scholarly journals Promotion of Vape Tricks on YouTube: Content Analysis (Preprint)

2018 ◽  
Author(s):  
Grace Kong ◽  
Heather LaVallee ◽  
Alissa Rams ◽  
Divya Ramamurthi ◽  
Suchitra Krishnan-Sarin
Keyword(s):  
Social Media ◽  
Content Analysis ◽  
Hip Hop ◽  
Dance Music ◽  
Electronic Dance Music ◽  
Brand Marketing ◽  
Contextual Characteristics ◽  
Vape Shops ◽  
Online Shops ◽  
Advanced Generation

BACKGROUND The ability to perform vape tricks (ie, blowing large vapor clouds or shapes like rings) using e-cigarettes appeals to youth. Vape tricks are promoted on social media, but the promotion of vape tricks on social media is not well understood. OBJECTIVE The aim of this study was to examine how vape tricks were promoted on YouTube to youth. METHODS Videos on vape tricks that could be accessed by underage youth were identified. The videos were coded for number of views, likes, dislikes, and content (ie, description of vape tricks, e-cigarette devices used for this purpose, video sponsors [private or industry], brand marketing, and contextual characteristics [eg, model characteristics, music, and profanity]). RESULTS An analysis of 59 sample videos on vape tricks identified 25 distinct vape tricks. These videos had more likes than dislikes (11 to 1 ratio) and a 32,017 median view count. 48% (28/59) of the videos were posted by industry accounts (27% [16/59] provaping organizations, 15% [9/59] online shops, and 3% [2/59] vape shops) and 53% by private accounts (55% [17/31] private users, 26% [8/31] vape enthusiasts, and 19% [6/31] YouTube influencers); 53% (31/59) of the videos promoted a brand of e-cigarette devices, e-liquids, or online/vape shops, and 99% of the devices used for vape tricks were advanced generation devices. The models in the videos were 80.2% (160/198) male, 51.5% white (102/198), and 61.6% (122/198) aged 18 to 24 years; 85% (50/59) of the videos had electronic dance music and hip hop, and 32% (19/59) had profanity. CONCLUSIONS Vape trick videos on YouTube, about half of which were industry sponsored, were accessible to youth. Restrictions of e-cigarette marketing on social media, such as YouTube, are needed.

Exploring the Drugs-Crime Connection within the Electronic Dance Music and Hip-Hop Nightclub Scenes

2007 ◽  
Author(s):  
Tammy L. Anderson ◽  
Philip R. Kavanaugh ◽  
Ronet Bachman ◽  
Lana D. Harrison
Keyword(s):  
Hip Hop ◽  
Dance Music ◽  
Electronic Dance Music

The groove in the box: a technologically mediated inspiration in electronic dance music

Popular Music ◽  
2009 ◽  
Vol 28 (2) ◽  
pp. 161-177 ◽  
Author(s):  
AKSEL H. TJORA
Keyword(s):  
Technology Use ◽  
Hip Hop ◽  
Music Composition ◽  
Dance Music ◽  
Electronic Dance Music ◽  
Music Production ◽  
Computer Based ◽  
Technology Users ◽  
Hop Acid

AbstractEven though electronic and computer-based technologies are commonly used in music composition, performance and recording, this field of technology use has, with a few exceptions, remained fairly unexplored within social studies of technology. In this article, the role of technology in music production is investigated by applying the notion of script (Akrich 1992) to an empirical study of users of the Roland MC303 Groovebox, a self-contained instrument for making techno, rap, jungle, hip-hop, acid and other styles of electronic (dance) music. The study focuses especially on individual differences between users' perceptions of the musical-stylistic directedness of the Groovebox and how they construct different user scripts and more advanced needs as they become more familiar with the instrument. The latter observation highlights the relevance of a user trajectory, the notion that enthusiast technology users may keep on using a specific technological artefact through various usage modes or scripts over time.

