Why Florida?

Around 1990, Florida was rapidly put on the international musical map by an obscure phenomenon. Bands like Death, Deicide, Obituary or Morbid Angel established a regional music scene starting in the suburbs of Tampa Bay and Orlando that around 1992 was finally labelled “Florida death metal.” Although this upcoming scene has been much discussed due to its musical and praxeological characteristics or its occasionally strong use of satanic imagery, and to this day includes some of the best-selling extreme metal bands, its history nevertheless has been less of an issue in popular music studies or metal music studies. On these grounds, this article addresses itself to the historization of the “Florida death metal” scene from its beginnings around 1984 to the peak of its fame around 1993/94. With the aid of different concepts of scene and using fanzine/magazine interviews and newspaper articles, it suggests a modified approach of categories to contextualize the scene’s development as a mixture of structural, social, cultural and experience-based evolutions. Beyond that, the article shortly investigates another neglected issue by arguing that the scene was not as exclusive and obscure as widely believed. Instead, the death metal scene obtained a disregarded media coverage in regional newspapers that—together with other progressions—launched a slow rethinking, which epitomizes some important links concerning the shift to postmodernism.

Music Community, Improvisation, and Social Technologies in COVID-Era Música Huasteca

This article examines two interrelated aspects of Mexican regional music response to the coronavirus crisis in the música huasteca community: the growth of interactive huapango livestreams as a preexisting but newly significant space for informal community gathering and cultural participation at the onset of the coronavirus pandemic, and the composition of original verses by son huasteco performers addressing the pandemic. Both the livestreams and the newly created coronavirus disease (COVID) verses reflect critical improvisatory approaches to the pandemic in música huasteca. The interactive livestreams signaled an ad hoc community infrastructure facilitated by social media and an emerging community space fostered by Do-It-Yourself (DIY) activists. Improvised COVID-related verses presented resonant local and regional themes as a community response to a global crisis. Digital ethnography conducted since March 2020 revealed a regional burst of musical creativity coupled with DIY intentionality, a leveling of access to virtual community spaces, and enhanced digital intimacies established across a wide cultural diaspora in Mexico and the USA. These responses were musically, poetically, and organizationally improvisational, as was the overall outpouring of the son huasteco music inspired by the coronavirus outbreak. Son huasteco is a folk music tradition from the Huasteca, a geo-cultural region spanning the intersection of six states in central Mexico. This study examines a selection of musical responses by discussing improvisational examples in both Spanish and the indigenous language Nahuatl, and in the virtual musical communities of the Huasteca migrant diaspora in digital events such as “Encuentro Virtual de Tríos Huastecos,” the “Huapangos Sin Fronteras” festival and competition, and in the nightly gatherings on social media platforms developed during the pandemic to sustain the Huastecan cultural expression. These phenomena have served as vibrant points of transnational connection and identity in a time where physical gatherings were untenable.

The Role of Youth in the Development of Cultural Tourism in Tipang Village, Baktiraja District, Humbang Hasundutan Regency

This research analyzes the role of youth in the development of cultural tourism in Tipang Village, in terms of moral strength, social control, and agents of change, and analyzes the effectiveness of youth activities implementing the 4ASC concept (attraction, accessibility, amenities, ancilliary, safeness, and comfort) in tourism development culture in Tipang Village. Using a qualitative approach with an ethnographic model through in-depth interviews, The results of the study indicate that youth have a role in developing cultural tourism as a moral force; social control; and agents of change; Besides that, youth implement the 4ASC concept (attraction, accessibility, amenity, ancilliary, safeness and comfort) for the development of cultural tourism in Tipang Village, including being involved in developing waterfalls, regional music, king's graves, old villages, souvenirs and traditional rituals (attraction), developing asphalt roads and directions to cultural tourism sites (accessibility). Development of lodging, restaurant, church, poskesdes, electricity and water, as well as providing private vehicle rental (amenities). Development of tourism awareness group organizations (ancilliary). Development of security posts and security guards (safeness). Development of a clean environment and friendly people (comfort). The conclusion of this research is that youth has great potential as the main subject in the development of cultural tourism in Tipang Village. Regional music, king's graves, old villages, souvenirs, and traditional rituals (attraction), development of asphalt roads and directions to cultural tourism sites (accessibility).

