Pub Date : 2023-12-14DOI: 10.5429/2079-3871(2023)v13i3.9en
Jan Butler
Book review
书评
{"title":"Pop Stars on Film: Popular Culture in a Global Market","authors":"Jan Butler","doi":"10.5429/2079-3871(2023)v13i3.9en","DOIUrl":"https://doi.org/10.5429/2079-3871(2023)v13i3.9en","url":null,"abstract":"Book review","PeriodicalId":36498,"journal":{"name":"IASPM Journal","volume":"12 4","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139003039","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-12-14DOI: 10.5429/2079-3871(2023)v13i3.3en
James Bell
This paper presents a process of analysis that has been developed via a practice-based, autoethnographic study of the processes of popular electronic music composition. The mediating effects of the tools of the music-maker are examined from an Ecological Approach to Perception (EAP) perspective, with particular reference to the theory of affordances. Concepts from Actor-Network Theory, such as nonhuman agency and translation, are used to build a framework that conceptualises how these mediating effects impact the processes of composition.
{"title":"An Analytical Approach for Practice-based Research of the Compositional Approach","authors":"James Bell","doi":"10.5429/2079-3871(2023)v13i3.3en","DOIUrl":"https://doi.org/10.5429/2079-3871(2023)v13i3.3en","url":null,"abstract":"This paper presents a process of analysis that has been developed via a practice-based, autoethnographic study of the processes of popular electronic music composition. The mediating effects of the tools of the music-maker are examined from an Ecological Approach to Perception (EAP) perspective, with particular reference to the theory of affordances. Concepts from Actor-Network Theory, such as nonhuman agency and translation, are used to build a framework that conceptualises how these mediating effects impact the processes of composition.","PeriodicalId":36498,"journal":{"name":"IASPM Journal","volume":"376 2","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138974236","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-12-14DOI: 10.5429/2079-3871(2023)v13i3.6en
Hammad Rashid
Live Streaming has become one of the recent phenomena for content creators. Fast internet, self isolation and monetisation through streaming platforms can be seen as a few reasons for it. A new wave of live streamers has emerged where the music production process is streamed live on platforms such as YouTube and Twitch. These sessions show the DAW screen to the audience in order for them to understand the process of music making. These live streams have now evolved into collaborative music production sessions where the audience suggests what will happen to the track next. Alongside this, singers send their vocal samples recorded using their phones live on stream which gets included in the music in real time. This paper will explore the process of collaborating via live streaming alongside how this practice has created a micro economy and a strong fanbase who are showing up daily to watch.
{"title":"Collaborative Music Production via Live Streaming","authors":"Hammad Rashid","doi":"10.5429/2079-3871(2023)v13i3.6en","DOIUrl":"https://doi.org/10.5429/2079-3871(2023)v13i3.6en","url":null,"abstract":"Live Streaming has become one of the recent phenomena for content creators. Fast internet, self isolation and monetisation through streaming platforms can be seen as a few reasons for it. A new wave of live streamers has emerged where the music production process is streamed live on platforms such as YouTube and Twitch. These sessions show the DAW screen to the audience in order for them to understand the process of music making. These live streams have now evolved into collaborative music production sessions where the audience suggests what will happen to the track next. Alongside this, singers send their vocal samples recorded using their phones live on stream which gets included in the music in real time. This paper will explore the process of collaborating via live streaming alongside how this practice has created a micro economy and a strong fanbase who are showing up daily to watch.","PeriodicalId":36498,"journal":{"name":"IASPM Journal","volume":"44 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139001529","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-12-14DOI: 10.5429/2079-3871(2023)v13i3.2en
Victor De Almeida Nobre Pires, Thiago Soares
This article discusses a set of “performance problems” (Madri 2009) in live music from the enshrinement and emptying of music “lives” in the context of the Coronavirus pandemic in 2020. Beginning with the notion of presence, we recognize “live” as a status with a long tradition in mediatic configurations (Auslander 2008, Pires 2019) and present the aesthetic impasses brought about by their archiving in digital culture. We debate speculative zones between memory, invention, and simulation in three experiences created by live music materials: the presence of holograms and music performances, the retransmission of archived shows on digital platforms in the context of the pandemic, and the creation of new sound environments for pre-recorded materials.
