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.

scholarly journals The principle of modeling as a means of classification of instrumental ensembles with a domra

2021 ◽  
pp. 11-19
Author(s):  
Elena Vladimirovna Lygina
Keyword(s):  
Classical Music ◽  
Music Performance ◽  
Pop Music ◽  
Music Culture ◽  
Modern Music ◽  
The Creation ◽  
And Performance ◽  
Instrumental Ensembles ◽  
Vast Range

The present article, developing a comprehensive approach to the classification of instrumental ensembles with a domra, aims at detecting the principles which can serve as a basis for the creation of various models of such objects. The author suggests analyzing the aspects of existence of the phenomenon under study from various positions: as music groups, and from the viewpoint of music compositions created for such groups. The article considers and compares the models of concert groups according to the number of their members and instrumental components, as well as according to the genre and style peculiarities of the repertoire of instrumental ensembles with a domra and their cooperation with composers. This classification method helps to comprehensively cover the work of a large number of musicians, both the members of ensembles and composers. The modeling of various systems of the creation of methods of classification of instrumental ensembles helps to study the peculiarities of the existence of such groups in modern music culture. The author arrives at the conclusion that at present, the music performance spectrum of Russia contains a vast range of ensembles with various instrumental contents and different numbers of members. The diversity of genre and style models of such groups is reflected in their repertoire - from folklore, classical music and modern composers schools to jazz, rock, pop-music and performance.   

Getting into the groove?

Popular Music ◽  
2000 ◽  
Vol 19 (3) ◽  
pp. 397-402
Author(s):  
Jill Halstead
Keyword(s):  
New York ◽  
Popular Music ◽  
Media Studies ◽  
Cultural Theory ◽  
Gender And Sexuality ◽  
Popular Music Studies ◽  
And Performance ◽  
And Gender ◽  
Music And Gender

Sexing the Groove: Popular Music and Gender.Edited by Sheila Whiteley. London and New York: Routeledge, 1997, 353 pp.Sex, sexuality and articulations of gender are well-established components in the production and performance of popular music. Hence, Sexing the Groove, edited by Sheila Whiteley, is a very welcome addition to this vital and growing area of popular music studies and cultural theory more generally. The collection reflects the reality that studies of gender and sexuality in popular music are born of a hybrid lineage; accordingly the book approaches its subject from a range of disciplines such as sociology, cultural theory, media studies, sychology and musicology, and as such is a vibrant mix. Despite its relative diversity, the book's structure and progression is fluent and focused.

scholarly journals ‘Dear Future Husband’: young people’s critical exploration of gender and sexuality in pop music videos

2017 ◽  
Vol 10 (3) ◽  
pp. 6-26
Author(s):  
Elly Scrine
Keyword(s):  
Young People ◽  
Popular Music ◽  
Qualitative Data ◽  
Female Sexuality ◽  
Gender And Sexuality ◽  
Music Videos ◽  
Pop Music ◽  
Critical Exploration ◽  
Primary Consumers ◽  
Insightful Analysis

This study aimed to explore how young people can critically engage with music videos to explore dominant constructions of gender and sexuality. As the primary consumers of popular music and music videos, adolescents are also a group who exist in a unique sociocultural space, where both misogyny and feminism are present in their highly media-driven lives. This study used focus group workshops with young people in high school to generate qualitative data based on the participants’ discussion and interpretations of gender and sexuality in two music videos. Seven groups of young people aged 14 – 16 analysed two popular music videos and reflected particularly upon discourses of expected femininity and female sexuality. Discussion elucidated insightful analysis around gendered subjectivity, and presented three complex and opposing themes, which are explored in detail. A cohesive thread emerged in the data in which young people demonstrated their capacity to identify hegemonic gender constructs, while also relying on these constructs to read and police the women shown in the music videos.