MUSIC AND CHOIR EDUCATION IN UKRAINE XVI–XVIII СЕNTURIES

The article analyzes the development of music and choral education during the Slavic Renaissance and Ukrainian Baroque. The special significance of the ideas of spirituality and the revival of Ukrainian-Slavic values of religious and folk singing is revealed in view of the absence of statehood, the decline of Orthodox musical traditions. The significance of the reformist ideas of «purification of the church» and the culture of the Enlightenment is highlighted. Positive results of the development of music and choral education on the basis of Renaissance-Baroque (Cossack) Ukrainian culture were revealed. The value of Cossack-kobzar music and choral education, regional music and choral schools, the phenomenon of Kyiv-Mohyla Academy is emphasized. The analysis of scientific sources testifies to the intensive development of music and choral education in Ukraine during the sixteenth and eighteenth centuries, which took place in difficult conditions of the liberation struggle of Ukrainians for national culture, spirituality and consciousness. The achievements of the national music and choral education of the Slavic Renaissance include the preservation of ideas and traditions of the post-Byzantine Balkan-Slavic culture of Orthodox singing (monasteries, parish schools); appeal to Roman Catholic music and choral education (Jesuit, Latin, Protestant, Uniate secondary and higher institutions); a bright revival of humanistic and educational slogans, traditions of national music and choral education, which took place taking into account European achievements (Ostroh Academy, fraternal schools). Musical and choral education of the Hetmanate (Ukrainian Baroque), despite the gradual destruction of statehood, was marked by the revival of Ukrainian culture of the Renaissance-Baroque (Cossack) type. Centers of kobzar-Cossack music and choral education and culture, regional singing schools, spiritual and singing Orthodox culture flourished (Kyiv-Mohyla Academy, monastic, hierarchical, secular city centers) flourished. Ukrainian music and choral education was glorified by the geniuses of the Ukrainian people M. Diletsky, D. Rostovsky, D. Bortnyansky, M. Berezovsky, A. Wedel, G. Skovoroda. The prospects for further research include a systematic analysis of trends in music and choral education in Ukraine in the populist period.

Do fundo da grota para o streaming: o sucesso do grotesco na midiatização musical