Legitimating Local Music: Volksmuziek, Hip-Hop/Rap and Dance Music in Dutch Elite Newspapers

2014 ◽  
Vol 8 (4) ◽  
pp. 501-519 ◽  
Author(s):  
Rian Koreman
Keyword(s):  
Content Analysis ◽  
The Netherlands ◽  
Hip Hop ◽  
Rap Music ◽  
Qualitative Content Analysis ◽  
Dance Music ◽  
Artistic Value ◽  
The Media ◽  
Cultural Intermediaries ◽  
Elite Newspapers

This study examines the legitimation of local music. Critics from peripheral countries such as the Netherlands tend to focus on foreign music products. However, the rising popularity among ‘omnivorous’ audiences and increased production of Dutch music, together with the competition in the Dutch media landscape for readers, might lead Dutch elite newspapers to increase their coverage of local music. These media are cultural intermediaries who signal the legitimation of music. Local genres thus might succeed in establishing themselves, but little is known about this process. This research therefore studies – through a quantitative and qualitative content analysis – the legitimation of three, traditionally illegitimate, genres: volksmuziek, dance and hip-hop/rap music. The findings suggest that the latter two genres indeed gain legitimacy. Genres are classified by the criteria of authenticity and originality. When products fail to meet these criteria, the media attention is legitimized by their popularity, instead of their artistic value.

scholarly journals Studio Improv as Compositional Process Through Case Studies of Ghanaian Hiplife and Afrobeats

2016 ◽  
Vol 10 (2) ◽  
Author(s):  
Leila Adu-Gilmore
Keyword(s):  
Case Studies ◽  
Hip Hop ◽  
Cultural Context ◽  
Methodological Approach ◽  
Musical Analysis ◽  
Dance Music ◽  
Compositional Process ◽  
New Production ◽  
Electronic Dance Music ◽  
The Way

This study is an examination of the music and working practices of three Ghanaian music producers, Appietus and DJ Breezy—as in much non-Western music, the definitions of composition and improvisation continuously disrupt each other. The studio highlights this blending of processes where the hardware and software can form both the instruments and compositional tools. Hip-hop and electronic dance music rely heavily on improvisation through studio techniques that are idiomatic to the genre, including sampling, sequencing and looping new musical ideas or material from an existing recording. Text and rhythm in Hip-hop are well documented but compositional process involving harmonic and melodic analysis, as well as close sonic study of new production techniques are often overlooked. The music of minority composers of new genres is under represented in scholarship. Therefore, this article focuses to a greater extent on musical analysis and studio, improvisation and compositional processes, with supporting observations on broader cultural context. The methodological approach in this article centers on transcriptions and music analysis, as well as research through interviews with the producers in Accra, Ghana. This blending of interview material and musical analysis (through transcription, reduction and ecological acoustics) examines distinct threads of Ghanaian and international music styles, their paths through different formal and informal networks of education and the environmental affects on their process. An analysis of these producers’ processes requires looking at both musical elements as well as the resources of education and environment, changing the way that we read these contexts by foregrounding the music itself. A brief history of Ghanaian music, from pre-independence to contemporary electronic dance music, including contemporary hiplife and afrobeats, is followed by case studies. In the case of Appietus’ music, transcriptions show Ghana’s unique highlife harmony and its idiomatic harmonic tendencies, whilst interview material on his process shows his unique methods of vocalization in combination with production tools that are informed by local formal and informal educational networks and the Internet. DJ Breezy’s vertically sparse, minimalist Hip-hop influenced afrobeats No. 1 hit, ‘Tonga,’ is analysed using ecological acoustics. In order to focus this paper, I argue that firstly, we rethink the relationship between improvisation and composition through the work of these producers, secondly, that we cannot analyze the music of these producers outside of context, we need to change the way in which we read the context, and thirdly, that we stop using a type of ethnography that exacerbates essentialism.

