Intramusical and Extramusical Meaning In Howards End (1910), E.M. Forster beautifully captured an essential question in the cognitive science of music. Early in the story, the Schlegel siblings attend a performance of Beethoven's Fifth
An Interdisciplinary Exploration of Intramusical and Extramusical Meaning
This article examines the role played by the nòva cançon occitana (new Occitan song) in disseminating post-1968 regionalist ideologies, particularly the contention that Occitanie constituted an “internal colony” of France. While both the nòva cançon and the internal colonialism thesis proved instrumental in advancing the Occitanist cause, they also raised intractable problems. The depiction of Occitanie as a colonized territory consolidated a fragile sense of regional identity, but in so doing demanded that individuals repress the French dimensions of their identity. In addition, nòva cançon performers did not simply convey regionalist ideals through music, but were compelled to embody these ideals in their behavior, ideological stance, and self-presentation. To illuminate such tensions, the article considerers the controversy triggered when one Occitan singer-songwriter, Joan Pau Verdier, signed with an international label, thereby opening himself up to charges of having betrayed the Occitanist cause.
Mission, Contracts, and Social Relations in the Developing Post-Socialist Market Economy
This article is about the Sakha music business and the people involved in it. It discusses different strategies of making music and shows that different music genres have their own setting of social relations. Due to the specific economic and social situation, social relations in the music business are often informal. The classic theory of the cultural industry states that producing music is a calculated market economy-oriented activity. This article questions such an approach and shows that social and cultural ideas are present in the music-making process. The Sakha music business cannot be seen as only a profit-oriented sphere. Whereas producers and musicians are interested in formal, contract-based relations in purely economic cases, the informality maintains its importance. Ideas of solidarity and mutual support are linked to the perception of being in one music community, which uses different elements of Sakha culture in their music. As is demonstrated in the article, incorporation of Sakha motives is not only a marketing strategy but also a way for musicians and producers to act as carriers of the Sakha culture whose mission is to develop it.
Issues of Agency and Social Practice
This article aims to contribute to the increasingly rich body of ethnographic and sociological studies that focus on processes of musical practice. After a brief introduction to the significance of music in social life, it outlines the advantages of adopting an actor-oriented analysis that gives close attention to issues of agency and emergent socio-cultural forms. This is followed by a brief encounter with the dynamics of musical performance as perceived by members of the Guarneri Quartet, after which two contrasting musical scenarios are analyzed in depth. The first focuses on music and ritual practices in the Peruvian Andes, and the second on the English musical renaissance of the early twentieth century. The article closes with a brief comment on the need to examine in depth the social components of musical composition and performance.
This article aims to contextualise music as it was experienced in Tehran in 2004 (when the research for this work was conducted) - music that comes from various ethnic groups within Iran, and music coming from the diaspora. The relationships between various genres of music and people, as well as between music and the government, are examined. The malleability of musicians and their capacity to coordinate their expertise with popular and governmental expectations and limitations are then analysed. In this way, a fascinating yet little studied area in the anthropology of Iran at the time of research is addressed.
In this lecture I should like to describe and discuss certain aspects of the multilayered phenomenon of ‘Jewish sacred music by Israeli composers’. These are solely marginal aspects of a continuous, dynamic, contradictory and quite fragmented process, in which Israeli ‘identity’ has been situated ever since Zionist ideology began to shape it in a definitive manner.
Discursive Constructions of Girls-only Spaces for Learning Popular Music
This article elaborates on discursive constructions of girls-only settings through the spatial metaphor of a room of one's own, as articulated in round-table discussions among staff and participants from girl-centered music programs in Sweden. The idea of a separate room refers to spaces for collective female empowerment as well as for individual knowledge acquisition and creativity. These spaces are constructed so as to provide the possibility for exploration, subjectivity, and focus, by offering (partial and temporary) escape from competition and control, from a gendered and gendering gaze, and from distraction. Girl-centered programs are also discussed as paradoxical because they function as gender-neutral when seen from the inside, but gender-specific when seen from the outside.
The renewal machine's struggle to organize hegemony in Turkey
Environment and Urban Planning, Eskişehir's AKP members of parliament, and the mayor, who all together sledgehammered gecekondu houses. Under the highlights of “celebrating the renewal with dancing and music, not with tragedy,” “living and enjoying modern
Klezmer Music and Yiddish Song in post-war Germany developed in three phases, which are clearly divided through repertoire and style of interpretation: Yiddish song from the 1960s to the 1980s was followed by Klezmer as instrumental music, until Klezmer as World Music became part of the intercultural scene. This corresponds with the way the audience and the musicians attribute meaning to the music: Protest against the fathers generation and coping with the past by singing and hearing Yiddish song in both parts of then divided Germany was followed by the liberation of the 'unpolitical' and cheerful Klezmer as a meeting with the missing Jewish reality in reunited Germany. With Klezmer making up only one facet of the rich multicultural musical scene of Tango, Salsa, Turkish Music and many others, it is suddenly turning into something it has not been in Germany for some hundred years: a symbol of Jewish identity.
Patricia Anne Simpson
In this article, I analyze the social and cultural trends from within the music scene that counter challenges the moderate and extreme right. This music centers on the issue of ethnic exclusivity and aggressively insists on accepting Germany as a diverse society, however uncomfortable a fit that may still be for many. Certain bands and musicians move from politics to identity politics, in an attempt to generate a discourse about racism and national identity. By foregrounding the contingent relationship between citizen and nation, bands like Advanced Chemistry destabilize any naturalized or motivated link between self and state. Songs like "Fremd im eigenen Land" dismantle any proprietary relationship between German ethnicity and entitlement to the rights of citizenship. An image of a new Germany emerges that insists on the political acceptance of diversity. Nevertheless, this vision is subject to the pressures of reality: Germany is not by any stretch of the imagination a hate-free zone. Structured in part by responses to alienation within Germany, as well as by imported musical forms of male affinity, some bands, rappers, and musicians are organizing themselves into new fraternities. While criticizing or rejecting certain Americanized clichés of masculinity, the bands I discuss look beyond the caricatures of yuppies and cowboys to different models.