O cenário da pandemia de Covid-19 estimulou a exposição de músicos em lives musicais. Artistas que já se faziam presentes em plataformas de streaming e em mídias sociais digitais buscaram espaço com vistas a superar a exigência de distanciamento social. O artigo observa a intrínseca relação entre o campo da música e os processos de midiatização e propõe-se a examinar como ocorre a inserção da música regional gaúcha em algumas das transmissões de maior audiência no período no streaming. Analisa-se especificamente o fenômeno de uma canção reconhecida como pertencente a uma identidade específica, a partir da relação entre letra e sonoridade, e sua divulgação a partir de memes para audiências desterritorializadas. Constata-se que, a partir do linguajar de zombaria em temas já tratados pela narrativa mítica, a vertente musical galponeira assumida na canção manifesta o desprezo por formas cultas e críticas de expressão musical, e conquista tanto audiências regionais como nichos regionalistas nacionais. Seu êxito expressa a busca catártica de superação da asfixia social determinada pelo contexto da pandemia. Midiatização; Música regional gaúcha; Música Popular; Grotesco. The Covid-19 pandemic scenario stimulated the exposure of musicians in musical lives. Artists who were already present on streaming platforms and on digital social media sought space in order to overcome the requirement of social distance. The article observes the intrinsic relationship between the field of music and the processes of mediatization and proposes to examine how the insertion of regional music from Rio Grande do Sul occurs in some of the broadcasts with the highest audience in the period in streaming. It specifically analyzes the phenomenon of a song recognized as belonging to a specific identity, based on the relationship between lyrics, sounds and rhythm, and its dissemination through memes for deterritorialized audiences. It appears that, from the language of mockery in themes already dealt with by the mythical narrative, the gallant musical aspect assumed in the song expresses contempt for cultured and critical forms of musical expression, and conquers via media both regional audiences and national regionalist niches. Its success expresses the cathartic search for overcoming social asphyxia determined by the context of the pandemic. Mediatization; Gaúcha Pop Music; Pop Music; Grotesque. El escenario de la pandemia Covid-19 estimuló la exposición de los músicos en la vida musical. Los artistas que ya estaban presentes en las plataformas de streaming y en las redes sociales digitales buscaron espacio para superar el requisito de la distancia social. El artículo observa la relación intrínseca entre el campo de la música y los procesos de mediatización y propone examinar cómo se da la inserción de la música regional de Rio Grande do Sul en algunas de las transmisiones con mayor audiencia del período en el streaming. Analiza específicamente el fenómeno de una canción reconocida como perteneciente a una identidad determinada, a partir de la relación entre letra, sonido y ritmo, y su difusión a través de memes para audiencias desterritorializadas. Parece que, desde el lenguaje de la burla en temas ya tratados por la narrativa mítica, el aspecto musical galante asumido en la canción expresa desprecio por las formas culta y crítica de expresión musical, y conquista por vía mediática tanto a las audiencias regionales como a los nichos regionalistas nacionales. Su éxito expresa la búsqueda catártica de superación de la asfixia social determinada por el contexto de la pandemia. Mediatización; Música regional gaúcha; Música popular; Grotesco.

МУЗИЧНЕ СЕРЕДОВИЩЕ УКРАЇНЦІВ: РЕАЛІЇ ТА ПЕРСПЕКТИВИ

The article analyses the state of musical environment in contemporary Ukraine. It is noted that musical environment is a complex heterogeneous phenomenon which is formed in the process of musical activity and includes all its components: creativity, performance, spreading and perception. At the macrolevel musical environment includes all musical sound atmosphere of the Earth. At the microlevel – it is a direct musical surrounding of the individual. The article focuses only on some factors which influence the state of contemporary Ukrainian musical environment: mass musical teleproduction, teaching music in comprehensive educational institutions, musical education and education for adults, festivals, specific character of regional music playing. In conclusion it is noted that “improvement” of one of the mentioned kinds of musical activity cannot change considerably surrounding sound reality. «Reformation» of musical environment as well as other spheres of social existence implies complex approach.

INTEGRATED APPROACH TO AESTHETIC EDUCATION OF SCHOOLCHILDREN IN THE PEOPLE'S REPUBLIC OF CHINA

The article is dedicated to revelation of the peculiarities of integrated approach in the process of schoolchildren's aesthetic education in the People's Republic of China. The possibilities of using art while teaching different subjects (Mathematics, different languages, Literature, History etc.) have been outlined. The Chinese pedagogues underline the close connection of Mathematics and Music. It provides opportunities to learn fractional nature of the notes, feel the rhythm of the music, relate harmony, intervals, melody and notes to whole numbers, proportions, arithmetic operations, logarithms, Geometry and Trigonometry. The authors have pointed out that aesthetic subjects (music, art, theatre) are also closely connected in educational process of schools. The characteristic feature of schoolchildren's aesthetic education in the People's Republic of China is taking into account the regionality (differences in development of art depending on the region of the country). It is due to different historical, socio-economic and cultural factors of development of different regions in China. The regionality strengthens the connection of arts with History, Economics and Geography and helps schoolchildren to understand the significance and differences of regional music in China, to learn various Chinese musical instruments, folk lullabies and to investigate the important characteristic features of the Chinese music. So, schoolchildren's aesthetic education in China has a strong national basis: art is connected with national expression, development of musical traditions, nature and mental aesthetic ideas.