scholarly journals Embodied Subjectivities in the Lyrical and Musical Expression of PJ Harvey and Björk

2008 ◽  
Vol 14 (4) ◽  
Author(s):  
Lori Burns ◽  
Marc Lafrance ◽  
Laura Hawley

Alternative female artists PJ Harvey and Björk negotiate themes of embodied female subjectivity not only as cultural concepts, but also as musical forms; their lyrical themes are crafted within a comprehensive network of creative textual and musical expression. This music challenges the analyst to explore systematically and describe coherently the links between the lived and embodied experiences developed in the song lyrics and the sonic and expressive elements in the music, in other words to explore the links between social and musical practice. This paper develops a music-analytic method for the interpretation of the dynamic musical processes that are engaged in a socially constituted artistic expression. Our objective is to illuminate embodied dimensions of meaning through the interpretation of the materials and strategies of lyrics and music.

Author(s):  
Michael B. Vercelli

Bernard Woma (1966–2018) was a virtuoso musician and global ambassador of Dagara music. From his extensive outreach, workshops, and touring, Bernard’s work teaching the Dagara gyil (xylophone) around the world is recognisable through his detailed compositions emphasising the use of Dagara musical forms. His founding of the Dagara Music Center in Medie, Ghana in 2000, provides instruction on Ghanaian music and dance to hundreds of non-Ghanaian students. Bernard’s pedagogical pieces for gyil introduce Dagara music systematically, building students’ technique and facility on the instruments in addition to ensuring student comprehension of Dagara musical practice. Based on sixteen years of apprenticeship with Bernard, this article investigates his pedagogy, detailing his methodical process through his use of cultural and educational scaffolding techniques theorised as “deliberate practice” by Ericsson and Pool (2016) and underscores the importance of recognising the individual African musician in academic and educational settings.


2020 ◽  
Vol 20 (2) ◽  
pp. 242-251
Author(s):  
Luthfi bin Yahya ◽  
Moh. Muttaqin ◽  
Ibnu Amar Muchsin

This study is based on society’s reality about the diversity of musical expressions of the sholawat art which is still ongoing. Therefore, this study aims to identify, analyze, and describe the musical expressions of sholawat art that exist in society in the context of a multicultural society. This study is a qualitative descriptive study with a musicology approach as the main approach. This study used several techniques for data collection, namely interview techniques, document and documentation study techniques, and observation techniques. Furthermore, the data were analyzed using content analysis with the main musicological approach which refers to the concept of composition, harmony, song form, and presentation form. The results show that in a multicultural society, such as Indonesia, there are various kinds of musical expressions of sholawat art. If we look at musicology, the diversity of musical expressions includes several kinds of expressions, which include the variety in characterization, the variety in the scale tradition used, the mixture in the use of song lyrics, and the variety in the technique of using language in composing the lyrics.


Author(s):  
Katherine R. Larson

This chapter probes the lexical slipperiness of “song” in relation to the dynamic interplay between early modern lyric production and musical practice. It also activates the resonances at play within the equally elusive notion of “form” further to animate song as an embodied genre straddling the boundary between poetic and musical expression. Larson considers the implications these taxonomical reflections hold for an analysis of the anonymous settings of Mary Sidney Herbert’s translations of Psalms 51 and 130, preserved in the British Library. These pieces offer an opportunity to bring a musical approach to lyric form to bear on psalm translations that are typically studied and taught from a visual, rather than an acoustic, perspective. Reading the psalms in terms of sung performance transforms our understanding of Pembroke’s experimental translations and of women’s broader engagement with the genre in the early modern English context.


