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Ethnic and Cultural Identity in Music and Song Lyrics looks at a variety of popular and folk music from around the world, with examples of British, Slovene, Chinese and American songs, poems and musicals. Charles Taylor says that “it is through story that we find or devise ways of living bearably in time”; one can make the same claim for music. Inexorably tied to time, to the measure of the beat, but freed from time by the polysemous potential of the words, song rapidly becomes “our” song, helping to cement memory and community, to make the past comprehensible and the present bearable. The authors of the fifteen chapters in this volume demonstrate how lyrics set to music can reflect, express and construct collective identities, both traditional and contemporary.
- Directly relevant to the needs of teachers and researchers in music, musicology, ethnomusicology and social anthropology. This book examines the significance of music in the construction of identities and ethnicities, and suggests ways to understand music as social practice. The authors focus on the role of music in the construction of national and regional identities; the media and 'postmodern identity'; concepts of authenticity; aesthetics; meaning; performance; 'world music'; and the use of music as a focus for discursive evocations of 'place'. The chapters tackle a wide range of subjects including 16th century etiquette, Celtic music and Chopin. The volume will be of interest to social anthropologists, and those working in the fields of cultural studies, politics, gender studies, musicology and folklore.
Popular music from Brazil and the Caribbean belongs to those cultural practices that are considered, both inside and outside of their countries of origin, to bear the indelible marks of ethnicity. On the basis of a corpus made up of over one thousand songs recorded between 1920 and 1960 in Brazil, Cuba, Martinique, and Trinidad and Tobago, Record it, and let it be known offers an exemplary textual analysis of the ways in which these countries' main musical genres staged the encounters of the identity categories of ethnicity and gender in song lyrics during the decades preceding the emergence of more ideologically conscious musical currents. Special attention is paid to the following topics: the relations between ethnicity and national identity; the presence of Africa and slavery; the presentation of the gendered and ethnically marked body; and, finally, the description of cultural blackness. Book jacket.
This book provides a broad introduction to the scientific and psychological study of music, exploring how music is processed by our brains, affects us emotionally, shapes our personal and cultural identities, and can be used in therapeutic and educational contexts. Why are some people tone deaf and others musical savants? What do our musical preferences say about our personality and the culture in which we were raised? Why do certain songs remind us so strongly of particular people, places, or events? How can music be therapeutically used to help those with autism, Parkinson's, and other medical conditions? The Science and Psychology of Music: From Beethoven at the Office to Beyoncé at the Gym answers these and other questions. This book provides a broad and accessible introduction to the fascinating field of music psychology. Despite its name, music psychology includes a number of fields, including neuroscience, psychology, social psychology, sociology, and health. Through a collection of thematically organized chapters, readers will discover how our brains recognize elements of music, how music can affect us and shape our identities, and the many real-world applications for such information.
Symphony and Song takes its title from Coleridge’s poem “Kubla Khan,” and explores the relation between words and music from a variety of critical and practical perspectives. The contributors to this volume apply recent theoretical approaches ranging from the “Mozart Effect” in cognitive psychology, through stylistics and conceptual metaphor, to transtextuality in the analysis of a range of songs, song lyrics, poetry, ekphrastic prose, and instrumental music. Topics explored here include opera and pop music from around the world, Australian Aboriginal oral poetry, political instrumentalization and censorship of song lyrics, and teaching foreign language using songs.
How are national identities constructed and articulated through music? Popular music has long been associated with political dissent, and the nation state has consistently demonstrated a determination to seek out and procure for itself a stake in the management of 'its' popular musics. Similarly, popular musics have been used 'from the ground up' as sites for both populist and popular critiques of nationalist sentiment, from the position of both a globalizing and a 'local' vernacular culture. The contributions in this book arrive at a critical moment in the development of the study of national cultures and musicology. The book ranges from considerations of the ideological focus of cultural nationalism through to analyses of musical hybridity and musical articulations of other kinds of identities at odds with national identity. The processes of global homogenization are thereby shown to have brought about a transitional crisis for national cultural identities: the evolution of these identities, particularly with reference to the concept of 'authenticity' in music, is situated within broader debates on power, political economy and constructions of the self. Theorizations of practice are employed after the manner of Bourdieu, Gramsci, Goffman, Gadamer, Habermas, Bhabha, Lacan and Žižek. Each contribution acts as a case study to characterize the strategies through which differing modes of musical discourse engage, critique or obscure discourses on national identity. The studies include discussions of: musical representations of Irishness; the relationship between Afropop and World Music; Norwegian club music; the revival of traditional music in Serbia; resistance to cultural homogeneity in Brazil; contemporary Uyghur song in Northwest China; rap and race in French society; technobanda from the barrios of Los Angeles, and Spanish/Moroccan raï. In this way, the book seeks to characterize the ideological configurations that help to activate and sustain hegemonic, ambivalent and dissident articulations of national identity and musical practices.
