Music Genres

La musica si offre al nostro orecchio e al nostro esserne gli interpreti bilanciando sempre quelle che sembrano essere le sue due qualità distintive e contrapposte: l’ineffabilità e la capacità di comunicare sensazioni, atmosfere, storie in maniera chirurgica. La faccenda si complica ulteriormente quando abbiamo a che fare con la musica che ascoltiamo tutti i giorni, attraverso quelli che ci ostiniamo a chiamare dischi. È la musica che chiamiamo registrata e che, però, quasi mai è registrata e basta. La musica rappresenta un problema per la semiotica, che come tale l’ha sempre trattata. Al punto che è forse questo il suo campo di applicazione più trascurato. Il significato della musica è stratificato: ha a che fare tanto con i suoni che essa contiene, e che ci sottopone in presa diretta o in forma mediata, quanto con le parole e le pratiche che costruiamo attorno a questi suoni, e che finiscono per orientarne profondamente il senso. Questo libro si concentra su alcune questioni centrali per una semiotica della musica che voglia comprenderla come fatto comunicativo, proponendo alcuni modelli per provare ad attraversare questo campo con uno sguardo — un orecchio — nuovo: la mediazione e il linguaggio fonografico; l’enunciazione e le sue diverse configurazioni; la nozione di genere e i generi musicali intesi come sistema discorsivo, dove la musica si dà appieno nella sua dimensione sociale e al cui interno tradizione e innovazione finiscono per sciogliersi l’una nell’altra.

The Oxford Handbook of Global Popular Music offers an authoritative and state-of-the-art survey of current thinking and research in studies of global popular musics from different parts of the world. The essays in this volume are written by leading international figures and music insiders from ethnomusicology, popular music studies, anthropology, and other disciplines studying music to give critical examinations of the progress and direction of debates surrounding global popular music. The essays will not merely constitute summaries of previous research but cover genuinely new ground in this emerging field of enquiry.

In academic and journalistic studies, “popular music” often has its “official” beginnings in the 1950s, and its discourses have been preoccupied with a canonical focus on American and British white and “black” popular music. Discussions of popular music outside the West are predominantly (but not exclusively) the domain of ethnomusicologists and anthropologists, who have since the 1980s began to focus their attention on global popular music due to the dissolution of the holistic concept of culture, the emergence of popular music studies in the 1980s, and the globalizing trends and processes that impacted on the traditional music they were typically studying. Consequently, ethnomusicologists and anthropologists began to incorporate insights from popular music studies and shifted their attention to music cultures created out of diaspora and hybridity, migration, urbanization and mass media, while popular music scholars have in turn widened their attention to popular music outside of Europe and the US (although probably lesser so). Since the 1980s, studies of global popular music have surfaced in academic writings by ethnomusicologists, popular music scholars, and others, notably Peter Manuel’s milestone publication _Popular Musics of the Non-Western World: An Introductory Survey_ (1988), and, later, entire compilations or book series dedicated to world popular music (Routledge Global Popular Music Series, The Bloomsbury Encyclopedia of Popular Music of the World, Continuum Encyclopedia of Popular Music of the World, Equinox Transcultural Music Studies series). The conception of the academic _Journal of World Popular Music_ represents another recent milestone in this area of study. There has also been a trend toward developing academic programmes of study with a focus on global popular music. For example, SOAS University of London has offered an entire BA in Global Popular Music since 2018, while many popular music and ethnomusicology programmes in the US, Europe, and (increasingly) Latin America, Africa, and Asia offer an element of academic study in global popular music. The upsurge of student textbooks with a focus on global popular music is further testament to a growing academic interest in this area of study, while postgraduate research by young people, who are truly the product of the era of globalization, is increasingly likely to focus on popular music expressions in different parts of the world as these are shaped by global hegemonic capitalism. In the commercial sphere, the global popularity of genres like hip hop, J-Pop, K-Pop, electronic dance, and others, along with the global spread and hegemony of the American-European pop-rock aesthetic, are a clear indicator of the likely growth of academic interest in global popular music.