2018 ◽  
Vol 28 (3) ◽  
pp. 1031-1034
Author(s):  
Smilena Smilkova

The curiosity of the children is the driving force of their behavior, their impulse for action, their flight of fantasy, the "discovery" of the world, their proof and self-affirmation to others and to themselves.The pursuit of "discovery" has different manifestations in different children. It is manifested in the ways of perceiving and clarifying the reality of children's fantasy, its creativity, its courage, its ingenuity, its ingenuity.This article examines the problem of developing soft skills in primary school children through certain educational cohorts in music education: Musical practice including perception and reproduction and Elements of musical expression. A literary review of the problem has been carried out. An attempt is made to identify the intersections between the music education in elementary school and the development of soft skills in the students.Music is a serious "provocateur" in the expression of childhood. She, the music, educates, trains, stimulates, enthusiastically. "Invisible" as an image of time, the music introduces the children to the styles of different ages, to the thoughts and emotions of the people who lived "long ago" and "now," with the ways of expressing them both from the ethnos and from the personal creative vision of the composer. Music helps children walk around the world, worn by the wings of imagination and aided by the craftsmanship of the creators who have left behind the trail of personal and social understanding of the world and life.Through the music practice of Perception, children learn about the masterpieces of renowned masters. Through the second element of the musical practice - Reproduction, they become interpreters, "interpreters" of the vast universe of human dreams, sorrows, desires, gusts, hopes. The nature and essence of the Elements of Musical Expression leads them to a logical and reasoned explanation of the difficult and enigmatic musical language.How do the Educational Kernels Influence Musical Practice and Elements of Musical Expression on the Development of Soft Skills in Children of primary school? Comprehensive! They create listening and listening skills, feedback, flexibility and adaptability, thinking outside of the box, telling stories, personal and social organization, "seeing" and evaluating the positive.Of course, learning music, understanding and performing it, creating soft skills during the learning period takes place over time - a long, gradual, permanent, labor-intensive process. But resisting the time, embracing music with the interest, curiosity and purity of the child's soul, it is the time that is grateful for the knowledge and wisdom of the formed spiritual person.


2015 ◽  
Vol 25 ◽  
pp. 34-36 ◽  
Author(s):  
Daniel Walzer

Affordable technology facilitates an immediate documentation of sound and space that encourages collective artistic expression modeled after track- or song-remixing websites. Students in a newly proposed music composition course must capture and generate original sounds, and then upload them to a separate class drive for other students to reuse. New creative work consists entirely of these reused sounds. The author discusses the use of remixed sound collages in an open access format and considers the positive influence of legal file exchange and remixing in educational musical practice.


JALABAHASA ◽  
2020 ◽  
Vol 12 (2) ◽  
pp. 137-147
Author(s):  
Nur Ramadhoni Setyaningsih

Bahasa dan musik bersifat saling mengisi dalam kegiatan bermusik. Setiap ungkapan musik dilantunkan dalam bentuk bahasa yang menyentuh dan harus mampu menarik perhatian pendengarnya. Bahasa dalam musik dapat dilihat melalui tampilan teks dan lirik lagu. Liriklirik lagu dalam musik tidak hanya menjadi alat ekspresi diri dari penyanyi maupun pencipta lagu, tetapi sekaligus menjadi gambaran perilaku dan perasaan yang berkembang di masyarakat. Kajian ini berusaha mengupas tentang bahasa yang ada dalam lirik lagu serta gambaran yang ada dalam masyarakat berdasarkan lirik lagu tersebut. Kajian ini diharapkan dapat bermanfaat secara teoritis untuk ilmu sosiolinguistik terutama dalam hal variasi kebahasaan dalam lirik lagu juga tentang hakikat fungsi bahasa dalam masyarakat. Selain itu, dapat pula dimanfaatkan secara praktis dalam hubungannya dengan pengembalian etika masyarakat. Pengambilan data dilakukan dengan mengunduh dari internet serta mendengarkan radio dan kecenderungan masyarakat dalam bernyanyi. Berdasarkan kajian yang dilakukan dapat dideskripsikan bahwa keunikan bahasa dalam lirik lagu dangdut masa kini dapat dilihat dari rima dan pilihan kata. Sementara itu, kondisi masyarakat yang terpotret berdasarkan lirik lagu dangdut masa kini menunjukkan adanya perubahan pola pikir masyarakat. Hal-hal yang pada mulanya dianggap tabu menjadi hal yang lumrah untuk diungkapkan. Budaya materialisme dan konsumerisme telah masuk dalam masyarakat. ABSTRACT Language and music complete each other in the music activities. Every musical expression is played in touched language and must be able to attract the attention of the hearers. The language in music could be seen through its texts and song lyrics. The song lyrics in the music not only become mean of self expression from the singer or the song composers, but also become the refl ection of the feeling and attitude growing in society. This research studied the language in the song lyrics and the refl ection of the society based on the song lyrics. This research is aimed to be benefi cial theoretically for sociolinguistics particularly in the fi eld of language variation in the song lyrics as well as the nature of the language function in society. In practice, this research is also benefi cial in recovering the ethic in society. The data was taken by downloading from the internet and listening to radio as well as the tendency of the society in singing. Based on the research, it could be described that the language uniqueness in the recent dangdut song lyrics could be seen from the rhyme and the diction. While, the condition of the society could be captured based on the recent dangdut song lyrics showed the thought pattern of the society. There are issues which previously considered taboo to be revealed but become common. Materialism and consumerism culture have diffused in society. 


