scholarly journals Cultural Rights of Traditional Musicians in Ethiopia: Threats and Challenges of Globalisation of Music Culture

2015 ◽  
Vol 2 (4) ◽  
pp. 315-326
Author(s):  
R.N. Pati ◽  
Shaik B. Yousuf ◽  
Abebaw Kiros
Keyword(s):  
Western Music ◽  
Music Culture ◽  
Cultural Changes ◽  
Modern Music ◽  
Culture Industries ◽  
Cultural Rights ◽  
Traditional Songs ◽  
The Aesthetic ◽  
Local Traditions ◽  
Music Tradition

Ethiopia upholds unique cultural heritage and diverse music history in entire African continent. The traditional music heritage of Ethiopia has been globally recognized with its distinct music culture and symbolic manifestation. The traditional songs and music of the country revolves around core chord of their life and culture. The modern music of Ethiopia has been blended with combination of elements from traditional Ethiopian music and western music which has created a new trend in the music world. The music tradition of the country not only maintains the cultural identity but also maintains social cohesion through cultural expression at different social occasions and resists cultural changes infused through globalization. The globalization has brought a series of transformation and changes in the world of Ethiopian music through commercialization, commodification and digitalization of cultural expressions apart from hijacking the cultural rights of traditional musicians. The younger generations have been attracted towards western music undermining the aesthetic and cultural value of music tradition of the country. The international enactments relating to protection and safeguarding of cultural rights of people are yet to be appropriately translated into reality. The emergence of culture industries and entertainment houses has posed serious threats to local culture and led to disappearance of local traditions, musical heritage and their replacement by popular global music. The cultural homogeneity and commodification has replaced the multiplicity of cultures in this globalized era. This paper based on review of published articles and content analysis critically unfolds sensitive areas of cultural shock and violation of cultural rights exposed to traditional musicians and traditional singers of Ethiopia during last couple of decades.Int. J. Soc. Sci. Manage. Vol-2, issue-4: 315-326

Rhythm Quantization: Notes on the History of a Technocultural Practice

2021 ◽  
pp. 340-365
Author(s):  
Landon Morrison
Keyword(s):  
Popular Music ◽  
Cognitive Processes ◽  
Western Music ◽  
Theoretical Knowledge ◽  
Music Culture ◽  
Apparent Contradiction ◽  
History Of ◽  
Musical Genres ◽  
Sound Technology

This chapter sketches a general history of rhythm quantization as a widespread practice in popular music culture. Quantization—a sound technology that automatically maps microrhythmic fluctuations onto the nearest beat available within a predefined metric grid—challenges traditional notions of musicking as an embodied activity that is grounded in the co-presence of human agents. At the same time, it encapsulates cultural and cognitive processes that are entirely human, fitting into a broader historical shift towards chronometric precision in Western music. Questions arising from this apparent contradiction are taken up in this chapter, which situates rhythm quantization as an emergent technocultural practice, examining its attendant technologies and requisite structures of music-theoretical knowledge, as well as its reception within the context of different musical genres.

Music exposure and hearing health education: A review of knowledge, attitude, and behaviour in adolescents and young adults

2011 ◽  
Vol 71 (6) ◽  
pp. 709-724 ◽  
Author(s):  
Fei Zhao ◽  
David French ◽  
Vinaya KC Manchaiah ◽  
Maojin Liang ◽  
Sharon M Price
Keyword(s):  
Young Adults ◽  
Health Education ◽  
Attitude Change ◽  
Adolescents And Young Adults ◽  
Age Group ◽  
Music Culture ◽  
Modern Music ◽  
Literature Searches ◽  
Hearing Health ◽  
Insight Into

Introduction: Adolescents and young adults have been shown to be the age group most at risk of music-induced hearing loss (MIHL), which is already evident and increasing among this group. Objective: The purpose of this review is to provide further insight into the effectiveness of education programmes on attitude and behaviour towards loud music exposure in adolescents and young adults, and to suggest positive and influential ways of delivering hearing health education. Methods: Literature searches were conducted using various databases, including PubMed, Google Scholar and Cumulative Index to Nursing and Allied Health Literature (CINAHL). Authors went through the abstracts of these articles to identify those which were potentially relevant; subsequently the full articles were retrieved. Results: This review highlights the dangers of significant exposure to music on hearing mechanics in adolescents and young adults, and shows that this danger continues to increase with modern music culture. Because the consequences are not immediate, it is difficult for the young to perceive the seriousness of a problem that may not present itself for many years. Conventional education may go a little way in helping to raise awareness but a raised awareness of consequences does not, in itself, change behaviour. There is a significant gap in literature regarding effective methods of education that will inspire attitude change, and have a bearing on actions. Conclusion: This review has concluded that there is a lack of understanding of how to best influence and educate adolescents and young adults in a way that will motivate and encourage a change in listening habits. It is of vital importance that these groups are made aware of the immediate and future dangers, and how changes in listening behaviour do not necessarily lower their enjoyment.

