scholarly journals Pop Music for Kids: Sonic Markers as Narrative Strategies in Children’s Music

2017 ◽  
Vol 6 (2) ◽  
Author(s):  
Eirik Askerøi
Keyword(s):  
Popular Music ◽  
Vocal Performance ◽  
Pop Music ◽  
Narrative Strategies ◽  
Children's Music ◽  
Recording Technology ◽  
Younger Age ◽  
History Of

Whilst the creative handling of recording technology has played a major role in the development of popular music, there has been little research into the role of production in music promoted explicitly for a child audience. The term “tween” is most often applied to describe children just before they become teens, referring to children aged 9–12 years. In more recent years, however, the tween category has come to comprise children as young as 4 and up to 15 years of age. Based on the premise that there is a growing tendency for children to be “youthified” at a far younger age than occurred previously, I am keen to investigate the extent to which music plays a part in this process. Through close readings of three songs from different eras in the history of children’s music, I will explore the role of sonic markers as narrative strategies in children’s music. The overall aim is to discuss the extent to which the relationships between lyrical content, vocal performance, and production aesthetics may play a role in the youthification of child performers and audiences. 

Effects of feeding level and of late pregnancy increases in feed allocation on the reproductive performance of sows

1987 ◽  
Vol 1987 ◽  
pp. 15-15
Author(s):  
V.R. Fowler ◽  
M. Curran ◽  
O. Davies ◽  
S. Edwards ◽  
M. Ellis ◽  
...  
Keyword(s):  
Reproductive Performance ◽  
Late Pregnancy ◽  
Management Tool ◽  
Terminal Phase ◽  
Critical Factors ◽  
Department Of Agriculture ◽  
Feeding Level ◽  
Younger Age ◽  
History Of

The role of nutrition in determining the reproductive performance of sows is still controversial. Much of the dispute arises because in many published experiments there were very few sows in each treatment group. In addition, there have been substantial changes In the husbandry of sows over recent years, and these include the much earlier weaning of the litter at as little as three weeks of age, the breeding of the gilt at a younger age since she reaches 100 kg very much more quickly, and the development of facilities which allow each sow to be treated as an individual. A further change has been in the genotype of the breeding female which means that quite often she enters the reproductive phase of her life carrying very much less adipose tissue than hitherto. The recent development of equipment and techniques to monitor the backfat thickness of sows during life has introduced a new management tool, for which guidelines are readily given, but for which hard experimental evidence is often lacking. The purpose of the coordinated experiment reported here was to attempt to establish critical factors in the history of the sow which put her reproductive performance at particular risk and to evaluate widely recommended practices of Increasing the feed Intake at over the terminal phase of pregnancy, The work was jointly funded by the Department of Agriculture for Scotland and each of the centres.

The Singing Voice in Country Music

2017 ◽  
Author(s):  
Stephanie Vander Wel
Keyword(s):  
Country Music ◽  
Cultural Significance ◽  
Singing Voice ◽  
Vocal Production ◽  
Recording Technology ◽  
Vocal Technique ◽  
Singing Style ◽  
History Of ◽  
The Rich

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.

Remembrance of Things Past: Marxism and the Study of Popular Music

2019 ◽  
Vol 16 (1) ◽  
pp. 141-155
Author(s):  
SIMON FRITH
Keyword(s):  
Popular Music ◽  
Sociology Of Knowledge ◽  
Subsequent Development ◽  
Commercial Music ◽  
Popular Music Studies ◽  
History Of ◽  
Cultural Ideology ◽  
1960S And 1970S ◽  
The 1960S

AbstractThis article considers the role of Marxism in the history of popular music studies. Its approach combines the sociology of knowledge with a personal memoir and its argument is that in becoming a field of scholarly interest popular music studies drew from both Marxist theoretical arguments about cultural ideology in the 1950s and 1960s and from rock writers’ arguments about the role of music in shaping socialist bohemianism in the 1960s and 1970s. To take popular music seriously academically meant taking it seriously politically. Once established as an academic subject, however, popular music studies were absorbed into both established music departments and vocational, commercial music courses. Marxist ideas and ideologues were largely irrelevant to the subsequent development of popular music studies as a scholarly field.

Losing the local: Sydney and the Oz Rock tradition

Popular Music ◽  
2000 ◽  
Vol 19 (1) ◽  
pp. 31-49 ◽  
Author(s):  
Shane Homan
Keyword(s):  
New York ◽  
Popular Music ◽  
Music Performance ◽  
Detailed Examination ◽  
Rock And Roll ◽  
Urban Landscapes ◽  
Live Music ◽  
History Of ◽  
Insight Into