The Oxford Handbook of Global Popular Music captures the vibrant, dynamic, and diverse approaches that characterize popular music across the world. The volume features a diversity of topics and approaches, structured into five conceptual parts: Capitalism; Genres; Migration; Identities; and Technology. The purpose of the organization is to give a comprehensive review of achievements by leading scholars in the field of global popular music to date, and to contribute to an understanding of what global popular music might become in future, charting new areas that are likely to define studies of global popular music in the coming decades. Since the 1990s, and with the emergence of digital technologies and the internet, global popular music is marked by increased stylistic diversification in accordance with trends globally and locally. Along global trends, for instance, diversification is manifested by global electronic music, hip hop, or global Bollywood. Local stylistic trends, meanwhile, rendered the Anglo-American mainstream less relevant to global popular music cultures, instead maintaining their “own” vernacular popular music. In some instances, artists have occasionally produced their own variants of global stylistic patterns and successfully forayed into the global field, such as the teen pop idols of K-Pop and J-Pop in the 1990s and 2000s. International world pop stars, who also became part of the World Music craze in the West, are further examples of local musicians who have entered the international field of popular music with occasional success. All of this development underpins the structure of the volume: The part GLOBAL CAPITALISM serves as a broad placeholder to describe essays that capture the economic contexts in wich global popular music has developed and been shaped. Under GLOBAL GENRES are essays that capture “big” or “global” popular music genres as they have gained global popularity and recognition. MIGRATION features essays that engage with the way that geopolitical movements of migration resonate in the memories of migants and are manifested through popular music. The part on IDENTITY will feature essays of selected global popular music that critically engage with and further our understandings of class, gender, LGBTQ, race/ethnicity, nationalism, disability, health, and religion (Islam). The final part, TECHNOLOGY, will contain essays that focus on people’s engagement with recording, broadcasing and other technologies, and the impact of digital technologies and the internet on the increased stylistic diversification musically.

This study aims to find out how Pop Music affects the Attitude, Individual Perspective and Academic Performance of SPA Students at Palawan National School.
The study employed the descriptive correlational and comparative methods of research survey. Questionnaires were the main data gathering instrument. It also included frequency and percentage, mean, weighted mean, ranking, standard deviation, Pearson-R correlation, Linear Regression of Correlation and T- test.
For the findings, the researchers found out that the respondents are musically inclined. It is highly satisfactory because of the average grades of the respondents. The correlation between academic performance and attitude is negative. When a student has a positive attitude towards music, it doesn’t mean that they have a higher academic performance. The higher the student’s individual perspective towards music, the higher they get there grades in music.
For the teacher’s the researchers recommend to re-asses teaching strategies to be employed in class. In addition to that, design a program of activities that will elevate student’s appreciation for music. For the students learn to appreciate music and engaged in activities where music is part. For the future researchers you may conduct the following studies: not limited to pop but to genre of music, and determine the satisfaction level of the students.

The following thesis conducts a bulletin board, on the far-reaching interdisciplinarity of literature and its discernible impact on music; particularly hip- hop as a leading genre, using data from an assortment of polemical artists; including high-profile rappers that—suitably contributed to the expansion of this cross- pedigreed relationship. This output also uses books of the literary-musical-related sphere such as; The Anthology of Rap, Book of Rhymes: The Poetics of Hip Hop and Encyclopedia of Hip Hop literature. The background’s focal point is to evince the primary leitmotif of the relationship between the two disciplines, and for the fact that both of them share several characteristics vis-à-vis poetic narrativity. Subsequently, the spotlight will be shed on the genesis of hip-hop and its initially derivational phase, arisen from literature. The premise, however, does not broadly or solely focus on the intersection of literature and music, or name-dropping of artists, but it also attempts to dissect, scrutinize and break down, per capita, literary elements used in some noteworthy works, all from a lyrical-wise standpoint including; literary and poetic devices.