2019 ◽  
pp. 61-114
Author(s):  
Michael Birenbaum Quintero

This chapter examines the range of cultural and musical alternatives available to the black inhabitants of the southern Pacific coast during colonial mine slavery. It describes them as cosmopolitan participants in multiple and overlapping cultural, economic, social, and political ecumenes, even as their blackness consigned them to abjectness, most obviously as enslaved chattel. Examining the historical record and extrapolating from present-day musical practice and organology, the discussion imagines musical practices in the colonial Pacific, with particular attention to the ways in which present-day socioracial formations and the musical forms commonly associated with them were still incipient in the eighteenth century.


2021 ◽  
Vol 21 (61) ◽  
pp. 71-92
Author(s):  
David Collins

Stephen Davies and Jerrold Levinson have each offered accounts of how music can express emotions. Davies’s ‘Appearance Emotionalism’ holds that music can be expressive of emotion due to a resemblance between its dynamic properties and those of human behaviour typical of people feeling that emotion, while Levinson’s ‘Hypothetical Emotionalism’ contends that a piece is expressive when it can be heard as the expression of the emotion of a hypothetical agent or imagined persona. These have been framed as opposing positions but I show that, on one understanding of ‘expressing’ which they seem to share, each entails the other and so there is no real debate between them. However, Levinson’s account can be read according to another—and arguably more philosophically interesting— understanding of ‘expressing’ whereas Davies’s account cannot as easily be so read. I argue that this reading of Hypothetical Emotionalism can account for much of our talk about music in terms of emotions but must answer another question—viz., how composers or performers can express emotions through music—to explain this relation between music and emotion. I suggest that this question can be answered by drawing on R. G. Collingwood’s theory of artistic expression.


2020 ◽  
Author(s):  
Е.В. Мельникова

Статья посвящена фортепианному опусу Ивана Соколова «Волокос» (1988), который демонстрирует один из возможных вариантов нетрадиционного соотношения слова и музыки. Жест — элемент театрализации, этой заметной тенденции современной музыки — также находит отражение в данном произведении, поскольку важное значение в реализации авторского замысла приобретают средства инструментального театра. В «Волокосе» И. Соколов предлагает также особую форму музыкального шифрования, в результате чего происходит последовательное перекодирование вербального текста в музыкальный («криптофония»). Несмотря на критическую оценку композитором своих ранних сочинений и используемой в них техники кодирования внемузыкального смысла, именно этот способ организации музыкального материала оказался востребованным в то время и другими композиторами в поисках новых форм музыкального самовыражения. Знаковый для последней четверти ХХ века и для творчества Ивана Соколова, опус «Волокос» является своеобразным манифестом автора и одним из примеров экспериментов со словом, музыкой и жестом, которые продолжаются и в новейшей музыкальной практике. The article is devoted to Ivan Sokolov’s piano opus “Volokos” (1988), which demonstrates one of the possible variants of the unconventional correlation of word and music. Gesture as an element of theatricality, this noticeable trend of the modern music is also reflected in this work, as the means of the instrumental theater gain an important role in the implementation of the author's idea here. In “Volokos” Ivan Sokolov also offers a special form of musical encryption, which results in the sequential conversion of the verbal text into the musical (“cryptophony”). Despite the composer’s critical assessment of his early compositions and the technique of encoding extra-musical meaning used therein, it was this method of organizing musical material that was in demand at that time by other composers in search of new forms of musical expression. The opus “Volokos” became a landmark for the last quarter of the twentieth century and for the creative activity of Ivan Sokolov, as well as kind of a Manifesto of the author and one of the examples of the experiments with the word, music and gesture, which continue in the modern musical practice.


Author(s):  
Mirella Klomp ◽  
Marcel Barnard

Abstractis a musical practice staged in the Dutch public sphere and an example of how large, Christian musical forms in late-modern network societies moved from the church to the broader culture. Neither the classical discipline of hymnology nor the emerging discipline of Christian congregational music studies have developed theoretical concepts that serve to understand musical practices outside the ecclesial domain. The authors distinguish the emerging field of fluid ritual musical practices and reinvent the concept of sacro-soundscapes as a notion that contributes to the interpretation of these practices. They claim that, consequentially, the aforementioned disciplines are included in this field and therefore change, as well.


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