scholarly journals ВОКАЛЬНО-ЕСТРАДНЕ ВИКОНАВСТВО УКРАЇНИ КІНЦЯ ХХ – ПОЧАТКУ ХХІ СТ.

2020 ◽  
Author(s):  
Admink Admink
Keyword(s):  
Mass Culture ◽  
Mass Communication ◽  
Vocal Music ◽  
Pop Music ◽  
Music Culture ◽  
Musical Culture ◽  
Vocal Art ◽  
Definition Of

Наведено огляд досліджень щодо теорії музичної естради як частини масової культури. Розглянуто умови формування та становлення української вокально-естрадної музичної культури в контексті основ масового вокального мистецтва. Виявлено підходи до визначення естрадного мистецтва як соціокультурного явища в історичному континуумі, зазначено стилі і напрями масової музичної культури, а також роль засобів масової комунікації для поширення вокально-естрадного мистецтва. З’ясовано, що естрадно-вокальна музика розвивається в усіх доступних традиційних та новітніх, синтезованих жанрах і претендує на своєрідне значення в формуванні психологічного портрету сучасної людини.Ключові слова: масове мистецтво, естрада, вокал, музична культура. An overview of research on the theory of the musical variety as a part of mass culture as a whole is given. The conditions of formation and formation of Ukrainian vocal and variety music culture in the context of the basics of mass vocal art are considered. Approaches to the definition of variety art as a sociocultural phenomenon in the historical continuum are described, the styles and directions of mass musical culture, as well as the role of mass communication for the distribution of vocal and variety art are described. It is revealed that pop-vocal music develops in all available traditional and modern, synthesized genres and claims a peculiar importance in forming a psychological portrait of a modern man.Key words: mass art, pop music, singing, musical culture.

scholarly journals Classical crossover in the modern musical space of Ukraine

2021 ◽  
pp. 179-183
Author(s):  
Svitlana Muravitska
Keyword(s):  
Electronic Music ◽  
Music Culture ◽  
Modern Music ◽  
Musical Space ◽  
Vocal Art ◽  
Academic School ◽  
Variety Performance ◽  
The 1960S ◽  
New Generation ◽  
First Time

The purpose of the article is to consider the genesis of the classical crossover and traces its path of development in the Ukrainian cultural and artistic space. The methodology involves a combination of historical and cultural, analytical, and comparative methods, which clarified the place of the classical crossover in modern music culture. The scientific novelty of the study is that for the first time in Ukrainian science, Ukrainian representatives of the classical crossover are considered. Conclusions. At the turn of the 20th – 21st centuries one of the areas that synthesize the achievements of academic and variety (rock, pop, electronic music) art has become a classic crossover. The origins of this trend are more ancient and go back to the 1960s when the first attempts were made to synthesize academic and variety performance. Famous Ukrainian singers of the academic school D. Hnatiuk, Yu. Gulyaev, A. Mokrenko, D. Petrinenko, L. Ostapenko performed both classical and variety works. Today, a striking example of the synthesis of academic and variety vocal art is the duets of F. Mustafayev – T. Samaya and V. Stepova – V. Sinchuk. Ukrainian singer, soprano of the new generation Arina Domski is the only representative of the Ukrainian scene, which consistently turns to the direction of the classical crossover, synthesizing in its performance variety and academic vocal repertoire.

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.

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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