Gendering the Musical West

Author(s):  
Stephanie Vander Wel

Chapter 3 continues the focus on WLS’s 1930s radio stars and their treatment of gender by examining the musical and cultural significance of Patsy Montana’s singing cowgirl persona. Like Lulu Belle, Montana included a fluid mix of musical styles and vaudevillian practices. But instead of offering parodies of southern culture, Montana’s gender-bending songs took place in the imaginary West. In her musical depictions of tomboy cowgirls and glamorous western heroines, Montana combined virtuosic yodeling with what her listeners described as a “sweet” singing style. As such, she refashioned the West into a place where standard models of gender could include autonomous cowgirls who yodeled to the heights of their vocal range while singing sweetly about the symbolic freedoms associated with frontier individualism.

Janus Head ◽  
2020 ◽  
Vol 18 (1) ◽  
pp. 53-66
Author(s):  
Hub Zwart ◽  

This paper subjects Dan Brown’s most recent novel Origin to a philosophical reading. Origin is regarded as a literary window into contemporary technoscience, inviting us to explore its transformative momentum and disruptive impact, focusing on the cultural significance of artificial intelligence and computer science: on the way in which established world-views are challenged by the incessant wave of scientific discoveries made possible by super-computation. While initially focusing on the tension between science and religion, the novel’s attention gradually shifts to the increased dependence of human beings on smart technologies and artificial (or even “synthetic”) intelligence. Origin’s message, I will argue, reverberates with Oswald Spengler’s The Decline of the West, which aims to outline a morphology of world civilizations. Although the novel starts with a series of oppositions, most notably between religion and science, the eventual tendency is towards convergence, synthesis and sublation, exemplified by Sagrada Família as a monumental symptom of this transition. Three instances of convergence will be highlighted, namely the convergence between science and religion, between humanity and technology and between the natural sciences and the humanities.


Author(s):  
Stephanie Vander Wel

This chapter offers new insights about the musical and cultural significance of singing styles in country music by contextualizing the details of predominant female vocal approaches within the rich and complex history of southern vernacular singing and by considering, the role of the performing body in relation to the singing voice. Specifically, it takes into account the vocal techniques of Loretta Lynn in relation to the musical conventions of honky tonk singing, the physiological and bodily components of vocal production, and the role of microphone and recording technology. With a chest-dominant vocal technique—amplified by the microphone—Lynn has projected a vocal identity of strength and conviction interpreted as the first working-class feminist voice in country music. This chapter demonstrates that singers such as Kitty Wells, Jean Shepard, and Rose Maddox helped to forge a distinct singing style that had a lasting influence on Lynn’s vocal performances.


Author(s):  
Michael Hadzantonis ◽  

Banyuwangi is a highly unique and dyamic locality. Situated in between several ‘giants’ traditionally known as centres of culture and tourism, that is, Bali to the east, larger Java to the west, Borneo to the north, and Alas Purwo forest to the south, Banyuwangi is a hub for culture and metaphysical attention, but has, over the past few decades, become a focus of poltical disourse, in Indonesia. Its cultural and spiritual practices are renowned throughout both Indonesia and Southeast Asia, yet Banyuwangi seems quite content to conceal many of its cosmological practices, its spirituality and connected cultural and language dynamics. Here, a binary constructed by the national government between institutionalized religions (Hinduism, Islam and at times Chritianity) and the liminalized Animism, Kejawen, Ruwatan and the occult, supposedly leading to ‘witch hunts,’ have increased the cultural significance of Banyuwangi. Yet, the construction of this binary has intensifed the Osing community’s affiliation to religious spiritualistic heritage, ultimately encouraging the Osing community to stylize its religious and cultural symbolisms as an extensive set of sequenced annual rituals. The Osing community has spawned a culture of spirituality and religion, which in Geertz’s terms, is highly syncretic, thus reflexively complexifying the symbolisms of the community, and which continue to propagate their religion and heritage, be in internally. These practices materialize through a complex sequence of (approximately) twelve annual festivals, comprising performance and language in the form of dance, food, mantra, prayer, and song. The study employs a theory of frames (see work by Bateson, Goffman) to locate language and visual symbolisms, and to determine how these symbolisms function in context. This study and presentation draw on a several yaer ethnography of Banyuwangi, to provide an insight into the cultural and lingusitic symbolisms of the Osing people in Banyuwangi. The study first documets these sequenced rituals, to develop a map of the symbolic underpinnings of these annually sequenced highly performative rituals. Employing a symbolic interpretive framework, and including discourse analysis of both language and performance, the study utlimately presents that the Osing community continuously, that is, annually, reinvigorates its comples clustering of religious andn cultural symbols, which are layered and are in flux with overlapping narratives, such as heritage, the national poltical and the transnational.


1997 ◽  
Vol os-29 (1) ◽  
pp. 59-65 ◽  
Author(s):  
Tsuneaki Miyoshi

We are tied by the common language ‘music’, therefore we can communicate with each other beyond the bounds of nationality where culture and language differ. We can feel a strong sense of solidarity and delight through music. However, it is also true that the style and idiom of music are different for different cultures and sometimes they are difficult to understand. For us music teachers, it is important to understand not only the features of music, but also the values or the outlook on education peculiar to a culture in order to understand the different musical styles. This paper discusses the above situation through the viewpoint of a comparison between Asia and the West from the situation of Japanese music education.