{"title":"Performance problems: presence, memory and fabulation in live music","authors":"Victor De Almeida Nobre Pires, Thiago Soares","doi":"10.5429/2079-3871(2023)v13i3.2en","DOIUrl":"https://doi.org/10.5429/2079-3871(2023)v13i3.2en","url":null,"abstract":"This article discusses a set of “performance problems” (Madri 2009) in live music from the enshrinement and emptying of music “lives” in the context of the Coronavirus pandemic in 2020. Beginning with the notion of presence, we recognize “live” as a status with a long tradition in mediatic configurations (Auslander 2008, Pires 2019) and present the aesthetic impasses brought about by their archiving in digital culture. We debate speculative zones between memory, invention, and simulation in three experiences created by live music materials: the presence of holograms and music performances, the retransmission of archived shows on digital platforms in the context of the pandemic, and the creation of new sound environments for pre-recorded materials.","PeriodicalId":36498,"journal":{"name":"IASPM Journal","volume":"40 24","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138974700","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-12-14DOI: 10.5429/2079-3871(2023)v13i3.7en
Kayla Rush
This article examines the role of YouTube in how young popular musicians learn in the twenty-first century. I frame this question within the dual legacies of Lucy Green’s (2001) findings about “listening and copying” among popular musicians and Marc Prensky’s (2001a, 2001b) “digital natives” hypothesis. I present an ethnographic description of a music learning encounter that raises questions as to whether there is a generational change occurring, one which shifts the primary mode of informal music learning from listening and copying to watching and copying via YouTube videos. I argue that learning via YouTube constitutes a form of informal learning, one situated within a longer history of learning strategies based in available technologies and resources. I suggest that in the midst of this continuity, digital videos present at least one new phenomenon within popular music education: the ability to abstract single lines and riffs from their musical contexts.
{"title":"Is “Watching and Copying” the New “Listening and Copying”?","authors":"Kayla Rush","doi":"10.5429/2079-3871(2023)v13i3.7en","DOIUrl":"https://doi.org/10.5429/2079-3871(2023)v13i3.7en","url":null,"abstract":"This article examines the role of YouTube in how young popular musicians learn in the twenty-first century. I frame this question within the dual legacies of Lucy Green’s (2001) findings about “listening and copying” among popular musicians and Marc Prensky’s (2001a, 2001b) “digital natives” hypothesis. I present an ethnographic description of a music learning encounter that raises questions as to whether there is a generational change occurring, one which shifts the primary mode of informal music learning from listening and copying to watching and copying via YouTube videos. I argue that learning via YouTube constitutes a form of informal learning, one situated within a longer history of learning strategies based in available technologies and resources. I suggest that in the midst of this continuity, digital videos present at least one new phenomenon within popular music education: the ability to abstract single lines and riffs from their musical contexts.","PeriodicalId":36498,"journal":{"name":"IASPM Journal","volume":"19 3","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139003015","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-07-31DOI: 10.5429/2079-3871(2023)v13i2.7en
Erin Bryce Holmes
Abstract: Cultural ideals are repeatedly coded into hidden messages through drums, sampling, and signifying, which is all embodied through various dance styles. This transformation brings new meaning to political, social, historical, and cultural issues. The policing of the black moving body has become an international symbol of struggle, pain, oppression and injustice. How strong is a symbol? To be seen is to be remembered. When will we forget what has been learned? When will we receive what our ancestors have earned? The purpose of this research is to deepen an understanding of the sub- group or ethnic group known as African- Americans in the new world, also known as, the Americas. This paper begins with an introduction to phenomena such as present day stereotypes, social constructs and mandates on what is considered by Brenda Dixon Gottschild to be the "black dancing body" in America. The discussion to follow deals with how policing the black dancing and moving body occurs throughout various interlinked systems in America. The black female and male forms are constantly violated by lack of access to education, diagnosis of illness and reinforced stereotypes of aggression. An embodied exploration of the Pan- African dance technique known as Umfundalai (pronounced ma-foon-da-la) provides a deeper understanding of protest within the arts. This writer will show therapeutic values inherent in the stylized movement vocabulary of people of the African Diaspora and the utilization of their culture as a viable resource for healing in an acute care psychiatric hospital.
