scholarly journals Musicalizing the Heart Sutra: Buddhism, Sound, and Media in Contemporary Japan

Religions ◽  
2021 ◽  
Vol 12 (9) ◽  
pp. 759
Author(s):  
Duncan Reehl
Keyword(s):  
Popular Music ◽  
Online Media ◽  
Modern Music ◽  
Musical Sound ◽  
Global Trends ◽  
Musical Arrangements ◽  
Electric Guitars ◽  
Heart Sutra

In Japan, explicitly religious content is not commonly found in popular music. Against this mainstream tendency, since approximately 2008, ecclesiastic and non-ecclesiastic actors alike have made musical arrangements of the Heart Sutra. What do these musical arrangements help us to understand about the formation of Buddhist religiosity in contemporary Japan? In order to answer these questions, I analyze the circulation of these musical arrangements on online media platforms. I pursue the claim that they exhibit significant resonances with traditional Japanese Buddhist practices and concepts, while also developing novel sensibilities, behaviors, and understandings of Buddhist religiosity that are articulated by global trends in secularism, popular music, and ‘spirituality’. I suggest that they show institutionally marginal but publicly significant transformations in affective relationships with Buddhist religious content in Japan through the mediation of musical sound, which I interpret as indicative of an emerging “structure of feeling”. Overall, this essay demonstrates how articulating the rite of sutra recitation with modern music technologies, including samplers, electric guitars, and Vocaloid software, can generate novel, sonorous ways to experience and propagate Buddhism.

The Tracker Producer and Top-Liner Collaborative Music Production Project (Advanced)

2020 ◽  
pp. 275-282
Author(s):  
Brendan Anthony
Keyword(s):  
Popular Music ◽  
Student Learning ◽  
Music Industry ◽  
Online Communication ◽  
Student Interaction ◽  
Modern Music ◽  
Face To Face ◽  
Assessment Item ◽  
Music Production ◽  
Written Assessment

This project engages students with the collaborative realities of modern popular music production via an amalgamation of the music programmer, producer, and songwriter roles. Students engage in face-to-face and remote/online communication, composition, and production to manifest an original popular music output that is generated primarily within the DAW. Student learning is encapsulated within the autonomous interaction and workflows associated with the task, and reflected upon within a journal that informs a written assessment item. This activity is designed as a profession-based engagement that bridges student interaction to the realities of the modern music industry. This is intended to promote notions of professional ability within students upon completion.

scholarly journals The trumpet in a woman's hand in contemporary Serbian traditional and popular music: The case of the "Danijela" trumpet orchestra from Arilje

New Sound ◽  
2019 ◽  
Vol 53 (1) ◽  
pp. 171-193
Author(s):  
Jelena Joković
Keyword(s):  
Popular Music ◽  
Women's Leadership ◽  
Musical Instruments ◽  
Essential Difference ◽  
Male And Female ◽  
Musical Education ◽  
Personal Impact ◽  
Trumpet Music ◽  
Musical Arrangements ◽  
Mixed Gender

Trumpet orchestra "Danijela" belongs to the type of mixed gender orchestra, in which the women is the leader in men surroundings. This orchestra today mainly plays musical arrangements of the popular music, from folk to pop and rock, jazz and Latin. Danijela and her orchestra do not try to copy already existing interpretation, but they are doing their best to give to their music their personal touch in different musical securements, whether formally or in arrangements. Danijela, herself says that there are not essential difference between male and female trumpet orchestra, all, actually, depends on the personal impact. This personal impact is due to the musical education which helped Danijela's orchestra to, especially in harmony and articulation add its style to already existing interpretation. Regarding the performing of tracks which belong, by its style, to the repertoire of southeast Serbia, it is notable, especially in the aspect of articulation and ornaments marching to the style definitions of the trumpet music in West Serbia, which is general equal for all trumpet orchestras in West Serbia, which play the repertoire of the other trumpet places especially southeast Serbia. This ensemble takes part in most different kind of media, which promotes, not only this orchestra, but also the idea of women's leadership, and the fact, also that the women (in this case a young girl) can play the instrument which up to recently, was considered to be only for men. At the very end, we may conclude that today in Serbia there is no more radical difference in gender regarding musical instruments, the epithet 'male' or 'female' is not explicit any more, as it was before when men had priority. Of course, the prejudices still exist, but they are not any more so important and they are easily overcome, especially if performers get good critics from the audience for their work, no matter what instrument is in question.