scholarly journals ESTETIKA PERMAINAN MUSIK BARAT PADA BIG BAND SALAMANDER

2021 ◽  
Vol 11 (1) ◽  
pp. 99
Author(s):  
Oki Dirgualam ◽  
Dadang Suganda ◽  
Buky Wibawa ◽  
Kunto Sufianto
Keyword(s):  
Descriptive Analysis ◽  
Music Culture ◽  
Big Band ◽  
Aesthetic Experiences ◽  
Band Music ◽  
Jazz Music ◽  
Music Aesthetics ◽  
The Aesthetic ◽  
The Right ◽  
Aesthetic Values

<p>This article describes the aesthetics of the big band jazz music by Salamander Big Band. Aesthetics is a study of the processes that occur in three basic elements: aesthetic objects, aesthetic subjects, and aesthetic values related to aesthetic experiences, aesthetic properties, and attractive and unattractive parameters. This paper presents the basic elements of western music aesthetics, especially big band jazz music, and how Salamander Big Band can implement the aesthetic values of western jazz big band music in the music played. This research uses a qualitative approach with a descriptive analysis method. Through a process of appreciation, habituation, additional insight into jazz music and continuous and consistent practice, Salamander Big Band members can adapt to cultures from outside Indonesia's popular music culture, namely playing American big band music with the right aesthetic.</p>

scholarly journals Deconstructing the Local: The Aesthetic Space and Geographic Place of Oskar Morawetz's String Quartet no. 5 "A Tribute to Wolfgang Amadeus Mozart" (1991)

2013 ◽  
Vol 24 (1) ◽  
pp. 7-29 ◽  
Author(s):  
Friedemann Sallis
Keyword(s):  
String Quartet ◽  
Wolfgang Amadeus Mozart ◽  
Art Music ◽  
Western Music ◽  
National Music ◽  
The Aesthetic ◽  
Object Of Study ◽  
The Relationship ◽  
Over Time

The oppositional notions of centre and periphery, mainstream and margin, and universal and local have long been important criteria for the scholarly study of Western music. Indeed they are often taken for granted. This paper will take a critical look at the relationship obtaining between art music the notion of a national music. The object of study is taken from among the works of the Canadian composer (of Czech origin) Oskar Morawetz. The point is not to deny that music can be legitimately associated with a given place but rather to examine how these complex, problematic relationships are created and how they evolve and/or dissolve over time.

scholarly journals Khorezm Dutor Moments

2021 ◽  
Vol 03 (04) ◽  
pp. 199-202
Author(s):  
Shodmonova Durdona ◽  
◽  
◽  
◽  
Keyword(s):  
Classical Music ◽  
Music Culture ◽  
Modern Music ◽  
The Status

Issues related to the classical samples of Uzbek classical music heritage occupy one of the leading places in the modern music culture. In this regard, among the Bukhara Shashmakomi, Fergana-Tashkent status roads, Khorezm status categories, Dutor status, in our opinion, are of great interest. In particular, the study of the generality and differences in the interpretation of their old rare and diverse new performance, in full case or in the recording of parts into a note, is of paramount importance. This article is about the status of Khorezm

scholarly journals Choral flash mobs and their role in modern music culture

2021 ◽  
Vol 1 (5) ◽  
pp. 109-112
Author(s):  
Nataliia Krechko ◽  
◽  
Yuliia Sokolova ◽  
Keyword(s):  
Music Culture ◽  
Modern Music

Systemic Abstractions

2019 ◽  
pp. 115-132
Author(s):  
Martin Knakkergaard
Keyword(s):  
European History ◽  
Primary Factor ◽  
Western Music ◽  
Music Culture ◽  
Point Of Departure ◽  
Fixed Pitch

Martin Knakkergaard discusses how numbers have had decisive consequences for the development of a tone system of fixed pitch intervals and proportions in general in Western music. Knakkergaard takes as his point of departure considerations regarding the Ancient Greek’s mystical fascination with the number four, aiming to show how this preoccupation can be seen as the primary factor behind the limitations and restricted principles implied in Western music culture and practice throughout European history. Thus, the implied number is regarded as a dominating factor that guides, regulates, and controls human imagination and expectation toward musical artifacts—today maybe even more than ever before.

APROPRIASI GITAR DALAM KESENIAN REJUNG PADA MASYARAKAT SUKU BASHEMAH KABUPATEN KAUR PROVINSI BENGKULU

2018 ◽  
Vol 7 (2) ◽  
pp. 94
Author(s):  
Budrianto Budrianto Budrianto ◽  
Wilma Sriwulan ◽  
Marta Rosa
Keyword(s):  
Young People ◽  
Qualitative Methodology ◽  
Musical Instruments ◽  
Western Music ◽  
Oral Literature ◽  
Modern Music ◽  
The People ◽  
Eastern Music ◽  
Musical Accompaniment

