Home About us Contact
|
Home About us Contact | ||
|
|
||
Popular Music (popular + music)
Selected AbstractsEpitomising the Modern Spanish Nation through Popular Music: Coplas from La Caramba to Concha Piquer, 1750,1990GENDER & HISTORY, Issue 3 2007Mercedes Carbayo Abengózar Music is an important language of the emotions and can often arouse strong passions in its performance and representation, both from the individual's perspective of personal identity and for the individual's sense of identity and of belonging to a given community. Likewise, music can serve to whip up and reinforce nationalism and national chauvinism against the ,other' as well as serving as a badge of identity. In this article I explore a musical form, a song that has been defined as ,Spanish' and as the ,national' song: la copla. Copla is rooted in the past and first appeared as both a poetic and a theatrical form, but always accompanied by music. It was, however, during the eighteenth century, when nationalism made its appearance as a ,concern' in the Spanish political-cultural arena, when coplas would be used as a mark of Spanish identity. Copla is a women's song. Although it has been interpreted by men, some of them internationally renowned like Miguel de Molina, the most famous performers have been and still are women. That is why perhaps a recurrent theme of coplas is unrequited love, whereby love and passion play an important role, either with regard to the individual or the community from which the individual hails. But there are also other themes such as the longing stimulated by alien rule, which is reflected by cultural opposition and resistance to discourses of power, not only in terms of open opposition, but in a more subtle form of resistance, particularly in gender terms. I claim that it is precisely this resistance to fixed discourses of gender that have made coplas excellent negotiators with the different musical, social and political contexts and in this way have made them an icon of the invented tradition that is fundamental in the creation of a nation. [source] Introduction to a Forum on Religion, Popular Music, and GlobalizationJOURNAL FOR THE SCIENTIFIC STUDY OF RELIGION, Issue 4 2006LYNN SCHOFIELD CLARK Guest Editor First page of article [source] "Rock Landmark at Risk": Popular Music, Urban Regeneration, and the Built Urban EnvironmentJOURNAL OF POPULAR MUSIC STUDIES, Issue 1 2007Sara Cohen [source] Popular Music and National Culture in Israel by Regev, Motti, and Edwin SeroussiJOURNAL OF POPULAR MUSIC STUDIES, Issue 1 2007Malcolm Miller [source] Modern Noise, Fluid Genres: Popular Music in Indonesia, 1997,2001 by Jeremy WallachAMERICAN ANTHROPOLOGIST, Issue 1 2010Henry Spiller No abstract is available for this article. [source] Modern Noise, Fluid Genres: Popular Music in Indonesia, 1997,2001 by Jeremy WallachAMERICAN ETHNOLOGIST, Issue 1 2010WALTER E. LITTLE No abstract is available for this article. [source] Exposure to cannabis in popular music and cannabis use among adolescentsADDICTION, Issue 3 2010Brian A. Primack ABSTRACT Background Cannabis use is referenced frequently in American popular music, yet it remains uncertain whether exposure to these references is associated with actual cannabis use. We aimed to determine if exposure to cannabis in popular music is associated independently with current cannabis use in a cohort of urban adolescents. Methods We surveyed all 9th grade students at three large US urban high schools. We estimated participants' exposure to lyrics referent to cannabis with overall music exposure and content analyses of their favorite artists' songs. Outcomes included current (past 30 days) and ever use of cannabis. We used multivariable regression to assess independent associations between exposures and outcomes while controlling for important covariates. Results Each of the 959 participants was exposed to an estimated 27 cannabis references per day [correction added on 19 January 2010, after first online publication: 40 has been changed to 27] (standard deviation = 73 [correction added on 19 January 2010, after first online publication: 104 has been changed to 73]). Twelve per cent (n = 108) were current cannabis users and 32% (n = 286) had ever used cannabis. Compared with those in the lowest tertile of total cannabis exposure in music, those in the highest tertile of exposure were almost twice as likely to have used cannabis in the past 30 days (odds ratio = 1.83; 95% confidence interval = 1.04, 3.22), even after adjusting for socio-demographic variables, personality characteristics and parenting style. As expected, however, there was no significant relationship between our cannabis exposure variable and a sham outcome variable of alcohol use. Conclusions This study supports an independent association between exposure to cannabis in popular music and early cannabis use among urban American adolescents. [source] Mood Adjustment via Mass CommunicationJOURNAL OF COMMUNICATION, Issue 2 2003Silvia Knobloch The author has proposed and experimentally tested the mood adjustment approach, complementing mood management theory. Participants were placed in an initial mood and led to anticipate different activities after the waiting period. The upcoming activities were either dynamic or lengthy (arousal) and associated with either pleasure or performance (valence), resulting in a 2 × 2 design. During an ostensible waiting period, participants listened to choices of popular music at their will in a computer-aided procedure. This music taken from the Top 30 charts had been evaluated in a pretest for energy and joyfulness as musical qualities in order to create sets of musical selections that were either low or high in these qualities. In the experiment proper, selective exposure to energetic-joyful music as dependent measure was unobtrusively recorded via software. Results regarding self-exposure across time show that patterns of music listening differ with initial mood and anticipation, lending support to mood adjustment hypotheses. Mood management processes occurred in the beginning of the waiting period, whereas mood adjustment purposes set in toward the anticipated activity. [source] Popular Culture, Power Relations and Urban Discipline: The Festival of the Holy Spirit in Nineteenth-Century Rio de JaneiroBULLETIN OF LATIN AMERICAN RESEARCH, Issue 2 2005Martha Abreu The Festival of the Holy Spirit was considered the most important religious celebration in nineteenth-century Rio de Janeiro. I discuss the popular practices of music, dance and theatre during the festival. By merging European waltz and the African batuque, the heterogeneous public re-created and re-invented a number of new genres that are at the roots of twentieth-century Brazilian popular music. The festival of the Holy Spirit allows an examination of elite strategies and municipal policies regarding popular culture. In this respect, it is remarkable how much political use the Brazilian Empire made of the festival of the Holy Spirit and how its revellers fought for their celebration. [source] | ||||||||||