Communities on the Ethio-South Sudanese border utilize music to define a cultural identity and history, cultivate a shared ethnic consciousness, and delimit ethnic boundaries. In Ethiopia, traditional musical styles are frequently linked with ethno-cultural identities, and song lyrics overtly or covertly appeal to ethnic identification and affiliation. In Gambella and South Sudan, music-making is also inspired by experiences of ethnicized violence, as singers compose songs that recount instances of ethnic massacres, encourage ethnic cohesion based on shared experiences of trauma, and, in some cases, overtly threaten others and valorize warfare.
Author : Petra R. Rivera-Rideau Publisher : Duke University Press Page : 246 pages File Size : 10,26 MB Release : 2015-09-17 Category : Music ISBN : 0822375257
Puerto Rico is often depicted as a "racial democracy" in which a history of race mixture has produced a racially harmonious society. In Remixing Reggaetón, Petra R. Rivera-Rideau shows how reggaetón musicians critique racial democracy's privileging of whiteness and concealment of racism by expressing identities that center blackness and African diasporic belonging. Stars such as Tego Calderón criticize the Puerto Rican mainstream's tendency to praise black culture but neglecting and marginalizing the island's black population, while Ivy Queen, the genre's most visible woman, disrupts the associations between whiteness and respectability that support official discourses of racial democracy. From censorship campaigns on the island that sought to devalue reggaetón, to its subsequent mass marketing to U.S. Latino listeners, Rivera-Rideau traces reggaetón's origins and its transformation from the music of San Juan's slums into a global pop phenomenon. Reggaetón, she demonstrates, provides a language to speak about the black presence in Puerto Rico and a way to build links between the island and the African diaspora.
Musicians, teachers and those who love music will find in this volume some answers to the question of how gender affects its practice, performance and reception. What was performing like for female rock singers in the 20th century? How did Bowie change our concept of performer identity? Just how sexist are the lyrics in glam metal songs? Is rap as homophobic as has been thought? Can female metal singers growl as well as men? Are LGBTQ+ issues reflected in 21st century music? Did Canadian New Wave groups tackle major social issues? How do Shakespeare and Joyce use musical puns and allusions? From Indian thumri, through French opera, Irish folk songs, and pop, all the way to metal and rap, the 17 contributions gathered here will challenge and inform, while confirming that our music shapes our habits, language, ideas and gendered selves.
Pre-University Paper from the year 2023 in the subject Musicology - Contemporary music, grade: 15 Punkte, , language: English, abstract: There is no doubting that hip hop has had a massive influence on today’s popular culture as it has risen to become the most popular music genre in the US in 2018. Hip hop can be categorized as an aspect of African American culture since it has its roots in the African American musical tradition and has been used as protest music by young African Americans in the 1970s and 1980s. In addition, a lot of the most celebrated artists are African American. Many African Americans have now attained global prominence and popularity, even in other cultures. One could believe that the US has moved past its racist and slave-owning past. The claims that African Americans currently experience mass incarceration and police brutality, which are supported by data and movements like Black Lives Matter, stand in strong contrast to that. Many artists and celebrities have also become a part of this social movement and have spread aware-ness about this topic through social media to reach their range and a lot of other people. Kendrick Lamar's third studio album, “To Pimp A Butterfly”, also addresses this situation. One song is even titled “Institutionalized” implying that Lamar is aware of the issue. Currently, Kendrick Lamar ranks among the most popular and influential hip-hop musicians. He frequently addresses interconnected social and personal concerns in his music. Particularly in the case of “To Pimp A Butterfly“, which is his album. Although there are other artists who have drawn attention to the Black Lives Matter movement, Kendrick Lamar has particularly become a symbol for this social movement. Specific songs and lyrics from the album will be chosen and discussed in order to support or refute this concept. To prepare for this, this scientific work will first examine the black history of African Americans, institutional racism and especially elucidate the Black Lives Matter movement before giving a quick overview of Kendrick Lamar, his tight relationship to his home town of Compton, and the concept of his album “To Pimp A Butterfly“. The analysis of certain songs and phrases particularly from this album then gets more in-depth.