13,914 research outputs found

    Folk music: from local to national to global

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    This chapter traces the shifting situation and nature of Japanese folk music from ‘traditional’ times to the present day. Topics covered include: importation of the European concept of ‘the folk’; distinction between folk song (min’yƍ) and folk performing arts (minzoku geinƍ); folk music in the traditional community; music and local identity, past and present (e.g. local vs national identity; folk music’s role in ‘community building’ in modern Japan); professionalization, commodification, folklorization, secularization and the emergence of stage performances; musical change and the Western impact (e.g. fusion); the rise in popularity of wadaiko, Tsugaru-jamisen and Okinawan music; research history and trends

    'Not enough music': a critique of music education in schools in England

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    This paper presents a critical overview of music education in schools in England, both generally and historically up to the end of 2019. It was decided early on that justice could not be done to all the nations of the UK - Scotland, Northern Ireland and Wales - with their respective rich and important music cultures; neither could there be an international comparative analysis: while these two perspectives are important, it would have required a book rather than a monograph to fully explore these dimensions. This monograph was researched and written by me from late 2016 to late 2019. It started as a short article, maybe 3000 to 5000 words, for a journal, but as I read more, visited places and researched more deeply and widely, I realized that a short journal article would not do justice to the subject. I was also persuaded that the finished work should be written in accessible English and should reach a much wider readership than a narrowly academic journal article would allow. So it is now a research monograph, 29,000 words long and with over 100 references. I consider the current state of teaching and learning in music education by drawing on national and local research projects including online web research, observations, and visits to institutions, as well as on my own insights and experience. The visits included a variety of schools and colleges, interviews, and attendance at key conferences, along with phone conversations and personal discussions with people in music and music education, and extensive reading of major texts and reports. The monograph includes historical perspectives as well as considering the social, political and economic aspects of music education, including issues related to the substantial inequality in access to instrument learning and the variable quality of the reach and provision of music education in schools. It attempts to offer a balanced view, exploring the negative aspects but also featuring positive coverage of the many successful initiatives at local and national level, often promoted by schools, government policy, concert halls, universities and music colleges, music professional bodies, charities and other third sector organizations. It also seeks to explore and celebrate the many important manifestations of music in the public domain in England, as a background to questioning, along with music reports and professional organizations attached to the cultural and creative industries, why music education in schools has increasingly suffered underfunding, decreased provision and lowered status in the school curriculum, when England has such a world-renowned, diverse and rich music culture. Relevant developments and research on music and arts education at De Montfort University are also discussed and Dr Austin Griffiths, my colleague and member of the Education Studies staff, was invited to write a special analysis of elite music education based on his ongoing research

    Voices 21C: A collaborative choral enterprise

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    How can passion for choral music be turned into something that challenges the status quo? Over the course of four seasons, VOICES 21C has progressed from being a short-term, project choir to an established, high-level performing choral collaborative. Like many community music choral organizations, VOICES 21C is centered on social justice themes that are highly relevant in today‘s world. Unlike many choirs, VOICES 21C is concerned with the empowerment of singers; both individually and collectively. Social justice, in the context of VOICES 21C, is where the intersection of critical and historical thinking, sustained inquiry, concern for a more equitable social order and for ―the marginalized other‖ take on significance. The group‘s critical, contemporary approach to choral singing evokes for the listener a thoughtful and provocative politicized perspective regarding the fears, hopes, and desires that characterize humankind. This article will address the philosophical, artistic and organizational processes that have evolved as the members of VOICES 21C have purposefully moved toward creating a more inclusive and collaborative, social justice-oriented choral enterprise.Accepted manuscrip

    Girls Rock ON!

