Worship Music & Culture

2021 ◽  
Author(s):  
John R DeValve
Keyword(s):  
Music Culture ◽  
Worship Music

Jazz Bubble

2018 ◽  
Author(s):  
Dale Chapman
Keyword(s):  
New York ◽  
Political Economy ◽  
Social Practice ◽  
Global Economy ◽  
First Century ◽  
Music Culture ◽  
Social Trends ◽  
Governmental Organizations ◽  
Early Twenty ◽  
A Site

Hailed by corporate, philanthropic, and governmental organizations as a metaphor for democratic interaction and business dynamics, contemporary jazz culture has a story to tell about the relationship between political economy and social practice in the era of neoliberal capitalism. The Jazz Bubble approaches the emergence of the neoclassical jazz aesthetic since the 1980s as a powerful, if unexpected, point of departure for a wide-ranging investigation of important social trends during this period. The emergence of financialization as a key dimension of the global economy shapes a variety of aspects of contemporary jazz culture, and jazz culture comments upon this dimension in turn. During the stateside return of Dexter Gordon in the mid-1970s, the cultural turmoil of the New York fiscal crisis served as a crucial backdrop to understanding the resonance of Gordon’s appearances in the city. The financial markets directly inform the structural upheaval that major label jazz subsidiaries must navigate in the music industry of the early twenty-first century, and they inform the disruptive impact of urban redevelopment in communities that have relied upon jazz as a site of economic vibrancy. In examining these issues, The Jazz Bubble seeks to intensify conversations surrounding music, culture, and political economy.

KAZAKH MUSIC CULTURE ON THE GLOBALIZATION CROSSROADS: ETHNIC TRADITIONS VERSUS COMPOSER SCHOOL IN INTERCULTURAL INTERACTION

2020 ◽  
Vol 384 (2) ◽  
pp. 185-193
Author(s):  
A. Raimkulova
Keyword(s):  
20Th Century ◽  
Cultural Policy ◽  
Information Technologies ◽  
Cultural Landscapes ◽  
Social Institutions ◽  
Music Culture ◽  
Oral Transmission ◽  
Intercultural Interaction ◽  
History Of ◽  
New Type

At the present stage, Kazakh musical culture is heterogeneous. It represents traditions coexisting at the same time and interacting with each other: Kazakh ethnic and newly established composer school (tradition). Examining changes in cultural landscapes of the 20th century I reveal the peculiarities of interaction and dialogue between two kinds of culture: ethnic and global (endogenous and exogenous). The procedures include the complex study of the history of Kazakh culture in the 20th century, stylistic analysis of traditional and composer’s music, semiotic approach to intercultural interaction, as far as a comparative analysis of oral and written music of 19th and 20th centuries. On one hand, dramatic changes in the structure of music culture were caused by external objective reasons: new industrial and postindustrial civilization phases (urbanization and information technologies); intensification of interaction with western (mainly Russian) cultures, etc. On the other hand, some changes were inspired by inner factors: diverse development of local song and kui (dombyra piece) traditions; Soviet cultural policy. As a result new type (or layer) of national culture – Kazakh composers’ music – appeared. It was connected with the formation of a national style based on transcriptions and borrowing. Traditional music was influenced by new social institutions (philharmonic halls, theatres, radio, conservatoire) that caused changes in the creative process (decrease of oral transmission, lack of traditional social context) as well as in the style (virtuoso performance, new genres of songs).

Introduction

2017 ◽  
Author(s):  
Travis D. Stimeling
Keyword(s):  
United States ◽  
The United States ◽  
Country Music ◽  
Future Research ◽  
Music Culture ◽  
Rich Variety ◽  
Ethnographic Studies ◽  
Folklore Studies ◽  
History Of ◽  
The Rich

This chapter offers a historiographic survey of country music scholarship from the publication of Bill C. Malone’s “A History of Commercial Country Music in the United States, 1920–1964” (1965) to the leading publications of the today. Very little of substance has been written on country music recorded since the 1970s, especially when compared to the wealth of available literature on early country recording artists. Ethnographic studies of country music and country music culture are rare, and including ethnographic methods in country music studies offers new insights into the rich variety of ways in which people make, consume, and engage with country music as a genre. The chapter traces the influence of folklore studies, sociology, cultural studies, and musicology on the development of country music studies and proposes some directions for future research in the field.

The Book of Revelation in Music and Liturgy

2020 ◽  
pp. 430-446
Author(s):  
Paul Westermeyer
Keyword(s):  
Book Of Revelation ◽  
Worship Music ◽  
Secret Code ◽  
The Church ◽  
Time Move

This chapter discusses Revelation’s soundscape and meaning as a huge hymn festival around the marriage feast of the Lamb. It is about God’s goodness, mercy, and power over evil in a cosmic view, not a secret code for our calendars. Relationships between the book of Revelation and the church’s liturgy and music are explained, along with influences from the liturgy to Revelation and from Revelation to the liturgy. The Sanctus and Agnus Dei of the Ordinary, hymns, and other music for the worship of the church are included. Oratorios and Olivier Messiaen’s Quartet for the End of Time move to music, which, though outside the liturgy, also relate to Revelation and express its themes. Some implications about Revelation’s relevance for worship, music, and life together conclude the article. In Messiaen’s words, “It is all love.”

Country Music as Cultural Practice

2017 ◽  
Author(s):  
Clifford R. Murphy
Keyword(s):  
New England ◽  
Social Practice ◽  
Country Music ◽  
Cultural Practice ◽  
Music Culture ◽  
Folk Revival ◽  
Past Half Century ◽  
Community Expression ◽  
Past Half ◽  
Scholarly Inquiry

This chapter argues that country music should be examined first and foremost as social practice—as a driver of community expression and social capital through music, words, and dance. While country music functions in a multitude of ways, from narrative storytelling to commercial product and points in between, the commercial sphere of country music has been exhaustively examined. Scholarly inquiry into country music, rooted in the folk revival of the mid-twentieth century and significantly influenced by collectors (and collections) of commercial country music, has maintained a southern, commercial focus for much of the past half-century. As such, scholarly and popular understanding of what, where, and who country music springs from has ignored significant regional vernacular forms and uses of country music. Ethnographic inquiry has made it possible to tell the story country music culture and traditions. Murphy illustrates his argument with examples from New England, the Mid-Atlantic, and Atlantic Canada.

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