scholarly journals Popular music, history and geography of our society: a pedagogical approach for students

2020 ◽  
pp. 1-9
Author(s):  
Juan Enrique MENDOZA-ZAZUETA ◽  
José Melchor ÓSCAR-ÁVILA
Keyword(s):  
Popular Music ◽  
Music History ◽  
Pedagogical Approach ◽  
Pedagogical Tool ◽  
Popular Music History ◽  
Object Of Study ◽  
Multiple Discourses

The present work seeks to determine popular music as an object of study before the cultural interconnections given by globalization and, at the same time, presenting the musical field as a pedagogical tool for education. Through a project by researchers at the Autonomous University of Sinaloa, a pedagogical methodology that provides the student with tools necessary for an understanding from the regional to the global of the object of study is weighted, this being the musical field or any other object of which music can serve as a tool for the acquisition and understanding of knowledge. It also proposes the construction and protection of documents that help shape our history, understanding that intellectual operations encompass both languages and multiple discourses as well as artistic expressions in general.

What Makes It Sound ’80s?

2019 ◽  
Vol 31 (3) ◽  
pp. 73-94 ◽  
Author(s):  
Megan Lavengood
Keyword(s):  
Social Context ◽  
Popular Music ◽  
Visual Analysis ◽  
Music History ◽  
Ethnographic Study ◽  
Popular Music History ◽  
Cultural Positioning ◽  
The Web

Popular music of the 1980s is remembered today as having a “sound” that is somehow unified and generalizable. The ’80s sound is tied to the electric piano preset of the Yamaha DX7 synthesizer. Not only was this preset (E. PIANO 1) astonishingly prevalent—heard in up to 61% of #1 hits on the pop, country, and R&B Billboard charts in 1986—but the timbre of E. PIANO 1 also encapsulates two crucial aspects of a distinctly ’80s sound in microcosm: one, technological associations with digital FM synthesis and the Yamaha DX7 as a groundbreaking ’80s synthesizer; and two, cultural positioning in a greater lineage of popular music history. This article analyzes the timbre of E. PIANO 1 by combining ethnographic study of musician language with visual analysis of spectrograms, a novel combination of techniques that links acoustic specificity with social context. The web of connections created by the use and re-use of DX7 presets like E. PIANO 1, among hundreds or maybe thousands of different tracks and across genres, is something that allows modern listeners to abstract a unified notion of the “’80s sound” from a diverse and eclectic repertoire of songs produced in the 1980s.

scholarly journals Dangdut dan Rezim Orde Baru: Wacana Nasionalisasi Musik Dangdut Tahun 1990-an

2017 ◽  
Vol 12 (1) ◽  
pp. 22
Author(s):  
Derta Arjaya
Keyword(s):  
Popular Music ◽  
Music History ◽  
New Order ◽  
Popular Music History

This research tries to answer two main questions. First, what was the reason for the nationalization of dangdut in 1990s period. Second, how was the discourse taken place and who benefited from the nationalization of the popular music. History method is applied in this research, by using sources, such as, magazines, newspapers, books, scientific works, which are spread in several places. The main inventions of this research are, firstly, the nationalization of dangdut was strongly related to the development of dangdut in the 1970’s to 1990’s periods. Secondly, the strategy of the regime to nationalize dangdut in the middle 1990s was conducted through supporting the development of positive dangdut. Third, the nationatization of dangdut in the 1990s benefited both the New Order regime and dangdut itself.

Investigating the origins of contemporary basics on the drum kit: an exploration of the role of the hi-hat in Anglo-American popular musics from 1960 until 1974

Popular Music ◽  
2014 ◽  
Vol 33 (2) ◽  
pp. 293-314 ◽  
Author(s):  
Paul Fleet ◽  
Jonathon Winter
Keyword(s):  
Popular Music ◽  
Driving Force ◽  
Music History ◽  
Anglo American ◽  
Popular Music History ◽  
Selection Of

AbstractThe hi-hat is an instrument within the kit that is often the driving force of numerous grooves, and how the playing of this instrument developed across the period 1960–1974 in Anglo-American popular musics is a useful guide when considering how the drum kit has in turn defined certain genres and styles. This paper will study a selection of grooves that use the hi-hat as a discriminating factor which will help trace the origin of certain basics within straight rhythms. The first iterations of these grooves are traced and analysed to uncover the origin of particular patterns that have since become accepted and well used within popular musics. This date period is a particularly rich seam of popular music history in this respect, beginning with the earliest recorded examples of particular hi-hat techniques and leading to what could be considered a period where these techniques became commonplace.

scholarly journals Media, ideological hegemony and popular music: Golden microphone song contestMedya, ideolojik hegemonya ve popüler müzik: Altın mikrofon şarkı yarışması

