots ◽  
Music Scenes ◽  
Entrepreneurial Skills ◽  
Independent Music ◽  
Music Making ◽  
Music Scene ◽  
Roots Music

The analysis of popular music scenes has traditionally focused upon grass-roots music-making practices, without considering how these practices are rooted in the organizational and economic dynamics that characterize today’s cultural economy. This article suggests the need to look at music production in music scenes as a more professionalized activity which requires entrepreneurial skills and economic sustainability. Drawing on the findings of a six-month fieldwork study of the music scene of Milan, this article will attempt to re-conceptualize our understanding of music scenes and to explain how the desire to make a living through music requires the members of a scene to be engaged to a significant degree in multi-tasking and multi-jobbing, which allows them to survive in a risky, precarious environment.

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