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.

scholarly journals We are not a female band, we are a band!”: Female performance as a model of gender transgression in Serbian popular music

Muzikologija ◽  
2015 ◽  
pp. 135-156
Author(s):  
Iva Nenic
Keyword(s):  
Popular Music ◽  
Instrumental Music ◽  
Music Performance ◽  
Subject Position ◽  
Instrumental Performance ◽  
Female Agency ◽  
Female Performance ◽  
History Of ◽  
And Performance ◽  
Late Socialism

Instrumental performance, leadership, and authorship by women in music has historically been subjected to various repressive regimes, while many of the prejudices and restrictions regarding female musicking can still be discerned in contemporary popular music practices in Serbia. These mechanisms have been transferred into contemporary music with different ideological and stylistic inclination, such as indie music cohorts and folk- or tradition-based genres and scenes. The structural preconditions that articulate the subject position of female instrumentalists, regardless of genre or the scene they belong to are the lack of history of female playing and the requirement that they reach the supposedly higher standards of male musicians. This article starts with a brief genealogy of female instrumental music performance from late socialism to the diversity of contemporary popular music in its present neo-liberal context. Against that background it interprets the disciplining mechanisms restricting female musical creativity and performance, addressing the issues of identity and power through female agency in music.

Similarities and Differences between Classical and Jazz Saxophone Playing

2020 ◽  
Author(s):  
Levente Puskás
Keyword(s):  
Popular Music ◽  
19Th Century ◽  
Folk Music ◽  
Classical Music ◽  
Pop Music ◽  
Dance Music ◽  
Saxophone Music ◽  
History Of ◽  
Similarities And Differences ◽  
The 19Th Century

The saxophone is one of the most popular, almost ubiquitous instruments of our time. It is unimaginable that the saxophone would not appear in an orchestra or band in jazz, popular music, dance music, pop music, or even folk music. It is not widely known, however, that the story and history of the saxophone dates as far back as around 170(!) years ago. In 2014 the 200th birthday of Adolphe Sax the inventor, after whom the instrument got its name, was celebrated. Sax was the first saxophone professor at the Conservatoire de Paris. For most of the 19th century, mostly Classical and Romantic pieces were usually played by the saxophone, as the genre of jazz came into existence only around the 1910s–1920s. At that point classical and jazz (popular) saxophone music separated. Differences between the two styles can still be observed in both musical approach and technique. This study presents the similarities and differences between these two highly distinct approaches. Keywords: saxophone, Adolphe Sax, classical music, jazz

Hatsune Miku, Virtual Idols, and Transforming the Popular Music Experience

2021 ◽  
Author(s):  
Natasha Anderson
Keyword(s):  
Popular Music ◽  
Music Performance ◽  
Real Life ◽  
Digital Society ◽  
Music Production ◽  
Live Music ◽  
Amateur Musicians ◽  
Music Experience ◽  
And Performance ◽  
Live Music Performance

This essay aims to discuss the various ways that virtual idols have transformed music production, consumption, and performance in our digital society. Vocal synthesisers like Vocaloid have given amateur musicians accessibility into the industry, pushing the limits of vocal capability and preservation, and resulting in a worldwide fandom which utilises Vocaloid characters in diverse ways. Virtual idols bear resemblance to real-life Japanese idols, yet they manage to circumvent the often-strict lifestyles idols face while also playing into tropes surrounding otaku culture. It concludes by discussing how the experience and liveness of music concerts changes with virtual performers, and how virtual concerts have continued live music performance during the COVID-19 pandemic.  

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

The Dance Chorus in Recent Top-40 Music

2020 ◽  
Vol 6 (4) ◽  
Author(s):  
Alyssa Barna
Keyword(s):  
Popular Music ◽  
Dance Music ◽  
Electronic Dance Music ◽  
Production Techniques ◽  
Top 40

Contemporary trends in popular music incorporate timbres, formal structures, and production techniques borrowed from Electronic Dance Music (EDM). The musical surface demonstrates this clearly to the listener; less obvious are the modifications made to formal prototypes used in rock and popular music. This article explains a new formal section common to collaborative Pop/EDM songs called the Dance Chorus. Following the verse and chorus, a Dance Chorus is an intensified version of the chorus that retains the same harmony and contains the hook of the song, which increases memorability for the audience. As the name implies, the Dance Chorus also incorporates and acknowledges the embodiment performed in this section.

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