“Greetings to the Uzbek People!”

2017 ◽  
Author(s):  
Tanya Merchant
Keyword(s):  
Popular Music ◽  
Central Asia ◽  
Music Videos ◽  
Concert Hall ◽  
Musical Practices ◽  
Creative Workers ◽  
Wedding Music ◽  
The City

This chapter examines estrada as it is played in from tape and CD vendors in the bazaars, sung karaoke-style by wedding musicians, and performed to sold-out audiences in the Bunyodkor Concert Hall (Creative Workers' Concert Hall, formerly known as the Friendship of Nations Concert Hall) located in the center of the city. It considers how women interact with popular music as performers and consumers, and analyze concert footage, recorded songs, and music videos by Rayhon G'anieva, Yulduz Usmanova, Sevara Nazarkhan, and Gulzoda Hudoinazarova. A large variety of these musical practices converge in wedding music. The chapter first provides an overview of estrada's development in Uzbekistan before defining and framing popular music in Central Asia. It then looks at the Uzbek State Conservatory's estrada department, along with the notion of talent and how it legitimizes one's art, an especially salient issue for women estrada singers. It also explores the importance of radio to girls in Uzbekistan and concludes with an assessment of the works of Usmanova, Nazarkhan, G'anieva, and Hudoinazarova.

Marrying Past, Present, and Future

2017 ◽  
Author(s):  
Tanya Merchant
Keyword(s):  
Popular Music ◽  
Central Asia ◽  
Folk Music ◽  
Art Music ◽  
Musical Performance ◽  
Vital Part ◽  
Western Art ◽  
Wide Range ◽  
Wedding Music ◽  
Musical Genres

This chapter examines the ways in which musicians cross the four musical genres in Uzbekistan: maqom, folk music, Western art music, and popular music. Most of the women interviewed for this book interacted with all four genres at some point, and most have strong opinions about each type of practice. The diversity of styles of music present in events associated with Uzbek weddings and the ubiquity of weddings means that they act as unifiers for Tashkenters across disciplinary divides. The chapter first provides an overview of the importance of wedding music throughout Central Asia before discussing the significance of musical performance at weddings. It shows that wedding music is a vital part of the musical economy in Tashkent and is one that involves a wide range of musical styles, including most of those institutionalized in the Uzbek State Conservatory.

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.

scholarly journals ‘What Difference does it Make? Women's Pop Cultural Production and Consumption in Manchester’

2000 ◽  
Vol 5 (1) ◽  
pp. 116-129 ◽  
Author(s):  
Nicola Richards ◽  
Katie Milestone
Keyword(s):  
Popular Music ◽  
Urban Space ◽  
Cultural Production ◽  
Consumption Patterns ◽  
Cultural Industries ◽  
Production And Consumption ◽  
Gender Characteristics ◽  
Gender Power ◽  
The City ◽  
Experiences Of Women

This paper explores the experiences of women in small cultural businesses and is based upon interviews with women working in a range of contexts in Manchester's popular music sector. The research seeks to promote wider consideration of women's roles in cultural production and consumption. We argue that it is necessary that experiences of production and consumption be understood as inter-related processes. Each part of this process is imbued with particular gender characteristics that can serve to reinforce existing patterns and hierarchies. We explore the ways in which female leisure and consumption patterns have been marginalised and how this in turn shapes cultural production. This process influences career choices but it is also reinforced through the integration of consumption into the cultural workplace. Practices often associated with the sector, such as the blurring of work and leisure and ‘networking’, appear to be understood and operated in significantly different ways by women. As cultural industries such as popular music are predicated upon the colonisation of urban space we explore the use of the city and the particular character of Manchester's music scene. We conclude that, despite the existence of highly contingent and individualised identities, significant gender power relations remain evident. These are particularly clear in discussion of the performative and sexualised aspects of the job.

Popular music reaction videos: Reactivity, creator labor, and the performance of listening online

2020 ◽  
pp. 146144482091854
Author(s):  
Byrd McDaniel
Keyword(s):  
Popular Music ◽  
Music Videos ◽  
Affective Experience ◽  
Music Recordings

In popular music reaction videos, performers on YouTube—called “creators”—record their reactions to popular music, filming themselves as they listen to music recordings and watch music videos. The profitability and appeal of popular music reaction videos can be explained by a quality I call reactivity. Reactivity describes the approach that creators take to listening, as they heighten and exaggerate their affective experience of music media. Reactivity also describes their goals for creating these reaction videos, which they hope will provoke subsequent reactions among viewers. Reactions among their viewers translate into more views, shares, and ultimately more power for the creators. By drawing on observations and interviews with nine creators, I demonstrate how reactivity can enable creators of color and queer creators to counter problematic and dominant forms of listening to popular music, while also enabling privileged creators to treat exploitative listening as a kind of virtuosic act of consumption.

scholarly journals “Gimme a Beat!”

