scholarly journals First Nations Popular Music in Canada: Musical Meaning and the Politics of Identity

2013 ◽  
Vol 19 (2) ◽  
pp. 94-101 ◽  
Author(s):  
Christopher Scales
Keyword(s):  
Cultural Identity ◽  
Popular Music ◽  
First Nations ◽  
Political Discourse ◽  
Musical Meaning ◽  
Politics Of Identity ◽  
Constant Flux ◽  
A Site

The musics of First Nations popular musicians "Wapistan" Lawrence Martin and the Innu group Kashtin are examined as polysemic signs whose meaning is mediated both socially and politically in the ongoing construction of First Nations socio-cultural identity. Musical meanings on individual, local, national, and international levels are dependent on the socio-political positioning of both the performers and the audience. Because socio-political positions are themselves fluid, political meanings are, as well, in constant flux. As a polysemic sign, First Nations popular music is a locus for these various meanings and a site for the construction and deconstruction of political discourse.

scholarly journals Vera Lynn on Screen: Popular Music and the ‘People's War’

2017 ◽  
Vol 14 (2) ◽  
pp. 245-270 ◽  
Author(s):  
KATE GUTHRIE
Keyword(s):  
Popular Music ◽  
Art Music ◽  
Second World War ◽  
World War ◽  
Recent Scholarship ◽  
A Site ◽  
Second World

AbstractBy the outbreak of the Second World War in Britain, critics had spent several decades negotiating the supposed distinctions between highbrow and lowbrow culture, as recent scholarship has shown. What has received comparatively little attention is how the demands of wartime living changed the stakes of the debate. This article addresses this lacuna, exploring how war invited a reassessment of the relative merits of art and popular music. Perhaps the most iconic British singer of the period, Vera Lynn provides a case study. Focusing on her first film vehicle,We'll Meet Again(1942), I explore how Lynn's character mediated the highbrow/lowbrow conflict – for example, by presenting popular music as a site of community, while disparaging art music for its minority appeal. In so doing, I argue, the film not only promoted Lynn's star persona, but also intervened in a broader debate about the value of entertainment for a nation at war.

‘ROCK SPECTRALE’: THE CULTURAL IDENTITY OF THE ELECTRIC GUITAR IN TRISTAN MURAIL'S vampyr!

Tempo ◽  
2015 ◽  
Vol 69 (274) ◽  
pp. 22-32
Author(s):  
Ben Jameson
Keyword(s):  
Popular Culture ◽  
Cultural Studies ◽  
Cultural Identity ◽  
Popular Music ◽  
Musical Instruments ◽  
New Music ◽  
Electric Guitar ◽  
Concert Music ◽  
Analytical Approaches

AbstractThe electric guitar is one of the most iconic musical instruments of the twentieth and twenty-first centuries and, due to its ubiquitous use in much rock and popular music, it has developed a strong cultural identity. In recent years, as the electric guitar has become increasingly common in contemporary concert music, its cultural associations have inevitably shaped how composers, performers and listeners understand music performed on the instrument. This article investigates various issues relating to the electric guitar's cultural identity in the context of Tristan Murail's Vampyr! (1984), in the hope of demonstrating perspectives that will be useful in considering new music for the electric guitar more generally. The article draws both on established analytical approaches to Murail's spectral oeuvre and on concepts from popular music and cultural studies, in order to analyse the influence that the electric guitar's associations from popular culture have in new music.

scholarly journals Ideological and political conflicts about popular music in Serbia

2004 ◽  
pp. 271-284 ◽  
Author(s):  
Misa Djurkovic
Keyword(s):  
Twentieth Century ◽  
Cultural Identity ◽  
Popular Music ◽  
Specific Field ◽  
Political Conflicts ◽  
Musical Heritage

The paper is focused on ideological and political conflicts about popular music in Serbia, as a good example of wrong and confused searching for identity. Basic conflict that author is analyzing is about oriental elements (such as asymmetric rhythmic patterns and melismatic singing) and the question if they are legitimate parts of Serbian musical heritage or not. Author is making an analysis of three periods in twentieth century, in which absolutely the same arguments were used, and he's paying special attention to contemporary conflicts, trying to explain why all of the theories are ideologically based. Author is insisting on role market played in development and modernization of popular music in Serbia. The article is ending with some recommendations for better understanding of cultural identity in Serbia, and for recognizing popular music as specific field of interest and research.

Kiwi rock: popular music and cultural identity in New Zealand

Popular Music ◽  
1994 ◽  
Vol 13 (3) ◽  
pp. 261-278 ◽  
Author(s):  
Roy Shuker ◽  
Michael Pickering
Keyword(s):  
New Zealand ◽  
Cultural Identity ◽  
Popular Music ◽  
Commercial Success ◽  
Music Scene ◽  
History Of ◽  
Comprehensive History

The New Zealand popular music scene has seen a series of high points in recent years. Published in 1989 were John Dix's labour of love, Stranded in Paradise, a comprehensive history of New Zealand rock'n'roll; an influential report by the Trade Development Board, supportive of the local industry; and the proceedings of a well-supported Music New Zealand Convention held in 1987 (Baysting 1989). In the late 1980s, local bands featured strongly on the charts, with Dave Dobbyn (‘Slice of Heaven’, 1986), Tex Pistol (‘The Game of Love’, 1987) and the Holiday Makers (‘Sweet Lovers’, 1988) all having number one singles. Internationally, Shona Laing (‘Glad I'm Not A Kennedy’, 1987) and Crowded House (‘Don't Dream It's Over’, 1986) broke into the American market, while in Australia many New Zealand performers gathered critical accolades and commercial success.