Esta tese busca discutir a constituição musical, midiática e identitária do rock gaúcho produzido em Porto Alegre na década de 1980, pensando suas configurações enquanto cena e gênero musical. Primeiramente, em caráter expositivo, faço a contextualização da década, abordando principalmente questões de indústria fonográfica e sistema midiático. Nessa etapa, traço uma linha do tempo onde enfatizo alguns acontecimentos como, por exemplo, o surgimento do BRock, a efervescência cultural do bairro Bom Fim, em Porto Alegre, festivais, emissoras de rádio, coletâneas e gravadoras locais. Em seguida, apresento a fundamentação teórica que oferece sustento à minha tese. Meu argumento é de que gênero musical (BORN, 2016; LENA, 2012; BRACKETT, 2003; FRITH, 1996) não diz respeito somente a aspectos sonoros – mas também sociais, econômicos, afetivos etc –, e pode ser baseado em uma cena musical (STRAW, 2017; JANOTTI JR & PEREIRA DE SÁ, 2013; AMARAL et al, 2017), ou seja, levo também em consideração a importância da cidade neste contexto. Para resolver o problema de pesquisa, recorro a procedimentos metodológicos como método biográfico (ROSENTHAL, 2017), história oral (ROSA, 2007; PORTELLI, 1997) e pesquisa documental (GIL, 2008). O conceito de memória (NORA, 1993, POLLAK, 1992), nesta fase, também atua como ângulo teórico-metodológico. Na sequência, exponho a seleção de entrevistados, com uma pequena biografia, apresentando quais foram os movimentos tomados a partir da compreensão dos procedimentos metodológicos. Por fim, busco apresentar minha proposta de gênero baseado em cena, discorrendo sobre os pontos essenciais para categorizar o rock gaúcho: 1) questões temporais e espaciais, 2) estética, atitude e sonoridades e 3) aspectos midiáticos. Neste momento, além da categorização musical do rock gaúcho, sugiro uma diferenciação entre rock gaúcho, BRock e rock feito no Rio Grande do Sul. A categorização proposta é relacionada a um momento específico, de uma geração de bandas que surgiu em determinado período e que apresenta certas particularidades. Trato, portanto, de identificações musicais não ligadas somente a sonoridades, mas também a normas operadas em uma cena musical, justamente para tentar apreender como comunidades podem criar gêneros na música popular.

MA Thesis. Supervision: Jerrold Levinson (U. of Maryland) and Julien Deonna (U. of Geneva).
This essay is a conceptual analysis on the nature of musical genres. The main points are that they can be considered as objective social objects and that classifying a piece into a genre matters a lot for aesthetic evaluation.

More precisely I argue that musical genres are an underevaluated aspects of æsthetic evaluation mostly because they set conventionnally expected aesthetic expectations. They do that in an epistemologically objective way thanks to being what John Searle calls status functions. Furthermore, accurate categorizations of a musical piece into genres depend strongly on the piece's ontological features such as its musical (formal) structure, its musical medium (score, improvisation, recordings, ...), its historical context of creation, its process of transmission, and, importantly, the artists' categorial intentions.

Using a mixed-methods approach, I aspire to trace the legitimation process of reggaeton. In this research, I examine market information regimes to understand the trajectory of reggaeton from 2005 to 2019. Billboard music charts, and press coverage suggest reggaeton did not follow an exponential upward trend. Data sources indicate high numbers between 2005 and 2008, before dropping, and remaining low until 2014. Following this descent, reggaeton’s presence in the USA mainstream music market has not stopped ascending until the end of 2019, indicating an unprecedentedly high level of legitimacy and popularity. In the qualitative analysis I investigate discourses of the reggaeton scene in relation to the Latin Grammy Awards. As suggested in the literature, reward systems are important indicators of legitimation. However, reggaeton has been nearly absent in the major categories of the Latin Grammys, since their inception in 2000. I examine the longstanding relationship between the Latin Academy and reggaeton, by focusing on the claims made by the reggaeton industry for the 20th Annual Latin Grammy Awards, on November 2019. Results suggest that 1) class-based discrimination is a main factor in the Latin Academy’s lack of recognition of reggaeton as an art form, 2) two levels of racism are at play in the social perception of reggaeton, namely within the Latinx community, and from the outside, 3) the reggaeton industry is challenging the relevance, influence and authority of the Latin Grammys, and questions are raised towards its structure and ability to vote.

In this doctoral dissertation, in disciplines of cultural studies and cultural anthropology,I study roots reggae music as a transnational and cosmopolitan phenomenon. Historically, the Jamaican roots reggae genre has evolved in conjunction with the socio-religious Rastafarian movement, which holds an explicitly Africanist ideology.

Currently, however, the genre has developed into a popular international music phenomenon that crosses social and cultural borders.Against this background I ask in this dissertation 1) In which ways is local belonging
enacted in Rastafarian reggae music in Finland and in South Africa, and 2) how do musicians imagine the genre as a global community in these contexts?