{"title":"Protest Is Mental Health: Afrocentric healing in a dance movement therapy session","authors":"Erin Bryce Holmes","doi":"10.5429/2079-3871(2023)v13i2.7en","DOIUrl":"https://doi.org/10.5429/2079-3871(2023)v13i2.7en","url":null,"abstract":"Abstract: Cultural ideals are repeatedly coded into hidden messages through drums, sampling, and signifying, which is all embodied through various dance styles. This transformation brings new meaning to political, social, historical, and cultural issues. The policing of the black moving body has become an international symbol of struggle, pain, oppression and injustice. How strong is a symbol? To be seen is to be remembered. When will we forget what has been learned? When will we receive what our ancestors have earned? The purpose of this research is to deepen an understanding of the sub- group or ethnic group known as African- Americans in the new world, also known as, the Americas. This paper begins with an introduction to phenomena such as present day stereotypes, social constructs and mandates on what is considered by Brenda Dixon Gottschild to be the \"black dancing body\" in America. The discussion to follow deals with how policing the black dancing and moving body occurs throughout various interlinked systems in America. The black female and male forms are constantly violated by lack of access to education, diagnosis of illness and reinforced stereotypes of aggression. An embodied exploration of the Pan- African dance technique known as Umfundalai (pronounced ma-foon-da-la) provides a deeper understanding of protest within the arts. This writer will show therapeutic values inherent in the stylized movement vocabulary of people of the African Diaspora and the utilization of their culture as a viable resource for healing in an acute care psychiatric hospital.","PeriodicalId":36498,"journal":{"name":"IASPM Journal","volume":"9 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-07-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139353126","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-07-31DOI: 10.5429/2079-3871(2023)v13i2.2en
Christopher J Smith
In a live video posted to YouTube Sept 2 2014, a young woman, dressed in black and standing on a stationary car, dances, unwinds her hijab and fluffs her long hair. The upload, since disappeared, registered over 1 million views, and precipitated a spate of responses depicting young women dancing in public places, eventually spawning the hashtag #DancingIsNotACrime. In many cultures across many eras, dancing in public has been a tool for resistance. Those employing movement as resistance often do so precisely because street dance is portable, mutable, and infinitely viral: capable of transmission by person-to-person contact. Multiple subaltern revolutionary movements have begun in search of safe spaces for dancing, and the repression of public dance has been a locus for authoritarian crackdowns. Drawing upon methodologies from semiotics, musicology, kinesics, and political science, this essay explores #DancingIsNotACrime as a potent, present, and immediate vehicle seeking justice and social revolution.
{"title":"#DancingIsNotACrime: Dance as Digital Resistance in the Transnational 21st Century","authors":"Christopher J Smith","doi":"10.5429/2079-3871(2023)v13i2.2en","DOIUrl":"https://doi.org/10.5429/2079-3871(2023)v13i2.2en","url":null,"abstract":"In a live video posted to YouTube Sept 2 2014, a young woman, dressed in black and standing on a stationary car, dances, unwinds her hijab and fluffs her long hair. The upload, since disappeared, registered over 1 million views, and precipitated a spate of responses depicting young women dancing in public places, eventually spawning the hashtag #DancingIsNotACrime. In many cultures across many eras, dancing in public has been a tool for resistance. Those employing movement as resistance often do so precisely because street dance is portable, mutable, and infinitely viral: capable of transmission by person-to-person contact. Multiple subaltern revolutionary movements have begun in search of safe spaces for dancing, and the repression of public dance has been a locus for authoritarian crackdowns. Drawing upon methodologies from semiotics, musicology, kinesics, and political science, this essay explores #DancingIsNotACrime as a potent, present, and immediate vehicle seeking justice and social revolution.","PeriodicalId":36498,"journal":{"name":"IASPM Journal","volume":"13 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-07-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139353402","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-07-31DOI: 10.5429/2079-3871(2023)v13i2.8en
Rose Pasquarello Beauchamp, Donna Davenport
The struggle for justice is not new, yet the impact of intentional embodiment and dance in protest is on the rise. Bringing together embodied anti-racist work and dance as a practice of resistance, this artists’ statement describes a grassroots coalition in Rochester, NY: Artists Coalition for Change Together. Co-founded in 2017 as a response to the recent election, ACCT began as an organization of progressive dance artists and collaborators who sought to generate social change through performance, direct action, community dialogues, and scholarship. Written as a dialogue between two founders of ACCT, this statement examines the history of the coalition and its acts of embodied protest. As moving bodies and art communicated resistance in direct “ACCTions,” community activism was generated. Through the lens of existing research and college courses on arts activism, the authors reference multiple reckonings in the North American cultural body, which peaked during the pandemic in 2020.
