Muzyczne przygody gustu ludowego. O społecznym funkcjonowaniu polskiej muzyki popularnej po 1956 r.

The author discusses the problem of the so-called low circulation of contemporary Polish popular music (music released on flexi discs, wedding music, a broad range of amateur music production, football chants, amateur rock music). He analyses music tastes of the Polish working class and the social functioning of genres and styles of music, characteristic of these tastes, reflecting on the crucial moments in cultural policy and the most important turning points in history: “Polish thaw” in 1956, the consequences of the 1968 events, the indigenous model of mass culture in the 1970s, the situation after the martial law and the transformation of the political system in 1989.

The Wedding Music Industry: An Adaptation of Andy Irawan Music during the Covid-19 Pandemic

This study aims to identify, reveal, analyze and describe adaptation of Andy Irawan Music's efforts to deal with the Covid-19 pandemic in the wedding music industry. The author uses an interdisciplinary approach, by borrowing theories and concepts from the disciplines of musicology, sociology, and economics. The object in this study is industry and adaptation, with the subject Andy Irawan Music. The research design uses an interpretive case study located in Semarang. The data were collected through observation, interviews, and documentation. The results show that Andy Irawan Music could adapt during the Covid-19 pandemic. Adaptation efforts made by Andy Irawan Music include appearing with new formations, optimizing the use of social media/ digital platforms, applying virtual music, following recommended health protocols, participating in wedding showcases, and creating Andy Irawan Disciples.

7. Empire, decoloniality, and the globalization of world music

‘Empire, decoloniality, and the globalization of world music’ takes empire and globalization as points of departure, exploring street music in Romania and wedding music in Kolkata—global music performed locally that collapses the difference between world music and traditional folk music. The globalization of world music has been brought about by the development of modern cities into ‘global cities’, improved recording technologies, easy media access, and the expansion of ethnomusicology. The Rough Guides to World Music provide extensive documentation of the postmodern encounter with world music, and perhaps unintentionally act as a guide to recent trends in ethnomusicology.

Music for the Baroque Clarinet

This chapter presents an overview of music written by 23 composers representative of a larger repertoire written about 1715 to 1760 for the Baroque clarinet. The works examined include opera, cantata, duos, concertos, wedding music, chamber music, military music, sacred arias, requiem, and motets by Dreux, Vivaldi, Caldara, Faber, Telemann, Handel, Chinzer, Rathgeber, Münster, Glaser, Kölbel, Molter, Sparry, Rameau, Zach, Stark, Johann Stamitz, Graupner, d’Herbain, Pasterwiz, La Borde, Ulbrecht, and Arne. The music is written in a trumpet style characterized by repeated notes, incomplete arpeggios, fanfare motives, limited range, and restricted use of the low register. In works composed after about 1730, a lyrical style of melodic writing takes on a greater importance with scale passages, leaps of an octave or more, and more frequent use of the low register.

WEDDING MUSIC AND POETRY FOLKLORE OF THE RUSSIAN POPULATION OF THE SOUTHERN URALS

The traditional wedding song of the Russian population living on the territory of mining villages in the Beloretsk district of the Republic of Bashkortostan still remains little studied area of knowledge from the ethnomusicological point of view, and for the first time becomes an object of special research. Analytical base of the article are the expeditionary records made by students and teachers of philological faculty of the Magnitogorsk State University in 1995–1999 under the guidance of the candidate of philological sciences T. I. Rozhkova. The author of the article carried out the editing of song samples. The complex approach used in the article in the analysis of ritual texts, taking into account the results of philological, ethnographic and musicological classifications, allows to systematize the repertoire of the Beloretsk wedding, to distinguish two musical and stylistic groups — song-and-lament and song-and-dance groups. Each musical and stylistic group combines a part of the wedding repertoire, which is characterized by a certain set of typical features reflecting the specifics of the form, genre, and content of songs in their direct relationship with the condition and place of performance in the rite. The analysis of musical and stylistic originality of Russian wedding songs and lamentations is conducted at the level of verbal, syllabic, and pitch parameters of chants organization. The found regularities allow to draw a conclusion about the musical and stylistic unity of local ritual and non-ritual folklore genres, providing not only the preservation of the corpus of wedding songs and wedding rites, but also the vitality of the local singing tradition as a whole.

Marrying Past, Present, and Future

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.