Popular music research has called scholars to acknowledge the ways in which music genres, and ideologies associated with them, function in the everyday lives of music aficionados in different social contexts. The current dissertation answers these calls by approaching roots reggae music with the methods of multi-sited ethnography, where the research phenomenon is understood from the point of view of the musicians and music aficionados themselves. Earlier research has also urged researchers to look at Caribbean-derived popular culture and religion from comparative and multi-sited points of view, given the transnational
and highly dynamic nature of these cultural phenomena. Because of these theoretical challenges, the material in the current dissertation is constructed from two ethnographic field periods, in Finland and in South Africa, which are juxtaposed and compared in the analysis.

The dissertation consists of a theoretical and methodological introduction and four research articles. The first article presents the case of Finnish reggae musicians who search for continuity with the Jamaican roots reggae tradition and its values. The second article is an ethnographic inquiry of a weekly Rastafarian music event in a township in Cape Town. The third article analyzes the life histories and music
productions of Capetonian reggae vocalists. The fourth and the final article draws together the common themes of the previous articles by looking at the interaction between Finnish and Capetonian reggae aficionados and the performances of South African musicians in Finland.

On the theoretical level, the conclusions of the dissertation show how the concepts of autochthony and musical cosmopolitanism can be operationalized in a complementary way in anthropological research, particularly in the study of Southern African urban life. The study demonstrates how South African roots reggae aficionados negotiate and combine the social commitments of autochthony and cosmopolitanism in their musical activities. Secondly, the dissertation demonstrates how local belonging is understood in different ways in Finnish and South African roots reggae cultures. Whereas the Finnish artists participating in the current study experience their music as international and
European music, Capetonian vocalists see their music as the voice of particular townships in Cape Town. Thirdly, the dissertation establishes how patriarchal and heteronormative values and practices have emerged as being central to the roots reggae genre in its adaptation to new social contexts outside of Jamaica. Fourthly, the dissertation shows how roots reggae is a distinctively modernist cultural phenomenon, where elements such as non-conforming individualism and self-stylization are central. However, numerous musicians have negotiated these values
creatively and combined them with world views, which are distinctive from the rational Western modernism of which roots reggae musicians are strongly critical around the world.

A significant part of the dissertation has been funded by the Academy of Finland and realized between 2013 and 2016 as part of the research project “Youth Music and the Construction of Social Subjectivities and Communities in Post-apartheid South Africa”, based at the University of Helsinki in the discipline of social and cultural anthropology.

ÖZ Model, basit bir ifade ile; bir edime ve onun kanonlarına yol gösterici olarak tasarlanan bir örneklemdir. Bu bakımdan model, eyleyicilerin (agent) ve takipçilerinin edimi nasıl, ne şekilde gerçekleştirileceği konusunda bir rehber özelliği taşır. Ontolojisi dışında evrensel ve türdeş olmayan müzik, diğer kültürel bileşenlerin hemen hepsinde olduğu gibi çoktürlüdür (heterojendir). Çoktürlü bir yapı içeren müziğin irdelenmesi, nitelik ve nesnellik açısından belirli bir sistematiğe dayanmak zorundadır. Dolayısıyla sistematik bir çerçeveleme olarak "model" burada önemli bir işlev görür. Buna göre, Türk kültürü içinde marjinal bir alan temsil eden Alevi kültürel kimliğinin müziksel bir ifadesi olan Semahın, belirlenmiş bir model ekseninde irdelenmesi doğru bir yöntem olacaktır. Çünkü semahın, sistematik bir modelden bağımsız bir biçimde kendilik (objectified entity) olarak yalnızca müziksel sınırlılıkta ele alınması, içindeki bedensel devinim (dans) ile olan simbiyotik ilişkisi dolayısıyla son derece güçtür. Bu simbiyotik ilişkiyle birlikte, semahın Alevilere ait "cem" ritüelinin içinde yürütülen diğer kültürel edimlerle birlikte gömülü (embeddedness) bir konumda olması, onun modelden bağımsız ve bağlamsız bir biçimde irdelenmesini daha da zorlaştırır. Bu makale, bu zorlukların aşılmasında ve semahın müziksel bir tür olarak irdelenmesinde, modelin nasıl işe yarayacağını ortaya koymaya yönelik bir çabanın ürünüdür. ABSTRACT In simple terms, a model is a sample that is designed as a guide towards a performance and its canons. In this sense, a model acts as a guidance on the issue of how agents and followers will conduct a performance. Music, which is not universal or uniform except for its ontology, is heterogenous as in the case of almost all other cultural components. Analysis of music that has a heterogenous structure needs to be based on a certain systematic in terms of quality and objectivity. Thus, as a systematic framing process, a "model" serves a significant function here. Accordingly, it would be a right method to investigate Semah, which is a musical expression of the Alevi cultural identity that represents a marginal field within the Turkish culture, in the framework of a determined model. This is because discussing semah independently of a systematic model as an objectified entity in only a musical boundary is highly difficult due to its symbiotic relationship with bodily motion (dance) within itself. In addition to this symbiotic relationship, the embeddedness of semah in other cultural performances that are held in the cem ritual of Alevis makes it even harder to examine it independently of a model and without a context. This article is the product of an effort towards presenting how a model will be useful in overcoming these difficulties and investigating semah as a musical genre.