AbstrakPenelitian bertujuan untuk membahas peran gitar sebagai bentuk apropriasi dalam kesenian rejung pada masyarakat suku bashemah ,sekaligus bertujuan untuk menambah wawasan,mendeskripsikan dan mencari kebenaran tentang kesenian tersebut mengapa kesenian ini memakai iringan permainan gitar konvensional barat. Rejung adalah perpaduan antara sastralisan beserta iringan musik menggunakan petikan gitar. Irama-irama rejung sangatlah beragam dan khas.Sastralisan yangterkandung dalam rejung terletak pada tembang-tembangnya, berupa pantun nasehat, pesanmoral, sindiran, kisah seseorang, sebuah ungkapan perasaan antara muda-mudi dan ucapan-ucapan yang dirasakan dalam hati seperti merintih,meratapi nasib,dan menyesali hidup dengan menggunakan bahasa daerah. Gitar dalam kesenian rejung berfungsi sebagai melodi pokok sekaligus pengatur tempo. Dalam musik konvensional gitar difungsikan sebagai iringan musik modern atau musik barat. sementara berbeda halnya dengan kesenian rejung,secara musikal gitar tunduk  sebagai alat musik tradisi di dalam kesenian rejung. Metodologi yang digunakan ialah metodologikualitatif dalam lingkup musik. Dengan adanya  penelitian ini untuk menambah nilai historis sebuah kesenian daerah itu sendiri dan berharap menjadi suatu referensi literasi pengetahuan bagimasyarakat kabupaten kaurdan masyarakat umum. Dalam karya tulis ini disimpulkan bahwa musik rejung memiliki gaya khas musik timur dengan memakai instrumen musik barat dan memiliki ciri khas musik tradisional Indonesia.           Kata Kunci : Rejung, Gitar Konvensional, Apropriasi.  AbstractThe study aims to discuss the role of the guitar as a form of appropriation in the art of rejung to bashemah tribal people, as well as aiming to broaden insight, describe and seek truth about the art, why is this art using conventional Western guitar playing. Rejung is a combination of oral literature and musical accompaniment using guitar passages. The rhythm of the rejung is very diverse and distinctive. Oral literature contained in the rejung lies in the songs, in the form of rhymes of advice, moral messages, satire, the story of a person, an expression of feelings between young people and words that are felt in the heart such as moaning, lamenting fate, and regretting life by using local language. The guitar in the rejung art serves as the main melody as well as the tempo regulator. In conventional music the guitar is functioned as an accompaniment of modern music or western music. while in contrast to the rejung art, musical guitars are subject to traditional musical instruments in the art of rejung. The methodology used is a qualitative methodology in the scope of music. With the existence of this research to add the historical value of the regional art itself and hope to become a reference of knowledge literacy for the people of the district of Kaur and the general public. In this paper it was concluded that rejung music has a distinctive style of eastern music by using western music instruments and has the characteristics of traditional Indonesia music. Keywords: Rejung, conventional guitar, appropriation. 

Concluding Perspectives

2017 ◽  
Author(s):  
Peter Manuel
Keyword(s):  
Diaspora Studies ◽  
Music Culture ◽  
Music Genres ◽  
Caribbean Culture ◽  
Traditional Songs

This concluding chapter presents some hypotheses and conclusions about Bhojpuri diasporic dynamics, broader implications for diaspora studies in general, the relation of music genres like tassa to Afrocreole culture, and the implications of this relationship for our understanding of the phenomenon of Caribbean creolization. It suggests that Indo-Caribbean culture, including music culture, can be seen as an ongoing dialectic product of three primary cultural realms—the transplanted but deeply local Bhojpuri little tradition, the imported North Indian great traditions (whether of visiting godmen or Bollywood blockbusters), and Afrocreole culture. The relation between the local Bhojpuri little tradition and the imported Indian great traditions is complex and in some ways competitive. While some cultural activists do lament the hegemony of imported filmsong over local music, others seem to feel that both Bhojpuri traditional songs and Bollywood fare can comfortably coexist.

ARTISTIC IMAGES OF S. SIROTIN'S POEM "THE DEATH OF IVAN THE TERRIBLE": SATIRICAL TRAGIC ASPECT

2021 ◽  
Vol 1 (1) ◽  
pp. 59-67
Author(s):  
Ye. V. Beriglazova ◽  
Keyword(s):  
Conceptual Level ◽  
Modern Music ◽  
Musical Characteristics ◽  
Mixed Choir ◽  
Artistic Images ◽  
Ivan The Terrible ◽  
The Aesthetic

The work of the Russian composer Sergei Ivanovich Sirotin (1941–2014) occupies a unique niche in modern music. However, there is not much information either about the composer or about his choral work. The article focuses on Sirotin's poem "The Death of Ivan the Terrible" written for a mixed choir. The essay chosen for research clarifies the degree of reflection of the aesthetic categories of the tragic and the comic. The author analyzes the artistic images through the prism of these categories. Special attention is paid both to the identification of the tragic beginning in plot collisions of the work and its images, and to the comic in its various forms. The choral poem presents elements of folk laughter culture (parody, grotesque), as well as a character that performs a carnival and ritual function. In conclusion, the author states that the images embodied in the poem are the bearers of both tragic and satirical tragic elements, and indicates the features of musical characteristics that contribute to their expression in artistic images. It is argued that at the conceptual level of the work, the tragic and satirical tragic beginnings are opposed to each other.

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