scholarly journals Localization and Westernization of Popular Music in Malaysia in 21st Century

2021 ◽  
Vol 3 (8) ◽  
Keyword(s):  
Popular Music ◽  
21St Century

Reflections on the challenges of exhibiting popular music at the beginning of the 21st century through a case study of ‘A Magia do Vinil’

Popular Music ◽  
2017 ◽  
Vol 36 (3) ◽  
pp. 370-392 ◽  
Author(s):  
Alcina Cortez
Keyword(s):  
Social Construction ◽  
Popular Music ◽  
21St Century ◽  
Subject Matter ◽  
Social Dynamics ◽  
Intrinsic Value ◽  
Art Exhibitions

AbstractThis paper sets out to reflect on the implications of the heritagisation of popular music by museums. ‘Heritage’ is not something that holds intrinsic value but rather represents a social construction that produces difference by adding value to specific objects within particular social dynamics. This means that heritagisation processes operant in museums prove highly susceptible to ideological distortion and hence require scrutiny. Studying the case of the Portuguese exhibitionA Magia do Vinil, a Música que Mudou a Sociedade, I analyse two specific domains: the concepts and the narrative deployed to address popular music discursively; and the objects selected for exhibition, in conjunction with the interactive practices they foster with audiences. This case study demonstrates how popular music heritagisation practices may largely correspond with those approaches taken by conventional art exhibitions – not only through the uncritical discourses they reproduce concerning their subject matter, but also through the idea that vision is the means for engaging museumgoers.

scholarly journals The 21st Century Business Model

2011 ◽  
Author(s):  
Ben Walmsley
Keyword(s):  
Popular Music ◽  
Business Model ◽  
21St Century ◽  
Creative Process ◽  
Performing Arts ◽  
Business Models ◽  
Entertainment Industry ◽  
The Arts ◽  
Fundamental Shift

In the opening chapter, we saw how relationships between producers and audiences are undergoing a fundamental shift, with audiences becoming increasingly involved in the creative process. In this chapter, we will move on to consider the repercussions of this phenomenon by exploring how traditional business models are evolving in the arts and entertainment industry: popular music and the performing arts.

scholarly journals Song Form and the Mainstreaming of Hip-Hop Music

2021 ◽  
Vol 107 ◽  
pp. 93-135
Author(s):  
Ben Duinker
Keyword(s):  
African American ◽  
Popular Music ◽  
21St Century ◽  
North American ◽  
Hip Hop ◽  
Live Performance ◽  
Musical Practice ◽  
Performance Culture ◽  
Hip Hop Music ◽  
Musical Genres

Song form in North American hip-hop music has evolved along the genre’s journey from its origins as a live musical practice, through its commercial ascent in the 1980s and 1990s, to its dominance of mainstream popular music in the 21st century. This paper explores the nature and evolution of song form in hip-hop music and uses them as a musical lens to view the gradual and ongoing mainstreaming of this genre. With the help of a corpus of 160 hip-hop songs released since 1979, I describe and unpack section types common to hip-hop music­—verses, hooks, and instrumentals—illustrating how these sections combine in different formal paradigms, such as strophic and verse-hook. I evaluate the extent to which formal structures in hip-hop music can be understood as products of the genre’s live performance culture; one with roots in African American oral vernacular traditions such as toasting. Finally, I discuss how form in hip-hop music has increasingly foregrounded the hook (chorus): the emergence of the verse-hook song form, an increase in sung hooks (often by singers outside the hip-hop genre), the earlier arrival of hook sections in songs, and the greater share of a song’s duration occupied by hooks. Viewing hip-hop music’s evolution through this increasing importance of the hook provides a clear representation of the genre’s roots outside of, and assimilation into, mainstream popular music; one of many Black musical genres to have traversed this path (George, 1988).

scholarly journals Sequelizm jako strategia twórcza współczesnej muzyki popularnej