Arabesk music is an endemic genre to Turkey. Theoretically, it may be deemed to include depressive feelings of grief, an intense level of sadness and anger. However, in practice there has been no empirical research to date concerning what emotion the music contains or inspires in listeners. In this study, we examined the level of felt and perceived emotions in arabesk music; at what level lyrics, tempo, and maqam have an impact on the feeling and perceiving; and which individual/socialfactorshavethebiggesteffect onpreferencearabesk.Bytheresultsobtained, albeit relative, we aimed to deduct a profile of emotion and empirically evaluate the musical, individual and social dimensions' impact on the reason why arabesk is preferred. A total of (n=146) participants ranged from 15-49 year old (28%) female (72%) and men (n = 75) arabesk lovers and (53%) female (47%) and male (n = 71) music students. Both groups were given questionnaires prepared for them. Then, in five different maqams and tempos, eight different arabesk songs were played for participants. In the evaluation process, arabesk lovers were requested to grade their feelings and music students were requested to grade their perceptions in a 5-point Likert scale (1 = feltnothing,perceivednothing;5=feltalot, perceived a lot). Geneva Emotion Music Scale, GEMS, which was developed by Zentner Grandjean & Scherer (2008), was used to evaluate the types of emotion. The findings obtained, as predicted, showed that the sadness factorisverydistinctiveinalmostallinstances. However, a feeling of sadness wasn’t found at a level predicted among arabesk lovers. Moreover, it was understood that together with thesenseofsadnessandtension,themusic induced intense nostalgia, tenderness and peacefulness; and in a very low rate, it caused power, wonder and a transcendence factor. Also, statistically, there were significant differences between arabesk lovers’ feelings and music students’ perceptions. The arabesk lovers’ average turned out to be higher than music students for the factors of wonder, peacefulness,power,tenderness,transcendence and joy. On the other hand, the music students’ average came out higher than arabesk lovers’ in two instances regarding the sadness and tension factors. In terms of gender, men preferred it more. Additionally, as average age increased,arabeskpreferredalsoincreased.The largestdeterminingfactorinpreferenceforthis genrewasfoundtobeinthelyricsassociated with listening needs, compliance with personality traits, reflection of inner world, relaxation and a need to calm down. In terms of social factors, as preference for arabesk increased, the level of education decreased; moreover,feelingsofsadnesswerefoundmore amongmenandpeopleofalowincomelevel. Additionally, ones social circle was found to be the determiner with the highest frequency value.

En este trabajo se analiza el desarrollo del término post-rock en España en la segunda mitad de los 90. Partiendo de los discursos generados por la prensa musical alrededor del grupo Manta Ray, se muestra cómo la relación de la banda con el género fue cambiando en función de los prototipos empleados y las luchas por el poder cultural de la crítica. Para ello formularemos una redefinición del concepto de género musical sintetizando las nociones basadas en reglas con las basadas en prototipos y articularemos la discusión de la prensa musical sobre estas categorias alrededor de la idea de campo cultural de Pierre Bourdieu.