In a tiny inner city pubThe amps were getting stackedLeads were getting wound upIt was full of pissed Anzacs‘Got no more gigs for Tuesday nights’ said the barman to the star,‘We're putting pokies in the lounge and strippers in the bar’The star, he raised his fingers and said ‘fuck this fucking hole’But to his roadie said ‘it's the death of rock and roll’‘There ain't no single place left to play amplified guitarEvery place is servin' long blacks if they're not already tapas bars(TISM (This Is Serious Mum), ‘The Last Australian Guitar Hero’, 1998)Introduction: local music-makingA number of recent studies have focused upon the places and spaces of popular music performance. In particular, analyses of British live music contexts have examined the role of urban landscapes in facilitating production/consumption environments. Building upon Simon Frith's (1983) initial exploration of the synthesis of leisure/work ideologies and popular music, Ruth Finnegan's detailed examination of amateur music practices in Milton Keynes (1989) and Sara Cohen's account of the Liverpool scene (1991) reveal the benefits of engaging in detailed micro-studies of the local. Paul Chevigny's history of the governance of New York City jazz venues (1991) similarly provides a rich insight into performance contexts and the importance of hitherto unnoticed city ordinances in influencing the production of live music.

The Relentless Pursuit of Tone

2018 ◽  
Keyword(s):  
Popular Music ◽  
Wide Spectrum ◽  
Empty Space ◽  
Musical Instrument ◽  
Raw Material ◽  
Pop Music ◽  
Sound Waves ◽  
Recorded Sound ◽  
History Of ◽  
Entire History

The Relentless Pursuit of Tone: Timbre in Popular Music assembles a wide spectrum of contemporary perspectives on how sound functions in an equally wide array of popular music. With subjects ranging from the twang of country banjos and the sheen of hip-hop strings to the crunch of amplified guitars and the thump of subwoofers on the dance floor, this volume attempts to bridge the gap between timbre, the purely acoustic characteristics of sound waves, and tone, an emergent musical construct that straddles the borderline between the perceptual and the political. The book’s chapters engage with the entire history of popular music as recorded sound, from the 1930s to the present day, under four large categories. The chapters in Part I, “Genre,” ask how sonic signatures define musical identities and publics; Part II, “Voice,” considers the most naturalized musical instrument, the human voice, as racial and gendered signifier, as property or likeness, and as raw material for algorithmic perfection through software; Part III, “Instrument,” tells stories of the way some iconic pop music machines—guitars, strings, synthesizers—got (or lost) their distinctive sounds; and Part IV, “Production,” puts it all together, asking structural questions about what happens in a recording studio, what is produced (sonic cartoons, rockist authenticity, empty space?), and what it all might mean. The book includes a general theoretical introduction by the editors and an afterword by noted popular music scholar Simon Frith.

Abstract 14365: The Role of Alcohol Abuse and Tobacco Use in the Incidence of Early Acute Coronary Syndrome

Circulation ◽  
2015 ◽  
Vol 132 (suppl_3) ◽  
Author(s):  
Hassan Alkhawam ◽  
Raef Madanieh ◽  
Mariya Fabisevich ◽  
Robert Sogomonian ◽  
Mohammed El-Hunjul ◽  
...  
Keyword(s):  
Risk Factor ◽  
Alcohol Abuse ◽  
Tobacco Use ◽  
Healthcare Intervention ◽  
Coronary Syndrome ◽  
Younger Age ◽  
History Of ◽  
Acute Mi ◽  
The Mean

Objective: To investigate the synergistic role of alcohol abuse/dependence and tobacco use in the early incidence of ACS. Methods: A retrospective chart analyses of 8076 patients diagnosed with ACS between 2000 to 2014, defined by ICD-9 codes for acute MI, alcohol abuse/dependence and tobacco use. Average age of ACS was calculated for the general population. Patients were then divided into 4 subgroups based on alcohol abuse/dependence and tobacco use status as follows: non-alcoholic non-smokers, non-alcoholic smokers, alcoholic non-smokers and alcoholic smokers. Results: The mean age of our 8076 ACS patients population was ~59.5 (95% CI 59.2-59.8). Patients with history of alcohol abuse/dependence appeared to develop ACS ~8.7 years younger than their non-alcoholic counterparts. When tobacco use is incorporated as a risk factor, those with both alcohol abuse/dependence and tobacco use seemed to develop ACS ~5 years earlier than those with history of either alone, and ~20 years earlier when compared to those with neither alcohol abuse/dependence nor tobacco use. (Table 1 summarizes mean age of ACS incidence in our study subgroups) Conclusion: Alcohol abuse/dependence appears to be a risk factor for earlier ACS. In our population, the average age of ACS incidence in alcoholic patients was significantly earlier than non-alcoholic patients. Furthermore, alcoholic patients who also used tobacco developed ACS at an even younger age when compared to those who had history of either alcohol abuse/dependence or tobacco use alone, suggesting a possible synergistic effect of these two risk factors in developing early ACS. Healthcare intervention in this population through screening, counseling and education regarding alcohol abuse/dependence and smoking cession is warranted to reduce early ACS morbidity and mortality.

