Improvisation in Arab Musical Practices

2021 ◽  
pp. 462-472
Author(s):  
A. J. Racy
Keyword(s):  
Musical Practices

Experiment role in the world music (based on the «The Road» album of the Ukrainian «Dakha Brakha» band)

2018 ◽  
pp. 215-227
Author(s):  
Iia Fedorova
Keyword(s):  
Folk Music ◽  
World Music ◽  
The Other ◽  
Modern Music ◽  
Musical Practice ◽  
The Road ◽  
Music Practice ◽  
The World ◽  
Binary Oppositions ◽  
Musical Practices

The main objective of this study is the substantiation of experiment as one of the key features of the world music in Ukraine. Based on the creative works of the brightest world music representatives in Ukraine, «Dakha Brakha» band, the experiment is regarded as a kind of creative setting. Methodology and scientific approaches. The methodology was based on the music practice theory by T. Cherednychenko. The author distinguishes four binary oppositions, which can describe the musical practice. According to one of these oppositions («observance of the canon or violation of the canon»), the musical practices, to which the Ukrainian musicology usually classifies the world music («folk music» and «minstrel music»), are compared with the creative work of «Dakha Brakha» band. Study findings. A lack of the setting to experiment in the musical practices of the «folk music» and «minstrel music» separates the world music musical practice from them. Therefore, the world music is a separate type of musical practice in which the experiment is crucial. The study analyzed several scientific articles of Ukrainian musicologists on the world music; examined the history of the Ukrainian «Dakha Brakha» band; presented a list of the folk songs used in the fifth album «The Road» by «Dakha Brakha» band; and showed the degree of the source transformation by musicians based on the example of the «Monk» song. The study findings can be used to form a comprehensive understanding of the world music musical practice. The further studies may be related to clarification of the other parameters of the world music musical practice, and to determination of the experiment role in creative works of the other world music representatives, both Ukrainian and foreign. The practical study value is the ability to use its key provisions in the course of modern music in higher artistic schools of Ukraine. Originality / value. So far, the Ukrainian musicology did not consider the experiment role as the key one in the world music.

“Quasi industre giardiniero”

2016 ◽  
Vol 33 (4) ◽  
pp. 522-568
Author(s):  
Cory M. Gavito
Keyword(s):  
Complex Nature ◽  
Editorial Process ◽  
Fluid Exchange ◽  
Oral Transmission ◽  
Musical Practices

Among the roughly 150 Italian songbooks published between 1610 and 1665 with the guitar tablature known as alfabeto, about thirteen are anthologies. These anthologies often advertise the role of a compiler who has gathered together music by diverse authors. The extent to which compilers also functioned as authors and editors is not well understood. This essay considers the case of Giovanni Stefani, a compiler who, in the preface to his Scherzi amorosi of 1622, describes the anthology as a collection of his choosing that contains “varie compositioni de Virtuosi della prima classe” (various compositions of first-class virtuosos). Intriguingly, none of the settings Stefani prints (in both this alfabeto anthology and two others) include attributions. Since the 1880s, scholars have been preoccupied with matters of transmission and attribution, unearthing a network of textual and musical concordances. This article expands the nexus of Stefani’s songs and their concordant sources, revealing an array of examples that range from identical copies to “partial” concordances that take over motives, phrases, refrains, or harmonic schemes. These examples indicate that in preparing his anthologies, Stefani mined a corpus of existing prints and manuscripts while also relying heavily on oral transmission. The complex nature of Stefani’s approach, taken together with his complete avoidance of composer attributions, points toward an editorial process shaped by a fluid exchange between oral and written musical practices.

Cultures in Motion

2013 ◽  
Keyword(s):  
New York ◽  
Late Antiquity ◽  
Social Space ◽  
Cultural Practices ◽  
Medical Knowledge ◽  
Modern China ◽  
African Dance ◽  
Surprising Effect ◽  
Musical Practices ◽  
Labor Networks

This book offers new conceptual vocabularies for understanding how cultures have trespassed across geography and social space. From the transformations of the meanings and practices of charity during late antiquity and the transit of medical knowledge between early modern China and Europe, to the fusion of Irish and African dance forms in early nineteenth-century New York, the book follows a wide array of cultural practices through the lens of motion, translation, itinerancy, and exchange, extending the insights of transnational and translocal history. The book challenges the premise of fixed, stable cultural systems by showing that cultural practices have always been moving, crossing borders and locations with often surprising effect. The chapters offer striking examples from early to modern times of intrusion, translation, resistance, and adaptation. These are histories where nothing—dance rhythms, alchemical formulas, musical practices, feminist aspirations, sewing machines, streamlined metals, or labor networks—remains stationary.

