scholarly journals Ideological and political conflicts about popular music in Serbia

2004 ◽  
pp. 271-284 ◽  
Author(s):  
Misa Djurkovic

The paper is focused on ideological and political conflicts about popular music in Serbia, as a good example of wrong and confused searching for identity. Basic conflict that author is analyzing is about oriental elements (such as asymmetric rhythmic patterns and melismatic singing) and the question if they are legitimate parts of Serbian musical heritage or not. Author is making an analysis of three periods in twentieth century, in which absolutely the same arguments were used, and he's paying special attention to contemporary conflicts, trying to explain why all of the theories are ideologically based. Author is insisting on role market played in development and modernization of popular music in Serbia. The article is ending with some recommendations for better understanding of cultural identity in Serbia, and for recognizing popular music as specific field of interest and research.

Author(s):  
Laurence Maslon

At the beginning of the twentieth century, the first way that the imprimatur of Broadway reached consumers was through the immense distribution of colorful and tuneful sheet music. Early music publishers learned quickly that associating a song with a Broadway show such as the Ziegfeld Follies, Broadway personalities such as Al Jolson and Fanny Brice, or Broadway composers such as Victor Herbert gave that tune a special identity that increased its popularity. In addition, music publishers, such as Max Dreyfus, were major power brokers in the popular music industry, yielding the ability to make a song into a hit, and continued to be influential through the first half of the twentieth century.


2021 ◽  
Vol 5 (2) ◽  
pp. 227-242 ◽  
Author(s):  
Henry Johnson

The late nineteenth century and early decades of the twentieth century saw the drum kit emerge as an assemblage of musical instruments that was central to much new music of the time and especially to the rise of jazz. This article is a study of Chinese drums in the making of the drum kit. The notions of localization and exoticism are applied as conceptual tools for interpreting the place of Chinese drums in the early drum kit. Why were distinctly Chinese drums used in the early drum kit? How did the Chinese drums shape the future of the drum kit? The drum kit has been at the heart of most popular music throughout the twentieth century to the present day, and, as such, this article will be beneficial to educators, practitioners and scholars of popular music education.


Tempo ◽  
2015 ◽  
Vol 69 (274) ◽  
pp. 22-32
Author(s):  
Ben Jameson

AbstractThe electric guitar is one of the most iconic musical instruments of the twentieth and twenty-first centuries and, due to its ubiquitous use in much rock and popular music, it has developed a strong cultural identity. In recent years, as the electric guitar has become increasingly common in contemporary concert music, its cultural associations have inevitably shaped how composers, performers and listeners understand music performed on the instrument. This article investigates various issues relating to the electric guitar's cultural identity in the context of Tristan Murail's Vampyr! (1984), in the hope of demonstrating perspectives that will be useful in considering new music for the electric guitar more generally. The article draws both on established analytical approaches to Murail's spectral oeuvre and on concepts from popular music and cultural studies, in order to analyse the influence that the electric guitar's associations from popular culture have in new music.