Seeded Composition (Advanced)

2020 ◽  
pp. 147-150
Author(s):  
Leila Adu-Gilmore
Keyword(s):  
Hip Hop ◽  
Electronic Music ◽  
Electroacoustic Music ◽  
Dance Music ◽  
Compositional Process ◽  
Electronic Dance Music ◽  
University Level

This open electronic music compositional activity is designed as preparation for a university-level final assignment in any style, including electroacoustic music, electronic dance music, hip-hop, and song. Working with a seed requires discipline and creativity, and when used in the context of electronic music, it pushes composers to learn the ins and outs of the platform they are using. In addition, there is also a reflective written element (scratchpad) embedded in this activity, which is intended to percolate students’ creative goals. Finally, this activity is designed to induce a rigorous, fulfilling, and well-paced compositional process for an autonomous yet supported final piece.

Playing (in) the Digital Studio

2017 ◽  
pp. 382-396
Author(s):  
Ethan Hein
Keyword(s):  
Young People ◽  
Music Education ◽  
Hip Hop ◽  
Music Technology ◽  
Digital Tools ◽  
Dance Music ◽  
Electronic Dance Music ◽  
Music Making ◽  
Creative Music ◽  
Creative Music Making

When schools address music technology, they tend to focus on the nuts and bolts of the technology itself, rather than its creative applications. But to truly engage new digital tools for creative music making, we must address their most culturally significant context: electronic dance music and hip-hop. This music falls well outside the canon of what is widely considered suitable music for the classroom. Nevertheless, such music should be included, and not (only) because young people enjoy it. Rather than “dumbing down” music education, the inclusion of popular dance music would significantly enrich the curriculum, particularly in areas traditionally neglected: groove, timbre, and space.

Sosyal medyada Suriye’li sığınmacılara yönelik algı: bir sözlük değerlendirmesi

2017 ◽  
Vol 4 (2) ◽  
pp. 185-200 ◽  
Author(s):  
Servet Kardeş ◽  
Çağla Banko ◽  
Berrin Akman
Keyword(s):  
Qualitative Research ◽  
Social Media ◽  
Content Analysis ◽  
Syrian Refugees ◽  
Analysis Method ◽  
Social Media Platform ◽  
Content Analysis Method ◽  
Negative News ◽  
Media Platform ◽  
Made In

Bu araştırmada sığınmacılara yönelik paylaşımların yapıldığı sosyal medyada yer alan sözlüklerden birinde sığınmacılara yönelik algıya bakılmıştır. Yöntem olarak nitel desende olan bu çalışmada, bir sosyal medya sitesinde yer alan paylaşımlar içerik analizi yoluyla derinlemesine incelenip yorumlanmıştır. Araştırmanın sonucunda sosyal medya kullanıcılarının sığınmacıları büyük bir güvensizlik ortamı ve huzursuzluk yaratan bireyler olarak gördükleri saptanmış, sığınmacılarla yaşanan deneyimlerin ve medyadaki haberlerin bu düşüncelerin oluşmasında etkisinin olduğu belirlenmiştir. Bunun yanında sosyal medya kullanıcılarının devletin sığınmacılar konusunda yanlış politika izlediğini düşündükleri ve sığınmacılar için etkili bir planlama yapılmadığını ifade ettikleri görülmüştür. Çalışmanın sonuçları doğrultusunda medyada sığınmacılar hakkında çıkan haberlerde olumsuz ve şiddet temalı haberlerin azaltılması, Suriyeli sığınmacıların durumu, sahip oldukları haklar ve topluma yansımaları hakkında doğru ve bilgilendirici kamu spotları hazırlanması ayrıca sığınmacıların topluma entegre olma sürecinin her basamağında daha planlı ve etkili bir yol izlenmesi önerilebilir.ABSTRACT IN ENGLISHPerceptions about Syrian refugees on social media: an evaluation of a social media platformIn this research, posts which are about Syrian refugees were published in a social media platform, called as “sözlük” were investigated. The research is a qualitative research. The posts in this platform are analyzed with content analysis method. According to results of analyses, social media users see Syrian refugees as people who create an insecure and a restless environment. The experiences people had with them and news have an effect on this view. In addition, social media users think that government made inappropriate policies and ineffective plans about Syrian refugees. It is suggested negative news about Syrian refugees should be decreased and government should make safer policies. In addition, adaptation of refugees to society should be made in more planned and effective way.

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