Vamping the Stage

2017 ◽  
Keyword(s):  
Popular Music ◽  
New Technologies ◽  
The Philippines ◽  
Women Performers ◽  
New Music ◽  
Women's Voices ◽  
Post Colonial ◽  
Musical Practices ◽  
The Many ◽  
Late Modern

Vamping the Stage is the first book-length historical and comparative examination of women, modernity, and popular music in Asia. This book documents the many ways that women performers have supported, challenged, and undermined representations of existing gendered norms in the entertainment industries of China, Japan, India, Indonesia, Iran, Korea, Malaysia, and the Philippines. The case studies in this volume address colonial, post-colonial, as well as late modern conditions of culture as they relate to women’s musical practices and their changing social and cultural identities throughout Asia. Female entertainers were artistic pioneers of new music, new cinema, new forms of dance and theater, and new behavior and morals. Their voices, mediated through new technologies of film, radio, and the phonograph, changed the soundscape of global popular music and resonate today in all spheres of modern life. These female performers were not merely symbols of times that were rapidly changing. They were active agents in the creation of local performance cultures and the rise of a region-wide and globally oriented entertainment industry. Placing women’s voices in social and historical contexts, the authors critically analyze salient discourses, representations, meanings, and politics of “voice” in Asian popular music of the 20th century to the present day.

Conclusion

2018 ◽  
Author(s):  
Samuel Llano
Keyword(s):  
Public Health ◽  
Public Space ◽  
Social Conflict ◽  
Musical Performance ◽  
The Public ◽  
Political Interests ◽  
Musical Practices ◽  
The Media ◽  
The City

As is described in this conclusion, more than the media and culture, Madrid’s public space constituted the primary arena where reactions and attitudes toward social conflict and inequalities were negotiated. Social conflict in the public space found expression through musical performance, as well as through the rise of noise that came with the expansion and modernization of the city. Through their impact on public health and morality, noise and unwelcomed musical practices contributed to the refinement of Madrid’s city code and the modernization of society. The interference of vested political interests, however, made the refining of legislation in these areas particularly difficult. Analysis of three musical practices, namely, flamenco, organilleros, and workhouse bands, has shown how difficult it was to adopt consistent policies and approaches to tackling the forms of social conflict that were associated with musical performance.

Could There Be Deleuzian Assessment in Music Education?

2019 ◽  
pp. 121-136
Author(s):  
Lauren Kapalka Richerme
Keyword(s):  
Music Education ◽  
Teaching And Learning ◽  
Music Educators ◽  
Assessment Practices ◽  
Continuous Assessment ◽  
Education Policies ◽  
Philosophical Inquiry ◽  
Music Making ◽  
Musical Practices ◽  
Contemporary Education

Authors of contemporary education and arts education policies tend to emphasize the adoption of formal, summative assessment practices. Poststructuralist philosopher Gilles Deleuze’s emphasis on ongoing differing and imaginative possibilities may at first glance appear incompatible with these overarching, codified assessments. While Deleuze criticizes the increasing use of ongoing assessments as a form of control, he posits a more nuanced explanation of measurement. This philosophical inquiry examines four measurement-related themes from Deleuze’s writings and explores how they might inform concepts and practices of assessment in various music teaching and learning contexts. The first theme suggests that each group of connective relations, what Deleuze terms a “plane of immanence,” demands its own forms of measurement. Second, Deleuze emphasizes varieties of measurement. Third, those with power, what Deleuze terms the “majority,” always set the standard for measurement. Fourth, Deleuze derides continuous assessment. His writings suggest that music educators might consider that assessments created for one musical practice or style should not transcend their own “plane of immanence,” that a variety of nonstandardized assessments is desirable, that the effect of measurement on “minoritarian” musical practices must be examined carefully, and that it is essential to ponder the potentials of unmeasured music making.