2020 ◽  
Vol 25 ◽  
pp. 511-526
Author(s):  
Fryderyk Nguyen
Keyword(s):  
Popular Music ◽  
21St Century ◽  
Jacques Derrida ◽  
Avant Garde

The term Sequelism defines the strategy of creating the second and subsequent parts of a piece of art. The article is an attempt to apply this category to contemporary popular music. In releases from the 21st century there is a noticeable tendency to continue aesthetics taken from the nearest past. One of the musical manifestations of sequelism is hauntology, connected with the philosophic-al idea of Jacques Derrida. Firstly, it had been present in avant-garde trends, and then adapted to the mainstream in recent years. The best example is Lana Del Rey’s album Born to Die, which shows that sequelism can reveal new creative perspectives for popular music nowadays.

scholarly journals Musical Metaphors in the Poetry of Wallace Stevens

2016 ◽  
Vol 13 (1) ◽  
pp. 41-58
Author(s):  
Victor Kennedy
Keyword(s):  
Popular Music ◽  
20Th Century ◽  
21St Century ◽  
Musical Instrument ◽  
Wallace Stevens ◽  
Pablo Picasso ◽  
Modern Poetry ◽  
Stream Of Consciousness ◽  
Privileged Position ◽  
David Hockney

Wallace Stevens’s “The Man with the Blue Guitar” (1937) is widely recognized as one of the most important and influential poems of the 20th century. Inspired by Picasso’s painting The Old Guitarist, the poem in turn inspired Michael Tippett’s sonata for solo guitar, “The Blue Guitar” (Tippett 1983) and David Hockney’s The Blue Guitar: Etchings by David Hockney who was inspired by Wallace Stevens who was inspired by Pablo Picasso (Hockney and Stevens 1977). Central to “The Man with the Blue Guitar,” the metaphor of the musical instrument as a transformational symbol of the imagination is common in Stevens’s poems. The structure of “The Man with the Blue Guitar,” according to J. Hillis Miller, is the structure of stream-of-consciousness. Stevens’s poem creates what has been called “the deconstructed moment in modern poetry,” “an attempt to project a spatialized time that can be viewed from the privileged position of a timeless, static moment capable of encompassing a life at a glance” (Jackson 1982). This consciousness, which Derrida refers to as the “trace,” Stevens calls “the evasive movement of language.” The trace is the perception of the absence of meaning after the word or perception has passed, the glimpse of a hidden meaning that immediately vanishes. Stevens’s poem influenced not only other poets, artists and composers; references to and echoes of his ideas and techniques can be seen in popular music and culture well into the 21st century.

Mana Wahine: Māori Women in Music

Te Kaharoa ◽  
2016 ◽  
Vol 9 (1) ◽  
Author(s):  
Maree Sheehan
Keyword(s):  
Popular Music ◽  
21St Century ◽  
Music Performance ◽  
New Wave ◽  
Political Music ◽  
Current State ◽  
Women In Music

Moana Maniapoto and Hinewehi Mohi are famous for having pioneered a distinctively Māori form of popular and political music in the 1990s, and they continue to produce remarkable contemporary waiata for audiences in Aotearoa and overseas. Their successes have inspired other artists, and more importantly, they have both made significant contributions to the empowerment and strengthening of te reo Māori and mātaranga Māori. Recognising what has happened since the 1990s, this paper takes a constructive look at the current state of Māori music and considers how to produce a new wave of creativity for the 21st century for new generations of Māori and Indigenous composers, audiences and performers. How does popular music performance make a powerful contribution to the revitalisation of te reo Māori and mātauranga Māori? Maree Sheehan will lead a conversation with Moana Maniapoto and Hinewehi Mohi to discuss the lasting significance of their work for Māori music and culture, twenty-five years later.