Remembering the Griot

2018 ◽  
pp. 61-88
Author(s):  
Catherine M. Appert
Keyword(s):  
Popular Music ◽  
Hip Hop ◽  
Religious Conversion ◽  
Local History ◽  
Vocal Performance ◽  
Performance Practices ◽  
Pan African ◽  
Musical History ◽  
History Of ◽  
Strategic Project

This chapter locates Senegalese hip hop at the intersection of local musical history, transatlantic Afrocentric dialogue, and the accelerated globalization of the 1980s. It traces the historical invention of the griot through colonialism, religious conversion, and postcolonial nationalist projects, while showing how griot instrumental and vocal performance practices provided a foundation for Senegal’s preeminent popular music, mbalax. It details how early international rappers, including Positive Black Soul (PBS) and Daara J, in line with a history of Afrocentric and pan-African projects in which they were well versed, traced an alternative history that routed the griot through diaspora and “back” to Africa, bypassing contemporary griot performance and mbalax in the process. It argues that this was not a literal claim to hip hop origins, but a strategic project of remembering that claimed diaspora as an alternative local history.

Pie laika … Now is the time. The singing revolution on Latvian radio and television

Popular Music ◽  
2020 ◽  
Vol 39 (2) ◽  
pp. 270-293
Author(s):  
Pekka Gronow ◽  
Jānis Daugavietis
Keyword(s):  
Soviet Union ◽  
Popular Music ◽  
Public Interest ◽  
Political Movements ◽  
Pop Music ◽  
Independence Movement ◽  
The Soviet Union ◽  
Private Entrepreneurs ◽  
Political Songs

AbstractIn the Soviet Union, song competitions had an important role in presenting new artists and songs. The Mikrofona aptauja contest of Latvian radio (1968–1994) was the main forum for new Latvian pop music. It had a reputation for expressing nationalist feelings within the limits of Soviet censorship. In 1988, with the rise of new political movements in the Soviet Union, the competition became a venue for the Latvian independence movement. The winning song of 1988 was a demand for ‘freedom to the fatherland’. The competition also played a part in the rehabilitation of pre-war popular music which had been forbidden in Soviet Latvia. The paper discusses the role of journalists, politicians and songwriters in this process. After the privatisation of the economy, the song competition was taken over by private entrepreneurs, as public interest in political songs waned.

scholarly journals Music, Identity, and Community

2021 ◽  
pp. 45-63
Keyword(s):  
Hong Kong ◽  
National Identity ◽  
Popular Music ◽  
Pop Music

This chapter discusses the role of music in the imagination of self, community, and nation. It includes topics such as Tibetan pop music, ‘anti-extremism’ campaigns in Xinjiang, Cantopop in Hong Kong, and contemporary revivals of ‘red songs’. Chapter contents: 3.0 Introduction (by Paul Kendall) 3.1 Performing Devotion: Revitalised ‘Red Songs,’ Choral Flash Mobs, and National Identity (by Sheng Zou) 3.2 Rethinking Hong Kong Identity through Cantopop: The 1980s as an Example (by Yiu-Wai Chu) 3.3 Tibetan Popular Music: Politics and Complexities (by Anna Morcom) 3.4 Music in the Disciplinary Regimes of Xinjiang’s ‘Anti-Extremism’ Campaign (by Rachel Harris)

Vernacular historiography and self-translation in early colonial Nigeria: Ajiṣafẹ's History of Abẹokuta

Africa ◽  
2021 ◽  
Vol 91 (5) ◽  
pp. 768-789
Author(s):  
Adrian M. Deese
Keyword(s):  
United Kingdom ◽  
Popular Music ◽  
Oral History ◽  
African History ◽  
Rhetorical Device ◽  
Early Colonial ◽  
History Of ◽  
Civil Authority ◽  
Divine Kingship

AbstractEmmanuel Olympus Moore (aka Ajiṣafẹ) (c.1875/79–1940) was a pioneer of Nigerian Yorùbá literature and popular music. Ajiṣafẹ was one of the most significant Nigerian popular cultural figures of his generation. Written during the amalgamation of Nigeria, his History of Abẹokuta (1916) (Iwe Itan Abẹokuta, 1924) is a seminal text for our understanding of Abẹokuta and the Ẹgba kingdom. This article examines the bilingual passages of the History in which Ajiṣafẹ invokes oral history to construct a religious ethnography of the early Ẹgba polity. Self-translation enabled vernacular authors to mediate constituencies. The English and Yorùbá texts of the History differ in their engagement with Yorùbá cosmology. Ajiṣafẹ's texts converge in his defence of the Odùduwà dynasty; Abẹokuta, in a constitutional Yorùbá united kingdom, would be the seat of ecclesiastical power. Civil authority in Nigeria could be stabilized through an Abrahamic renegotiation of divine kingship. To establish his treatise within a genealogy of world Christianity, Ajiṣafẹ utilized self-translation as a rhetorical device to reconcile the working of providence in precolonial and colonial African history. Ajiṣafẹ's History, ultimately, is an Abrahamic exposition of the role of God's providence in bringing about the complete unification of Nigeria in September 1914.

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