Desde  que  en  los  ochenta  comenzase  a  hacer  referencia  tanto  a  una  postura comercial como a un sonido determinado, el término indiese ha convertido en una  de  las  etiquetas  más  difusas  de  las  músicas  populares  urbanas.  Aunque, como  refleja  Matthew  Bannister,  hasta  la  llegada  del grungeagrupase  a  un conjunto  de  escenas  con  notables  diferencias  sonoras  pero  una  serie  de principiosestéticos y éticos compartidos, en los noventa el indiese convirtió en una  etiqueta  especialmente  amplia,  gracias  a  los  crecientes  contactos  de  las discográficas  independientes  con  las majorsy  la  influencia  de  las  nuevas tecnologías digitales, la electrónica o el hip-hop.En  este  artículo  analizaremos  los  discursos  producidos  alrededor  de  dos géneros  antagónicos  que  coexistieron  dentro  del indieespañol  de  la  segunda mitad  de  los  noventa:  el post-rocky  el tonti-pop.  Mediante  un  estudio comparativo del tipo de discursos desarrollados alrededor de ellos y el análisis de  algunas  de  sus  manifestaciones  musicales  más  destacadas,  se  evaluará cómo  ambos  géneros  encajaban  dentro  de  la  escena  del indienacional.  Esto nos  permitirá  comprender  las  tensiones  que  se produjeron  entre  una concepción  de  la  escena  orientada  hacia  un  discurso  más  experimental, intelectualizado  y  de  vocación  internacional  frente  a  una  visión  más convencional,  endémica  y  cercana  al pop,  que  acabaría  por  imponerse.  Pero aunque  ambas  posturas puedan  resultar  aparentemente  irreconciliables,  los rasgos que desarrollaron ya estaban presentes en el indiede los años 80, del cual,  cada  género  enfatiza  una  serie  de  elementos  en  detrimento  de  otros, haciendo  desaparecer  la  equidistancia  que  había  entre  la  música popy  las tendencias  más undergroundy  experimentales –y  por  lo  tanto  entre  la búsqueda  de  capital  económico  y  capital  cultural–para  dar  paso  a  una concepción  más  diversificada  de  este  campo  de  producción  cultural,  que  se mantiene en la actualidad.

The term indie has become one of the most diffuse labels within popular music since the 80s, when it began to be used referring to a commercial attitudeand a particular  sound.  As  Matthew  Bannister  reflects,  until  the  arrival  of  grunge  it grouped a set of scenes with certain sonic differences but a series of common aesthetic and ethicalprinciples.In the 90s indie became a very wide label, due to the increasing contacts between the independent labels with the majors and the influence of the new digitaltechnologies, electronic music and hip-hop. In  this  article,I  will analyzethe  discourses  produced  around  two antagonistgenres,coexistentwithin  the  Spanish  indie  of  the  second  half  of  the  nineties: post-rock  and  tonti-pop  Through  a  comparative  study of  the  discourses developed  around  them  and  the  analysis  of  some  of  their  most  representative musical manifestations,I will evaluatehow both genres fitted inside the national indie scene. This will allow us to comprehend the tensions that arise between a conception of the scene oriented towards anexperimental, intellectualizedand international  discourse  and  a conventional,  endemic  and  closer  to  pop  vision, which  eventually  would  prevail.  Although  both  positions  may  seem  apparently irreconcilable,  the  features  which  both  developed  were  present  in  the  indie  of the  eighties,  from  which  each  genre emphasizeda  series  of  elements  at  the expense of others, making disappear the equidistance that existed between pop and  more  underground  and  experimental  tendencies –and  hence  between  the search  for  economic  capital  and  cultural  capital–to  give  way  to  a  more diversified conception of this field of cultural production, which it's currently kept.

Vaporwave, first emerging in the early 2010s, is a genre of music characterised by extensive sampling of earlier “elevator music,” such as smooth jazz, MoR, easy listening, and muzak. Audio and visual markers of the 1980s and 1990s, white-collar workspaces, media technology, and advertising are prominent features of the aesthetic. The (academic, vernacular, and press) writing about vaporwave commonly positions the genre as an ironic or ambivalent critique of contemporary capitalism, exploring the implications of vaporwave for understandings of temporality, memory and technology. The interpretive and discursive labour of producing, discussing and contesting this positioning, described here as “genre work,” serves to constitute and sediment the intelligibility and coherence of the genre. This paper explores how the narrative of vaporwave as an aesthetic critique of late capitalism has been developed, articulated, and disputed through this genre work. We attend specifically to the limits around how this narrative functions as a pedagogical or sensitising device, instructing readers and listeners in how to understand and discuss musical affect, the nature and function of descriptions of music, and perhaps most importantly, the nature of critique, and of capitalism as something meriting such critique.