2017 ◽  
Author(s):  
Aleksander Smalianczuk

In the Search for a National Idea: Krajowość in the Beginning of the Twentieth Century as an Attempt at “Lithuanian Poles’" IdeologyKrajowość as the national ideology of the “civil” (or “political”) type developed in Belarus and Lithuania at the beginning of the twentieth century. The adherents of krajowośćclaimed that all native inhabitants of historical Lithuania, disregarding their ethno-cultural identity, are “the citizens of the Kraj” [the Countrymen] and therefore belong to one nation. Some called them “the nation of Lithuanians.” The category of “the native inhabitants” was used in relation to the Lithuanians, Belarusians, Poles, Jews, and almost never to Russians. As the main criterion for a national identity they proclaimed patriotism and self-identification as citizens.The krajowość idea appeared among the nobility. Its representatives belong to the combined Polish culture in respect of their own Lithuanian and Belarusian origin. The former Grand Duchy of Lithuania was interpreted by them as a historical native land. It was the determining factor in the formation of a new identity.All adherents of krajowość (Michal Romer, Roman Skirmunt, Kanstancyja Skirmuntt, Ludwik Abramovich, etc.) belonged to the group of the “Lithuania (vel Belarus) Poles”. Despite their intentions, the krajowość idea was formed on the basis of the “Lithuanian Poles’” struggle for their own place in the new society. As a result, the ideology for “Lithuanian Poles” was created, but it could not neutralize the existing Polish-Lithuanian-Belarusian conflict. W poszukiwaniu idei narodowej: „krajowość” początku XX wieku jako próba ideologii „Polaków litewskich”„Krajowość”, czyli ,,ideologia krajowa”, została sformułowana na Białorusi i Litwie na początku XX wieku. Krajowcy stwierdzali, że wszyscy rdzenni mieszkańcy historycznej Litwy, niezależnie od ich etnokulturowej i stanowej przynależności, należą do jednego „narodu Litwinów”. Za główne kryteria owej narodowej przynależności uznano poczucie patriotyzmu w stosunku do Litwy historycznej. Jednym z celów krajowości było pogodzenie partykularnych interesów miejscowych narodów z ich ogólnym interesem, pod jakim rozumiano dobro wspólnej Ojczyzny, historycznej Litwy. Jednak mimo zamiarów ideologów, którzy mówili o „obywatelach Kraju”, krajowość wyrosła z poszukiwania przez Polaków litewskich swego miejsca w nowym społeczeństwie. Koncepcja krajowa była ideologią Polaków litewskich, stworzoną przede wszystkim dla nich. Z postanowieniami krajowców była związana przede wszystkim perspektywa polskości na Litwie historycznej.


2018 ◽  
Vol 2 (5) ◽  
pp. 27
Author(s):  
Thaís De Melo

Este artigo apresenta alguns resultados da trajetória de pesquisa sobre a presença do Instituto Histórico e Geográfico Brasileiro (IHGB) na Educação . Dentre os aspectos abordados estão as contribuições do instituto para a construção de conhecimentos sobre a História da Educação no Brasil; as relações dos sócios do instituto com instituições de ensino e órgãos administrativos da educação; e os projetos de criação de cursos da Academia de Altos Estudos.  Nesse sentido, propomos considerar o IHGB como um lugar de poder atuante nos conflitos políticos relativos ao campo educacional e como instância produtora de políticas e projetos educacionais no início do século XX. Como fontes para essas questões foram utilizadas publicações e atas da Revista do IHGB, bem como documentos de arquivos de instituições relacionadas e periódicos existentes durante o recorte.* * *This article presents some results of the research trajectory on the teaching of the Brazilian Historical and Geographical Institute (IHGB) in education. Among the addressed projects are the Institute's contributions to the construction of knowledge about the history of education in Brazil; the relations of the members of the Institute with educational institutions and administrative organs of education and the projects of creation of courses and the Academy of High Studies. In this sense, we propose to consider the IHGB as a place of power that is active in political conflicts related to the educational field, and as a producer of policies and educational projects in the early twentieth century. As sources for these issues, publications and minutes of the IHGB Review were used as well as archives of related and periodical institutions existing during the period. 


2007 ◽  
Vol 12 (3) ◽  
pp. 233-239 ◽  
Author(s):  
Solange Barrachina ◽  
Dominique Saint Martin

AbstractThe technological changes of the twentieth century obliged research institutes to rethink their role in society. A place for invention and reflection, and a centre for the preservation of our musical heritage, the Groupe de Recherches Musicales must open its doors from now on and increase its collaboration with other bodies in an enlarged form: an extended ‘group’, extramural, which shares its tools and thoughts with others.


NAN Nü ◽  
2004 ◽  
Vol 6 (1) ◽  
pp. 12-59 ◽  
Author(s):  
Grace Fong

AbstractLü Bicheng is remembered today mostly for her accomplishment as a poet in the classical ci genre (song lyrics). Drawing on her writings and those of her contemporaries, this study attempts to reconstruct Lü Bicheng's multifaceted, cosmopolitan life trajectory that has become obscured by the nationalist turn in twentieth-century China. By excavating Lü Bicheng's many self-inventions and metamorphoses, I aim to show how the ci genre as her mode of self-inscription was transformed into a protean medium for the expression of progressive rhetoric, cultural identity, and the assimilation of new experiences. The complex cultural and linguistic dialogues exemplified by Lü's life and writings open up alternative readings of modernity.


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