Envisioning Pedagogical Possibilities of Social Media and Sonic Participatory Cultures

2020 ◽  
pp. 39-63
Author(s):  
Evan S. Tobias
Keyword(s):  
Social Media ◽  
Music Educators ◽  
Participatory Culture ◽  
Music Pedagogy ◽  
Music Learning ◽  
Media Arts ◽  
Learning And Teaching ◽  
Musical Engagement ◽  
Musical Practices ◽  
Pedagogy And Curriculum

Contemporary society is rich with diverse musics and musical practices, many of which are supported or shared via digital and social media. Music educators might address such forms of musical engagement to diversify what occurs in music programs. Realizing the possibilities of social media and addressing issues that might be problematic for music learning and teaching calls for conceptualizing social media in a more expansive manner than focusing on the technology itself. Situating people’s social media use and musical engagement in a larger context of participatory culture that involves music and media may be fruitful in this regard. We might then consider the potential of social media and musical engagement in participatory cultures for music learning and teaching. This chapter offers an overview of how people are applying aspects of participatory culture and social media in educational contexts. Building on work in media studies, media arts, education, and curricular theory, the chapter develops a framework for translating and recontextualizing participatory culture, musical engagement, and social media in ways that might inform music pedagogy and curriculum. In this way, it may help music educators move from an awareness of how people engage with and through music and social media in participatory culture to an orientation of developing related praxis.

Extraordinary voices: Helen Keller, music and the limits of oralism

2019 ◽  
Vol 4 (2) ◽  
pp. 139-156
Author(s):  
Michael Accinno
Keyword(s):  
World View ◽  
Musical Culture ◽  
Vocal Production ◽  
Cultural Logic ◽  
Human Voice ◽  
Shared Identity ◽  
Helen Keller ◽  
Voice Teacher ◽  
Musical Practices ◽  
Opera Singers

Abstract This article examines iconic American deafblind writer Helen Keller's entræ#169;e into musical culture, culminating in her studies with voice teacher Charles A. White. In 1909, Keller began weekly lessons with White, who deepened her understanding of breathing and vocal production. Keller routinely made the acquaintance of opera singers in the 1910s and the 1920s, including sopranos Georgette Leblanc and Minnie Saltzman-Stevens, and tenor Enrico Caruso. Guided by the cultural logic of oralism, Keller nurtured a lively interest in music throughout her life. Although a voice-centred world-view enhanced Keller's cultural standing among hearing Americans, it did little to promote the growth of a shared identity rooted in deaf or deafblind experience. The subsequent growth of Deaf culture challenges us to reconsider the limits of Keller's musical practices and to question anew her belief in the extraordinary power of the human voice.

Constructing the Oriental ‘Other’: Saint-Saëns's Samson et Dalila

1991 ◽  
Vol 3 (3) ◽  
pp. 261-302 ◽  
Author(s):  
Ralph P. Locke
Keyword(s):  
Critical Theory ◽  
The Other ◽  
Western World ◽  
Distinctive Features ◽  
Musical Practices

Opera is rich in works that construct visions of the non-Western world and its inhabitants: Rameau's Les Indes galantes, Mozart's Die Entführung aus dem Serail, Bizet's Les Pêcheurs de perles, Verdi's Aida, Strauss's Salome, Puccini's Turandot. In these operas the representation of what recent critical theory calls ‘the Other’ is most clearly announced in the basic plot, in characters' names, and in costumes, sets and props. But to what extent do the libretto and the music also participate in this project?The question easily lends itself to a narrower formulation: to what extent do these operas signal Otherness – Turkishness, Indianness, Chineseness and so on – through musical materials that depart from Western stylistic norms or even reflect specific musical practices of the region in question? Scholars and critics have repeatedly posed the problem in these terms, only to find themselves frustrated by three limitations: general stylistic aberrations are often applied indiscriminately by composers to vastly different geographical settings; borrowed tunes and the like tend to lose distinctive features by being uprooted and transplanted; and whole stretches of these operas are written in an entirely Western idiom.

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