Race, Blacksound, and the (Re)Making of Musicological Discourse

2019 ◽  
Vol 72 (3) ◽  
pp. 781-823 ◽  
Author(s):  
Matthew D. Morrison
Keyword(s):  
Nineteenth Century ◽  
Popular Music ◽  
The United States ◽  
Original Form ◽  
Modern Music ◽  
Property Relations ◽  
Chattel Slavery ◽  
Blackface Performance ◽  
The Impact ◽  
Performance Of Race

This article highlights practices of exclusion embedded in musicology—especially in relation to race, racialized people, and race relations—in order to rupture its constructed borders and decentralize the normative systems that have come to shape the discipline, its membership, and its discourses. To this end, I define and apply the concept of Blacksound—the sonic and embodied legacy of blackface performance as the origin of all popular music, entertainment, and culture in the United States. Blackface emerged as the first original form of US popular music during chattel slavery, and it helped to establish the modern music industry during the time in which Guido Adler began to define Musikwissenschaft (1885). Blacksound, as the performative and aesthetic complement to blackface, demonstrates how performance, (racial) identity, and (intellectual) property relations have been tethered to the making of popular music and its commercialization since the early nineteenth century. Blacksound also reveals how practices of exclusion that are germane to musicological discourse are connected to the racist practices and supremacist systems that defined society and popular culture throughout the nineteenth century. To redress the impact of these customs, this article defines and employs Blacksound as a means of placing (the performance of) race, ethnicity, and their relationship with other forms of identity at the center of the way we approach and select our subject matter and create musicological epistemologies within the development of music studies.

Towards Modern Music in Romania

2003 ◽  
Vol 30 (2) ◽  
pp. 1-19
Author(s):  
Valentina Sandu-Dediu
Keyword(s):  
20Th Century ◽  
Coming Of Age ◽  
American Music ◽  
Oral Traditions ◽  
Eastern European ◽  
Musical Language ◽  
Modern Music ◽  
Global Trends ◽  
Avant Garde ◽  
School Of Music

AbstractToo little known in the West, modern Romanian scores are being gradually discovered nowadays, beginning with those of George Enescu. For decades underestimated as a creator, Enescu has been re-evaluated and recently recognized as an original and authentic representative of an Eastern European music school, comparable with JanáČek or Szymanowski. The Romanian music of the past fifty years, due to the political and ideological situation of Romania, similar to other countries of the ex-communist Eastern European bloc, has been isolated geographically but not aesthetically. The great diversity of modern or avant-garde trends in Western European and North American music is also present in the output of Romanian composers of the same period, combined in various degrees with autochthonous nuances. Originating primarily in the two major oral traditions, namely peasant folk music and religious Byzantine music, these have compelled Romanian composers to find their own musical language. However, Romanian composers coming of age in the second half of the 20th century took their first steps on a well-established territory, from the standpoint of composition, style, and aesthetics. A solid school of music - built on structural foundations that gave it a distinct language - had already been established in Romania in the first half of the 20th century. Therefore, the following essay is a chronological outline of the historical development of Romanian composition, a process governed primarily by the tension between national elements and global trends.

scholarly journals Music for One World: Moroccan Musical Experience of Diversity, Fusion, Happiness, Healing, and Peace

2020 ◽  
pp. 1-10
Author(s):  
Mark Reimer
Keyword(s):  
Cultural Identity ◽  
Contemporary Music ◽  
International Community ◽  
Vital Role ◽  
Musical Experience ◽  
Modern Music ◽  
Everyday Lives ◽  
Islamic Religion ◽  
Electric Guitars

Although steeped in Islamic religion and culture, Morocco is a land of varying influences and histories, including those of the native Berbers, the Moors and Jews driven out of Spain, those who follow the pious Sufi culture of Islamic spiritualism, and the Gnawa slaves who were brought into southern Morocco by Arabs. The music, customs, values, and everyday lives of these disparate peoples continue to not only blend with each other’s but also to fuse Moroccan music and culture with those of Europe, Africa, and America. The influence of Moroccan music continues to play a vital role in shaping contemporary music, especially in the study of rhythm. Music that was once heard by voices, flutes, oboes, strings, bagpipes, auxiliary percussion, and drums—symbolic of Moroccan cultural identity--may now be heard on electric guitars, keyboards, and amplified voices in popular and modern music styles that reflect Morocco’s continuing efforts to be active players in the international community.

Playing-related Injury in Guitarists Playing Popular Music

2003 ◽  
Vol 18 (4) ◽  
pp. 150-152 ◽  
Author(s):  
John L Rigg ◽  
Randy Marrinan ◽  
Mark A Thomas
Keyword(s):  
Popular Music ◽  
Large Population ◽  
Musical Instrument ◽  
The United States ◽  
Medical Problems ◽  
Increased Risk ◽  
History Of ◽  
Electric Guitars ◽  
Anatomic Locations ◽  
Musical Genres