Guqin Playing Now: Re-inventing the Past as a Creative Way of Sustaining an Instrumental Practice

2021 ◽  
pp. 21-34
Author(s):  
Hoh Chung Shih
Keyword(s):  
Popular Music ◽  
21St Century ◽  
Performance Practice ◽  
Music Performance ◽  
Cultural Practice ◽  
Music Notation ◽  
Early 21St Century ◽  
The Past ◽  
Music Making ◽  
Over Time

Guqin (古琴) music, a cultural practice of the Classical Chinese literati which survived and had seen a surge of interest globally in the early 21st century, can be understood as an interactive whole consisting of the instrument and the performer. The musical interface, its music notation focuses heavily on the instrumental spatial-motor relationship with the performer, with sound as product of this psychosomatic interaction. This paper will examine the various layers of this interaction between: a) notation and movement and sound; b) topography of instrument body and physicality of performers’ hand on it; c) physicality and psychology of performance, leading to questions of musicality, authenticity in expression, and intentions or functions of guqin music. By comparing particular works (such as 山居吟 and 潇湘水云) across score collections from different periods (such as 神奇秘谱 1425, 大还阁琴谱 1673, 五知斋琴谱1722), and highlighting certain peculiar fingering position and combinations in earlier music against recent transcriptions of popular music, I will raise questions on possible musical purposes and expressions in relation to the proposed performer-instrument interaction perspective, so as to further understand the evolving nature of this music making over time. This creative interaction in sonic terms as sound and as music, performance practice and musical expression as culture and aesthetics, are some aspects of what I wish to present on an ongoing reinvention of guqin as instrument and music.

Popular Music Pedagogies: An Approach to Teaching 21st-Century Skills

2018 ◽  
Vol 28 (3) ◽  
pp. 85-95 ◽  
Author(s):  
Martina Vasil ◽  
Lindsay Weiss ◽  
Bryan Powell
Keyword(s):  
Popular Music ◽  
21St Century ◽  
Teacher Educators ◽  
Music Teachers ◽  
Music Teacher ◽  
Teacher Education Programs ◽  
Skill Sets ◽  
Learning Framework ◽  
Problem Solve ◽  
Traditional Pedagogy

Changes in the world economy and U.S. educational policy present music educators with the challenge of reassessing traditional pedagogy to ensure they are instructing and assessing in ways that contribute to students’ development of 21st-century knowledge and skill sets. Educators are responding by incorporating pedagogical approaches that challenge students to think critically, problem solve collaboratively, and use technology and media efficiently. Popular Music Pedagogies (PMPs) invite students, music teachers, and music teacher educators to take risks, learn alongside one another, and address 21st-century knowledge and skills through engaging with the music that students choose and create. In this article, we define PMPs and discuss how music teacher educators can incorporate PMPs into music teacher education programs to better prepare preservice and inservice music teachers to function within a Partnership for 21st Century Learning framework.

scholarly journals The Use of Foul Language in Pop Music Composition in Nigeria: A Historical Analysis

2021 ◽  
Vol 13 (3) ◽  
Author(s):  
Nnanyelugo Emelda Chinasa ◽  
◽  
Onyeke Blessing Uzoamaka ◽  
Izuchukwu John Ewulu ◽  
◽  
...  
Keyword(s):  
Popular Music ◽  
21St Century ◽  
Cultural Policy ◽  
Music Composition ◽  
Historical Analysis ◽  
Musical Composition ◽  
Pop Music ◽  
The Government ◽  
The Ideal

The background and exposure of music artistes contribute a lot in shaping the quality of songs they compose and produce. Since the 21st century, there has been a great departure in what used to be the ideal choice of words for musical composition and productions in Nigeria, especially in the popular music spheres. Hitherto, musicians of all genres were careful in their choice of words; but regrettably, the decent use of language is fast disappearing especially in dance hall and emotional songs. This stems from the cultural shack on the part of the artistes especially in the influence of the environment. It is this inherent lacuna that this paper seeks to address but most importantly the paper recommends a cultural policy for the government and as well as the need to checkmate and regulate the brands of music by periodically engaging DJs, radio presenters and other principal stakeholders in the entertainment industries.

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