2015 ◽  
Vol 12 (2) ◽  
pp. 1446
Author(s):  
Levent Ergun
Keyword(s):  
Popular Culture ◽  
Mass Media ◽  
Popular Music ◽  
Music History ◽  
Symbiotic Relationship ◽  
Daily News ◽  
The Past ◽  
Theoretical Status ◽  
The Media ◽  
Popular Music History

<p>This article focuses on "Golden Microphone Award" song contest which has been organized under the sponsorship of Hürriyet Daily News between the years of 1965-68. Between the different forms of popular culture/music and mass media, there is a characteristically symbiotic relationship in which one almost can not survive in the absence of the other. Golden Microphone song contest, organized under the sponsorship of the mass media institution, Hürriyet Daily News, requires an evaluation in a scope that exceeds this symbiotic relationship. Because the role that Hürriyet plays in the circulation and the support of the dominant ideological definitions and representations is more important here. If we consider Golden Microphone contest as a moment,we can say that: there is a dynamic arena for the media, official ideology, musicians and audience in which both the elements of resistance and consent, the issues of the past and the future; hence overlapping and conflicting elements are available. In this framework, this research tries to analyse the dynamics of this specific moment of Turkish popular music history by using the theoretical status of media, sponsorship, ideology and hegemony concepts.  </p><p> </p><p><strong>Özet</strong></p><p>Bu makale, Hürriyet Gazetesi’nin sponsorluğunda 1965-68 yılları arasında düzenlenen “Altın Mikrofon Armağanı” adlı şarkı yarışması üzerine odaklanır. Popüler kültürün/müziğin farklı formları ile kitle iletişim araçları arasında, diğeri olmadan birisinin hayatını neredeyse sürdüremez olduğu karakteristik bir simbiyotik ilişki vardır. Bir kitle medyası olarak Hürriyet Gazetesinin sponsorluğunda düzenlenen “Altın Mikrofon” şarkı yarışması, bu simbiyotik ilişkiyi aşan bir çerçeve içinde değerlendirmeyi de gerektirmektedir. Çünkü Hürriyet’in egemen ideolojik tanımlar ve temsillerin dolaşımı ve pekiştirilmesinde oynadığı rol, burada çok daha önemlidir. Altın Mikrofon yarışmasını bir uğrak (moment) olarak ele alırsak şunu söyleyebiliriz: bu uğrakta gerek medya, gerek resmi ideoloji, gerekse müzisyenler ve izlerkitle için; hem direniş hem kabullenme ögeleri, hem geçmişin ve geleceğin unsurları, dolayısıyla hem birbiriyle örtüşen hem de çatışan ögelerin olduğu dinamik bir mücadele alanı bulunmaktadır. Bu çerçevede çalışma; medya, sponsorluk, ideoloji ve hegemonya kavramlarının teorik statüsünden yararlanarak, Türk popüler müzik tarihinin bu özgül uğrağını biçimlendiren dinamikleri analiz etme girişimidir.</p>

scholarly journals GENERAL OVERVIEW TO DRUM KIT IN TURKISH POPULAR MUSIC DURING THE PERIOD 1970-1980

2018 ◽  
Vol 7 (46) ◽  
Keyword(s):  
Popular Music ◽  
20Th Century ◽  
Historical Development ◽  
Music History ◽  
Main Topic ◽  
Early 20Th Century ◽  
General Overview ◽  
Starting Point ◽  
Popular Music History ◽  
Set Up

The invention of Drum has been known to trace thousands of years.However, the drum kit came to exist in the early 20th century. Considering its historical development and our country's popular music history, development of this instrument in Turkey is the starting point of this research. In this study, the cults and playing attitudes that influenced the drummers, the location of drum kit in the studio environment, the set up prefrrences in the band with equipments used will be commented by analysing the data obtained via interviews. Within this framework, questions in 4 main topic have been asked to Osman İşmen and Turhan Yükseler, two of the significant arrangers of the period; Okay Temiz, one of the significant drummers of the period; Cahit Berkay, one of the founders of the band Moğollar; İsmail Soyberk, the bass-guitarist; the drummer Mert Türkmen as the representative of Cezmi Başeğmez. In accoedance with the data obtained, it has been concluded that jazz and rock drummers influenced our country, Anadolu Pop attitude was seen in the playing attitudes and set ups of that period drummers, Studio Hayri and sound technician Sıtkı Acim (tonmeister) rose to prominence in terms of studios where drum records were made, Ludwig drums were used together with Turkish brands in equipments. Keywords: Drum kit, drums, popular music, turkey, drummers, drum playing

Sign in / Sign up

Export Citation Format

Share Document