scholarly journals Convergências e apaziguamentos na música pop: quando funk, axé music e sertanejo se encontram na linha evolutiva da MPB // Convergences and appeasement in pop music: when funk, axé music and sertanejo meet each other in the evolutionary line of MPB

2021 ◽  
Vol 18 (3) ◽  
pp. 69
Author(s):  
Cláudio Rodrigues Coração ◽  
William David Vieira
Keyword(s):  
Pop Music ◽  
Evolutionary Line

Neste artigo, analisamos movimentos de entrada executados por determinados artistas de gêneros e cenas musicais distintos na chamada linha evolutiva da MPB . Tais ocorrências revelam tensões mercadológicas e de representatividade na fonografia brasileira e também o esvaziamento destas. Travamos metodologicamente nossa investigação partindo da concepção de pretensão à legitimidade cultural, acionada aqui como referência à conquista de espaço desses gêneros e cenas. Esclarecem esses movimentos de convergência e apaziguamento das tensões os videoclipes das canções Cheguei Pra Te Amar, com Ivete Sangalo e MC Livinho, Ta Tum Tum, com Simone & Simaria e Kevinho, e Sua Cara, com Major Lazer, Anitta e Pabllo Vittar.

Repetitive Variety and Other Balancing Acts: Debussy's Transcendental Oscillations

2020 ◽  
Vol 7 (2) ◽  
pp. 287-320
Author(s):  
Maxwell Ramage
Keyword(s):  
Central Component ◽  
Pop Music

This article introduces the concept of the transcendental oscillation, in which two chords alternate with one another in a way that transcends traditional tonal practice. This harmonic device appears in a wide variety of settings from Wagner to modern pop music. After discussing some theoretical properties of transcendental oscillations, including their interactions with modality and chromaticism, I analyze transcendental oscillations in the works of Debussy, who made the technique a central component of his style. In Debussy's music, transcendental oscillations may be either intensifying or calming. They are symptomatic of what Sylveline Bourion calls Debussy's "duplication" tendency. As progressions foreign to common practice, they present a novel aspect, but as repetitive progressions, they are easy on the ears. These two central features of transcendental oscillations—their harmonic freshness and their repetitive quality—combine to make them well suited to Debussy's compositional project and attractive to composers to this day.

THINKING THROUGH INTERTEXTUALITY IN KOREAN POP MUSIC VIDEOS

2020 ◽  
Vol 108 (1) ◽  
pp. 48-63
Author(s):  
CedarBough T. Saeji
Keyword(s):  
Music Videos ◽  
Pop Music

scholarly journals Out of the Qinghai-Tibetan Plateau (QTP) and rapid radiation across Eurasia for Allium section Daghestanica (Amaryllidaceae)

AoB Plants ◽  
2021 ◽  
Author(s):  
Min-Jie Li ◽  
Huan-Xi Yu ◽  
Xian-Lin Guo ◽  
Xing-Jin He
Keyword(s):  
Evolutionary History ◽  
Divergence Time ◽  
Time Estimation ◽  
Adjacent Region ◽  
Rapid Radiation ◽  
Divergence Time Estimation ◽  
Species Diversification ◽  
The Third ◽  
Evolutionary Line ◽  
History Of

Abstract The disjunctive distribution (Europe-Caucasus-Asia) and species diversification across Eurasia for the genus Allium sect. Daghestanica has fascinating attractions for researchers aiming to understanding the development and history of the modern Eurasia flora. However, no any studies have been carried out to address the evolutionary history of this section. Based on the nrITS and cpDNA fragments (trnL-trnF and rpl32-trnL), the evolutionary history of the third evolutionary line (EL3) of the genus Allium was reconstructed and we further elucidate the evolutionary line of sect. Daghestanica under this background. Our molecular phylogeny recovered two highly supported clades in sect. Daghestanica: the Clade I includes Caucasian-European species and Asian A. maowenense, A. xinlongense and A. carolinianum collected in Qinghai; the Clade II comprises Asian yellowish tepal species, A. chrysanthum, A. chrysocephalum, A. herderianum, A. rude and A. xichuanense. The divergence time estimation and biogeography inference indicated that Asian ancestor located in the QTP and the adjacent region could have migrated to Caucasus and Europe distributions around the Late Miocene and resulted in further divergence and speciation; Asian ancestor underwent the rapid radiation in the QTP and the adjacent region most likely due to the heterogeneous ecology of the QTP resulted from the orogeneses around 4–3 Mya. Our study provides a picture to understand the origin and species diversification across Eurasia for sect. Daghestanica.

Commercialising the sound of the people: Pleng Luktoong and the Thai pop music industry

Popular Music ◽  
1990 ◽  
Vol 9 (1) ◽  
pp. 61-77 ◽  
Author(s):  
Ubonrat Siriyuvasak
Keyword(s):  
Young People ◽  
Middle Class ◽  
Music Industry ◽  
Country Music ◽  
Copyright Law ◽  
Pop Music ◽  
The Past ◽  
Previous Generation ◽  
Indigenous Music ◽  
The People

Since Thailand's Copyright Act became law in 1979 an indigenous music industry has emerged. In the past, the small recording business was concentrated on two aspects: the sale of imported records and the manufacture of popular, mainly Lukkroong music, and classical records. However, the organisation of the Association of Music Traders – an immediate reaction to the enforcement of the Copyright law – coupled with the advent of cassette technology, has transformed the faltering gramophone trade. Today, middle-class youngsters appreciate Thai popular music in contrast to the previous generation who grew up with western pop and rock. Young people in the countryside have begun to acquire a taste for the same music as well as enjoy a wider range of Pleng Luktoong, the country music with which they identify. How did this change which has resulted in the creation of a new pleasure industry come about? And what are some of the consequences of this transformation.

Glocal riddim: cultural production and territorial identity in Caribbean music videos

2017 ◽  
Vol 17 (1) ◽  
pp. 91-111
Author(s):  
Murali Balaji ◽  
Thomas Sigler
Keyword(s):  
Cultural Production ◽  
Contemporary Music ◽  
Regional Identity ◽  
Intimate Relationship ◽  
Music Videos ◽  
Pop Music ◽  
Web Based ◽  
Territorial Identity ◽  
The Past ◽  
Musical Genres

Over the past two decades, several musical genres have transcended their Caribbean origins to achieve global recognition and success. Among these are soca, dancehall and reggaeton, all forms that had been inextricably tied to native cultural expressions, but have become increasingly popular as global commodities, particularly as web-based streaming platforms (e.g. YouTube) enhance their global audiovisual mobility. Numerous artists within these genres have become internationally recognized superstars, and many of the most recent tracks reflect an increasing co-mingling with American ‘pop’ music, as record companies seek to invigorate mainstream sounds with these ‘exotic’, yet widely popular artists. This article explores representations of scalar territorial identity as articulated in music videos from within these genres so as to evaluate how identity intersects with profit-driven models applicable to the contemporary music industry. By evaluating imagery from a regionally representative sample of music videos, they identify the intimate relationship between identity, scale and cultural production. Ultimately, we interrogate how place-based identity is commodified in these representations and whether certain images are constructed more for transnational consumption than an articulation of a coherent local national, or regional identity.

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