2020 ◽  
Vol 32 (4) ◽  
pp. 95-117
Author(s):  
Christine Capetola
Keyword(s):  
Popular Music ◽  
Visual Representation ◽  
Music Technology ◽  
Music Videos ◽  
Digital Music ◽  
Pop Music ◽  
The Senses

In 1986, Janet Jackson forever changed the direction of pop music and its music videos with the release of her third and breakthrough album, Control. Working with producers Jimmy Jam and Terry Lewis, choreographer Paula Abdul, and director Mary Lambert, Jackson created songs and videos that conveyed a new kind of feminist affect that intertwined individual stories of endurance, the forcefulness of relatively new digital music technology, and Black and female collectivity. In this article, I chart how Jackson transmitted this feminist affect through what I call hyperaurality, or sounds and vibrations that work in excess of the limitations of visual representation. Through tracing the affective excesses of Jackson’s visuals, sounds, and movements, I unpack how hyperaurality both intensifies and reintegrates the senses of sight, hearing, and feeling. In the process, I posit that vibration, or sound’s materially felt oscillations, works as a point of connection across these three aspects of hyperaurality. By demonstrating its connective power, I assert that vibration is a source of affective politics within popular music, one with the power of repurposing capitalism's excesses.

scholarly journals Musical Practices in the Funeral Context: A Case Study of Cemeteries in the Ljubljana Region in 2016

2017 ◽  
Vol 53 (1) ◽  
pp. 217-241
Author(s):  
Anita Prelovšek
Keyword(s):  
Popular Music ◽  
Folk Music ◽  
Classical Music ◽  
Instrumental Ensemble ◽  
Vocal Ensemble ◽  
Musical Practices

In Ljubljana and in its surroundings the music at a traditional funeral still consists usually of a vocal ensemble or a trumpet, but in 2016 this has increasingly tended to be replaced by a girl’s vocal and instrumental ensemble. The choice of music depends largely on the wishes of the relatives of the deceased. Folk music predominates, followed by popular music; the music requested least is classical music. The most frequently performed songs of the year 2016 were: Gozdič je že zelen, Lipa zelenela je and Nearer my God to Thee.

scholarly journals From classic to rap: Airborne transmission of different singing styles, with respect to risk assessment of a SARS-CoV-2 infection

2021 ◽  
Author(s):  
Bernhard Richter ◽  
Anna Maria Hipp ◽  
Bernd Schubert ◽  
Marcus Rudolf Axt ◽  
Markus Stratmann ◽  
...  
Keyword(s):  
Risk Assessment ◽  
Popular Music ◽  
Air Velocity ◽  
Airborne Transmission ◽  
Concert Hall ◽  
Professional Singers ◽  
Wind Instrument ◽  
Music Making ◽  
Classical Style ◽  
Music Activities

Since the Covid-19 virus spreads through airborne transmission, questions concerning the risk of spreading infectious droplets during singing and music making arose. To contribute to this question and to help clarify the possible risks, we analyzed 15 singing scenarios (1) qualitative, by making airflows visible, while singing, and (2) quantitative, by measuring air velocities in three distances (1m, 1.5m and 2m). Air movements were considered positive, when lying above 0.1 m/s, which is the usual room air velocity in venue, such as the concert hall of the Bamberg Symphony, where our measurements with three professional singers (female classical style, male classic style, female popular music styles) took place. Our findings highlight, that high measurements for respiratory air velocity while singing, are comparable to measurements of speaking and, by far, less than coughing. All measurements for singing stayed within a reach of 1.5m, only direct voiceless blowing achieved measurements at the 2m sensor. Singing styles, which use plosive sounds i.e. consonants more often, such as rap, produced the highest air velocities of 0.17 m/s at the 1m sensor. Also, singing, while wearing a facemask, produces no air movements over 0.1 m/s. On the basis of, our recent studies on measurements of airflows and air velocities of professional singers and wind instrument players, as well as further studies on CO2; measurements in room settings of music activities, we publish our results, in consideration of further up-to-date research, in our frequently updated risk assessment (first published in April 2020). On this behalf, we suggest 2m radial distances for singers, especially in choirs.

The local and global in North African popular music

Popular Music ◽  
1996 ◽  
Vol 15 (3) ◽  
pp. 259-273 ◽  
Author(s):  
Tony Langlois
Keyword(s):  
Popular Music ◽  
Political Party ◽  
North African ◽  
Islamic Movement ◽  
Public Figures ◽  
The World ◽  
East And West ◽  
Victims Of Violence ◽  
The City

On 29 September 1994, Cheb Hasni, the most renowned Rai singer living in Algeria, was gunned down outside his family's house in Gambetta, a quarter of the city of Waharan (Oran). He was one of many public figures (and some 50,000 others) who have been killed since the main opposition political party, the FIS (Islamic Salvation Front) was prevented from assuming power by the annulment of elections that they would have won in 1991. Like the most notable of Algeria's victims of violence, which include journalists, lawyers, doctors, television presenters and top policemen, Hasni represented a version of Algerian identity that some people clearly could not tolerate. Responsibility for his assassination has not been claimed, but the manner of his death was identical to others carried out by the armed faction of the fundamentalist Islamic movement, the GIA (Armed Islamic Group). His death has possibly marked the demise of a genre of North African popular music known as Rai as it was produced in Algeria. Rai has been a particularly problematic idiom for Islamists and secularists alike. Both groups nurture distinct views of the place of Algeria, and Algerians in the world, and the role of Islam and liberal secularism in Algeria. Rai music constructs its own distinct trajectories linking local and global, ‘East’ and ‘West’, and, in this way, constitutes a distinct problem for Algerians, and indeed other North Africans today.

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