Playing a musical instrument involves the repetitive use of muscles, often at their extreme range of motion. Consequently, musicians in general are at an increased risk for the development of pain syndromes related to nerve or musculoskeletal damage. Acoustic and electric guitars are among the most popular instruments in the world today, with a large population of musicians at risk of injury. This article examines the results of a survey completed by 261 professional, amateur, and student guitarists to determine the most common anatomic locations of playing-related pain and its relationship to possible etiologic factors. A survey of 15 questions was distributed to professional, amateur, and student guitarists who play the musical genres of rock/blues, jazz, and folk across the United States and Canada. The questions addressed type of guitar played, style of music performed, playing posture, picking technique, anatomic location of pain, history of formal training, presence of playing-related pain in the past 12 months, history of trauma to the affected area, and history of other nonrelated medical problems. Playing-related pain was reported by 160 (61.3%) of 261 guitarists who completed the survey. The most often reported location was the fretting hand, with 109 (41.8%) of 261 subjects reporting the presence of playing-related pain in the previous 12 months. The back and neck were the next most reported sites of playing-related pain, with 45 (17.2%) of 261 subjects reporting back pain and 39 (14.9%) of 261 subjects reporting neck pain in the previous 12 months. The results suggest that a substantial number of guitarists playing various styles of popular music are experiencing playing-related pain.

scholarly journals Value of musical noise instruments for modern art education

2020 ◽  
Vol 2020 (3 (132)) ◽  
pp. 190-197
Author(s):  
Wang Chunjie
Keyword(s):  
Popular Music ◽  
Art Education ◽  
Instrumental Music ◽  
Structural Complexity ◽  
Cultural Knowledge ◽  
Modern Music ◽  
Musical Rhythm ◽  
Musical Education ◽  
Mechanical Devices ◽  
Primary School Pupils

The article raises the issue regarding the possibilities of using musical noise instruments in the process of mass art education. The relevance of the topic is predetermined by these facts: a) insufficient attention of representatives of musical education to the use of musical noise instruments; b) the growing importance of this type of instrument in academic and popular music; c) increasing interest of modern youth in instrumental music making; b) the low degree of development of the theory and methodology of playing musical noise instruments. The goal of the work is to consider the phenomenon of musical noise instruments from the education viewpoint as well as to determine their pedagogical potential. The content of the article. Based on the analysis of special literature, the classification concept “musical noise instruments” has been specified. Their mechanical, acoustic, plastic, cultural and educational properties have been characterised. The features of musical noise instruments that determine the possibility and expediency of their use in the practice of musical education have been determined. The results of the study. It is proposed to understand “musical noise instruments” as acoustic mechanical devices that allow creating more or less plastic broadband and colour noises. It has been established that musical noise instruments have an important educational value, which can be explained by a number of factors: a) these instruments belong to the oldest sound generation devices in the history of mankind, familiarity with them serves to expand cultural knowledge and gnostic motivation for art education; b) mastery of them opens the way for developing traditions of the native national art and the wealth of other national cultures; c) musical noise instruments primarily serve to reproduce the musical rhythm in all its expressiveness and structural complexity; involvement of schoolchildren in playing music with musical noise instruments promotes the development of their musical and rhythmic abilities, perceptions and skills; d) since the role of musical noise instruments today has significantly increased in the practice of classical, jazz and popular music, the acquaintance of students with these instruments should be considered as one of the ways to master the poetics and artistic language of modern music in its various style and genre manifestations; e) musical noise instruments have a high potential in attracting preschool children and primary school pupils to active ensemble music playing. Modern pedagogy of higher education should study and develop the didactic capabilities of musical noise instruments in training future teachers of musical art: the formation of their sense of rhythm, texture, architectonics, timbre palette, intonational expressiveness; arranging skills, expanding musical and cultural experience. These tasks require an appropriate technique, the development of which is the author’s further task.

The Increase of Online Journalism in Nepal

2021 ◽  
pp. 1326365X2110485
Author(s):  
Harsh Mahaseth ◽  
Shifa Qureshi
Keyword(s):  
Digital Media ◽  
Online Media ◽  
Online Journalism ◽  
Traditional Media ◽  
Global Trends ◽  
The Past ◽  
The People ◽  
Pros And Cons ◽  
Use Of The Internet ◽  
The Impact

In the past two decades, Nepal has gone through revolutionary changes in the traditional model and the online or digital model of journalism, progressively adapting to contemporary global trends in news-making. Both models are developing and show greater participation of the people. However, these two models have certain pros and cons, which make them preferable to other models in terms of accessibility, low price, reliability and enforceability. This article plans to offer a hypothetical reflection on the emergence of online journalism in Nepal. At the same time, the article discusses how traditional media has evolved over time and the impact of digital media on the working of traditional media. This article also argues that, to ensure the best and positive use of the internet and related technologies for communication, Nepal needs to develop an online media policy. Consequently, the author concludes that both models do not run contrary to each other and can work together for greater results.

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