Humanus ◽  
2014 ◽  
Vol 13 (1) ◽  
pp. 68 ◽  
Author(s):  
Aldri Frinaldi ◽  
Muhamad Ali Embi

This research aims to analyze the influence of ethnic work culture ‘ewuh pakewuh’ of civil servant working in the West Pasaman regency. Ethnic work culture ‘ewuh pakewuh’ is someone’s behavior of worrying his/her attitude or remark wiil offend other people. This research used qualitative approach. Informants are selected using purposive sampling of civil servants from Javanese ethnic group who work in West Pasaman administration. The sample are also selected using snowball and convenience/accidental method. The research is conducted in local inspectorate, plantation agency, civil servant agencies, education and training agency, and local secretariat. Informants consist of 2 echelon III officials, 2 echelon IV and 8 staff. Data is interpreted using thick description method; so that the cultural significance of this work ethic can be explored more intensely in order to elaborate deeply the ewuh pakewuh work culture beyond what is visible. The results obtained indicate that the ethnic work culture ewuh pakewuh have positive and negative sides. The positive side shows high appreciation for higher authority, and an effort to respect and implement sincerely the policies made by the authority. However the ewuh pakewuh ethnic work culture discourages the staff to give suggestions and opinions, causing uncritical (nrimo) work culture. A change is needed to encourage them implement less the ewuh pakewuh that leads to ethnic work culture in order to create creative and innovative work culture. This change has to be started by the leaders and staff to establish an egalitarian culture in the working environment of the local goverment agencies.Key words: Ethnic Work Culture, Ewuh Pakewuh, Civil Servants


2010 ◽  
Vol 50 (4) ◽  
pp. 488-512
Author(s):  
Thomas Aiello

The lost cause of the Civil War has never really gotten out of our souls. Football, with all of its battle-related language, has long been an expression of our Southern militarism.—David Sansing, white Southerner, former director of the Center for the Study of Southern Culture, University of MississippiIn the East, college football is a cultural exercise … On the West Coast, it is a tourist attraction …In the Midwest, it is cannibalism … But in the South it is religion … And Saturday is the holy day.—Marino Casem, black Southerner, former director of the Department of Athletics, Southern University and A&M College


Linguaculture ◽  
2020 ◽  
Vol 11 (2) ◽  
pp. 113-124
Author(s):  
Irina Chirica

This paper follows the way in which the filmography of the movie director John Ford presents cultural icons. We discuss the symbolism of these images and their cultural significance in the larger context of the West as a cultural area and American culture in general. Ford’s sensibility had one foot in 19th century American thought and feeling, and the other in the 20th century. We argue in favor of the idea that John Ford is a myth-builder and a visual image-maker whose contribution provided the foundation of a romantic, heroic America and the forging of American national character.


Author(s):  
Shelley Alden Brooks

The West that emerged in the postwar era—a rapidly growing, suburban, industrialized, consumer-oriented region—shaped American culture, and this culture became the foil against which Henry Miller and many others imagined Big Sur. Big Sur sat perched at the literal—and, increasingly, at the figurative—edge of the United States, and its cultural significance grew as the state continued to flourish. Chapter 3 examines the efforts from inside and out to paint Big Sur as a place apart but also as a hyper-representation of California complete with an exceptional landscape, a relatively young and flexible culture, a compelling lifestyle, and a place of perceived personal freedom. Ironically, this freedom and flexibility thrived within the zoning parameters established by Monterey County. A growing number of the diverse inhabitants of Big Sur, including the beatniks—drawn by Jack Kerouac—the artists, the professionals, and the upper-class residents, all shared at least one quality: they possessed social privilege and could use this capital to work with county officials to protect their haven from becoming one more commercialized coastal strip.


Author(s):  
Marion Jacobson

No other instrument has witnessed such a dramatic rise to popularity—and precipitous decline—as the accordion. This book is the first history of the piano accordion and the first book-length study of the accordion as a uniquely American musical and cultural phenomenon. The book traces the changing idea of the accordion in the United States and its cultural significance over the course of the twentieth century. It focuses on key moments of transition, from the introduction of elaborately decorated European models imported onto the American vaudeville stage and the instrument's celebration by ethnic musical communities and mainstream audiences alike, to the accordion-infused pop parodies by “Weird Al” Yankovic as well as a recent revival within contemporary cabaret acts and pop groups such as They Might Be Giants. Loaded with dozens of images of gorgeous instruments and enthusiastic performers and fans, this book represents the accordion in a wide range of popular and traditional musical styles, revealing the richness and diversity of accordion culture in America.


Author(s):  
Ethan Mordden

This critical analysis of Barbra Streisand looks past the mainstream show-business principal to deconstruct an artist who is in fact a revolutionary figure. Streisand pioneered an intense and even passionate singing style at odds with the once prevailing easy-listen manner typified by Ella Fitzgerald and Frank Sinatra. Like Dustin Hoffman and Jack Nicholson, she was one of the new wave actors of the 1960s who broke away from the standard models for movie stars. But Streisand has much greater range than others of this kind, as comfortable in musical comedy as in serious drama. She can play the madcap Fanny Brice and Dolly, the politically intense heroine of The Way We Were, the sexually abused daughter who becomes a prostitute and a murderer in Nuts, the cross-dressing Yentl who seeks the liberty that men take for granted and women are denied. Streisand has been, in all, an invigorating artist, not only unique but extraordinary. It would be impossible to imagine what American culture would have been like without her.


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