{"title":"Embodying Resistance","authors":"Rose Pasquarello Beauchamp, Donna Davenport","doi":"10.5429/2079-3871(2023)v13i2.8en","DOIUrl":"https://doi.org/10.5429/2079-3871(2023)v13i2.8en","url":null,"abstract":"The struggle for justice is not new, yet the impact of intentional embodiment and dance in protest is on the rise. Bringing together embodied anti-racist work and dance as a practice of resistance, this artists’ statement describes a grassroots coalition in Rochester, NY: Artists Coalition for Change Together. Co-founded in 2017 as a response to the recent election, ACCT began as an organization of progressive dance artists and collaborators who sought to generate social change through performance, direct action, community dialogues, and scholarship. Written as a dialogue between two founders of ACCT, this statement examines the history of the coalition and its acts of embodied protest. As moving bodies and art communicated resistance in direct “ACCTions,” community activism was generated. Through the lens of existing research and college courses on arts activism, the authors reference multiple reckonings in the North American cultural body, which peaked during the pandemic in 2020.","PeriodicalId":36498,"journal":{"name":"IASPM Journal","volume":"15 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-07-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139353320","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-07-31DOI: 10.5429/2079-3871(2023)v13i2.6sp
Mercedes Liska
El baile erótico ejecutado con músicas como la cumbia o el reggaetón ha sido señalado con insistencia en ámbitos educativos e institucionales como una práctica de reproducción de la desigualdad de género y la cultura de la violación. En Argentina, recientemente ganaron aceptación otras miradas impulsadas por artistas mujeres a favor del perreo y sobre todo del twerk, una técnica globalizada de baile pélvico dispuesto en coreografías de participación femenina, con retóricas de reapropiación del goce y la soberanía sexual. Desde el enfoque de la comunicación y la cultura, este trabajo investiga el lugar que ocupó el baile sexualizado en los discursos actuales. Analizamos el rol de distintas cantantes y bailarinas en la revalorización sensual del baile como parte de los imaginarios post románticos y desheteronormativos, su diálogo y discusión con referentes del activismo feminista, y el protagonismo estético y político de una zona del cuerpo: el culo.
{"title":"Mi culo es mío: políticas de género y significaciones recientes de las eróticas de baile, del meneaíto al twerking","authors":"Mercedes Liska","doi":"10.5429/2079-3871(2023)v13i2.6sp","DOIUrl":"https://doi.org/10.5429/2079-3871(2023)v13i2.6sp","url":null,"abstract":"El baile erótico ejecutado con músicas como la cumbia o el reggaetón ha sido señalado con insistencia en ámbitos educativos e institucionales como una práctica de reproducción de la desigualdad de género y la cultura de la violación. En Argentina, recientemente ganaron aceptación otras miradas impulsadas por artistas mujeres a favor del perreo y sobre todo del twerk, una técnica globalizada de baile pélvico dispuesto en coreografías de participación femenina, con retóricas de reapropiación del goce y la soberanía sexual. Desde el enfoque de la comunicación y la cultura, este trabajo investiga el lugar que ocupó el baile sexualizado en los discursos actuales. Analizamos el rol de distintas cantantes y bailarinas en la revalorización sensual del baile como parte de los imaginarios post románticos y desheteronormativos, su diálogo y discusión con referentes del activismo feminista, y el protagonismo estético y político de una zona del cuerpo: el culo.","PeriodicalId":36498,"journal":{"name":"IASPM Journal","volume":"9 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-07-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139353172","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：