Facebook and cultural identity: Discourses on mediation among international students

2019 ◽  
Vol 15 (3) ◽  
pp. 303-322
Author(s):  
Delia Dumitrica
Keyword(s):  
Social Media ◽  
Cultural Identity ◽  
Cultural Difference ◽  
Social Media Platforms ◽  
Awareness Raising ◽  
Identity Discourses ◽  
And Performance ◽  
A Site ◽  
Media And Communication ◽  
Four Discourses

Abstract Digital mediation is implicated in the production of cultural identity in multiple ways. The representations produced and circulated on social media platforms, along with the ubiquitous nature of these platforms, become part and parcel of the production and performance of cultural identity. This paper investigates discourses of Facebook mediation and cultural identity among a sample of international undergraduates in media and communication at a major Dutch university. The analysis of 43 written student essays reveals four discourses: Facebook as a mirror of cultural identity, as a cultural mosaic, as a site of cultural difference and as an opportunity for critical reflection on the idea of cultural identity. Interestingly, these discourses are permeated by a recurrent vision of individual control of both mediation and cultural identity. This article discusses the ideological work entailed in these discourses, calling for more awareness raising on the ways in which social media actively construct social reality.

Stereo Types: The Operation of Sound in the Production of Racial Identity

Leonardo ◽  
2003 ◽  
Vol 36 (1) ◽  
pp. 13-17 ◽  
Author(s):  
Christopher Hight
Keyword(s):  
Racial Identity ◽  
Visual Field ◽  
Cultural Identity ◽  
Case Studies ◽  
A Site ◽  
Harmonic System

Discussions of race and identity have often privileged the visual field and its representations as a site of cultural identity. In contrast, this paper examines how sound and its organization have been implicated in the constructions of “whiteness” as a normative category during the colonial epoch. Using a set of case studies, it examines the network formed between sound and vision through what the author calls a harmonic system of representation. After mapping this dominant system, the paper describes tactics that have been used to disrupt it. The possibility of heterogeneous subjectivity, often called the cyborg, is explored as an alternative, in relation to different organizations of sound.

scholarly journals PREFERENSI MUSIK DI KALANGAN REMAJA

PROMUSIKA ◽  
2013 ◽  
pp. 75
Author(s):  
Ayub Prasetiyo
Keyword(s):  
Popular Music ◽  
Qualitative Method ◽  
Music Preference ◽  
Musical Meaning ◽  
Rank Position ◽  
Data Collecting ◽  
Objective Value ◽  
Musical Styles

The main purpose of this study is to understand the interest trend of music preference among youths as well as to analyse factors that influence the trend. Although qualitative method was used, this study utilized questioner for its data collecting technique. The collected data was analyzed to gather respondents’s point of views and answers concerning music that they like. This study conclude that music interest trend among youth is mostly to popular music. Although the music has taken the highest rank position, its supporters are not only listen to their main preference but also other musical styles. Youths’s tendency to choose popular music have been based on several factors such as, the objective value of the music, the capability of the music to represent conditions that are experienced by them, as well as musical meaning among the youths. Keywords: Music preference, popular music, youths

scholarly journals Renewing Cultural Resources and Sustaining J.H. Kwabena Nketia's Vision for an African Music Archive in Ghana

2019 ◽  
Author(s):  
Colter Harper ◽  
Judith Opoku-Boateng
Keyword(s):  
Popular Music ◽  
Cultural Policy ◽  
Cultural Resources ◽  
African Music ◽  
Cultural Legacies ◽  
Conducting Research ◽  
Local Students ◽  
A Site ◽  
The University ◽  
University Of Ghana

This article examines the processes through which the J.H. Kwabena Nketia Archives has struggled to build a sustainable model for audio-visual archiving within an African university and looks to how its contents may serve future students and scholars in an effort to locate African cultural materials and knowledge production in Africa. The archive, operated within the University of Ghana’s Institute of African Studies, was named in honor of Professor Nketia in 2015 and is the realization of over six decades of gathering audio and visual data, acquiring new collections, conducting research, and preservation efforts. The core collection of quarter-inch reels were recorded by Nketia in the early decades of his extensive career shaping Ghana’s cultural policy, building teaching and research institutions, and studying music, culture, and language in Africa. As a part of the University of Ghana, the Nketia Archives provide a valuable resource for local students and scholars and creates a site in which broader conversations about the country’s cultural legacies are brought into the socio-political discourse. The archive is also a resource for housing and making available new acquisitions including over 300 recently digitized recordings of Ghanaian popular music from professor John Collins’ Bokoor African Popular Music Archives Foundation (BAPMAF). With ongoing challenges in accessibility, the Nketia Archives provides a valuable case study for how an African audio-visual archive is created and sustained.

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