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    Final project report for the Chard Foundation for Women in Music's Youth Music funded Young Women's Band Project

    Bosotn University Choral Ensembles, February 13, 2009

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    This is the concert program of the Bosotn University Choral Ensembles performance on Friday, February 13, 2009 at 7:30 p.m., at Marsh Chapel, 735 Commonwealth Avenue, Boston, Massachusetts. Works performed were Salve Reinga H XXIIIb:2 by Franz Joseph Haydn and Le roi David - Symphonic Psalm in Three Parts after the Biblical Drama by René Morax by Arthur Honegger. Digitization for Boston University Concert Programs was supported by the Boston University Center for the Humanities Library Endowed Fund

    Educational content in the performing arts : tradition and Christianity in Kenya

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    Includes bibliographical references (p.235-263).The performing arts (a combination of music, dance and dramatisation) in the church in Kenya have not received much scholarly attention. These performing arts as adopted by Christian dance groups in Kenya have not been fully accepted into Christian circles because of the indigenous and popular music influences that govern them. This study therefore sets out to determine the educational role that the performing arts in the church in Nairobi play as demonstrated by a Nairobi Christian dance group, the Maximum Miracle Melodies


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    This article aims to discuss the musical ambivalence in the performance of saluangorgen in West Sumatra. Saluangorgen is a musical genre that is formed from the ‘cross-breeding’ of saluangdendang and keyboard (electone). Saluangdendang is a genre of traditional Minangkabau music which is made up of saluang (a wind instrument) and dendang (traditional vocal music), performed using a Minangkabau pentatonic scale. In the Minangkabau community of West Sumatra, especially amongst musicians, the keyboard is commonly referred to as the orgen (organ) and its music as “orgentunggal” (solo organ). The orgen is commonly used to accompany a variety of songs in the domain of popular music. The hybridization of these two musical genres has produced a music characterized by ambivalence. A qualitative method is used for this research because the descriptive-analytical principle is an important method in the discussion. The research results show that the tension that existsbetween the two musical genres creates a unique characteristic and dynamic in each performance, even though there is still a clash in the unification of the two genres. This not only influences the musical aspects but also affects the structure and form of the performance and even the audience. The development of this music has penetrated the domain of popularity of saluangdendang in the main cultural region of Minangkabau. Keywords: Saluangdendang, saluangorgen, hybridization, musical, and ambivalenc

    Music in occupied Latvia

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    This publication looks at musical life in Latvia during two periods of its occupation in the early 1940s. The first is the period of occupation under Stalin’s Soviet Union (June 1940–June 1941), the second under Nazi Germany when Latvia was, moreover, occupied during wartime (June 1941– May 1945)

    Performing Dalit Feminist Youth Activism in South India: Rap, Gaana, and Street Theater

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    Young Dalit men and women are changing the narrative of casteist oppression in India. Youth activists perform protest songs in the genre of rap and gaana, using elements of slam poetry and rap from African American artists and blending them with local musical innovations. The performances have deliberate messaging, signaling particular caste and gender injustices, both current and historical. This paper will analyze Dalit youth performances of rap, gaana, and street theater (koothu) in South India, particularly in Tamil Nadu, to understand the poetics of protest against caste and gender oppression. It will look at the notion of space in these performances. Since social space has historically been restricted for marginalized groups such as Dalits, and even private space has never existed for Dalits, more so for women, the performance space—the screen, the theatre, or street—becomes a heterotopia, or a third space for voicing injustice through song. Taboos are tossed aside in this space; transgressive, private-public fused in-your-face musical phrasings appear on every audio and visual device through the globalization of the internet. Rap and gaana queer accepted caste and gender narratives. This paper will look at youth rappers, such as Arivu, the latest sensation, gaana performer, Isaivani’s performances, as well as “The Casteless Collective” and inquire into the reasons for their appeal despite their iconoclasm. Affect is another area of inquiry in the analysis of Dalit performance, since caste and gender oppression meant invisibilizing Dalits and not seeing them as humans with emotions. Examining the value of affect within performances as well as its effect on audiences is important, since both coalesce to make historically restricted speech appealing and far-reaching in effecting change