This is the intro to a special issue that Shyon Baumann, Susanne Janssen and I co-edited for Poetics (Volume 37 / Issue 4). It featured contributions by Michaël Berghman & Koen van Eijck; Katherine Giufree; Heather Jamerson; Melissa C. Scardaville; Vaughn Schmutz; and Alex van Venrooij,

Alexander Veselovsky, the father of formal methods and semiotics, defined “historical poetics” as the study of the role of tradition in individual creativity; this can be applied to music studies, in order to explain the relationship between repetition and originality and better define popular music, in its differences with; folk and classical music, respectively. The theory of “primitive syncretism” can show how new musical genres and styles often arise from older ones through the
separation of their secondary features. The distinction between motif and plot, with its explanation of complex elements as composition of smaller ones, provides parallels with many popular music structures (riffs; chorus/bridge/verse; chord progression, etc.). The concept of cultural borrowing as “counter-flows”, according to which the receiving culture actively selects and readapts the received elements, fits, inter alia, with non-Anglo-American versions of rock. Therefore, historical poetics provides a good ground for a dynamic, non-normative theory of popular music, both as a whole and in its parts.

This study is part of ongoing work towards a doctoral degree in media and Cultural Studies at Birmingham City University, regarding the political economy of world music and copyright law in Senegal and Ghana. This poster seeks to analyse:

The Ghana Copyright Office
Music piracy in Ghana
Music genre in post-colonial Ghana

This poster is based on bibliographic and archival research and carried out in the first four months of my PhD, including review of the work carried out by the Ghana Copyright Office and analysis of official reports.

Keywords: post-colonial, Ghana, copyright law, music industry, piracy

Este artigo busca refletir sobre o processo de popularização e as transformações ocorridas no RAP brasileiro nos anos 2010, especificamente a partir da vinculação das batalhas de rimas ao YouTube. Para isso, discorre sobre as origens da improvisação no RAP, apresenta um breve histórico das batalhas de rimas no Brasil e introduz uma análise da Batalha do Tanque, evento mais popular do país no período. O debate em torno da noção de gênero musical em perspectiva comunicacional e aspectos da Teoria Ator-Rede compõem o aporte teórico-metodológico do estudo.

Musical genres are fraught with issues of temporality. Commonly conceived as musico-cultural regularities regulating practice across musical life, they are never- theless inherently unstable, making non-reductivist accounts of the temporospatial dissemination of genres a persistent challenge to musical genre studies. In this, prima- rily theoretical article, I engage with this challenge by discussing the relation of genre abstraction, dissemination and trajectories. In keeping with recent developments in musical genre studies, I combine an account of genre drawing on post-structuralism and pragmatism along with inspirations from assemblage theory and actor-network theory. On these grounds, it is argued that a distributed understanding of abstraction – specified as the combined act of singling out, symbolising and systematising and interlinked with processes of mobilisation, autonomisation, building alliances and promotion – is key to the temporospatial assemblage of genres in a directed sense, i.e. their dissemination and trajectories.

The indie classical genre is generally used to describe the music that follows certain classical music practices but is produced and distributed through independent record labels. The term was brought into widespread circulation by New Amsterdam Records’ publicity apparatus, intended to represent composers whose “music slips through the cracks between genres.”

En este artículo se aborda el modo en el que los géneros musicales tienden a operar en el contexto actual, dominado por los procesos de globalización y digitalización del capitalismo neoliberal. Estos han provocado que los géneros se articulen por medio de dos fuerzas aparentemente antagónicas, pero que se necesitan entre sí: la generificación y la individualización. Para comprender el modo en el que ambas operan se analizará su impacto en la producción, intermediación, infomediación y consumo de la música. Con este texto se pretende  reflexionar sobre el modo en el que todas las músicas (sin importar su origen o estatus) son susceptibles de convertirse en géneros musicales, siguiendo la manera en la que desde las músicas populares urbanas occidentales se ha entendido este concepto.

This article draws on three years of participation in the Taiwanese experimental music scene and argues that, in order to explain how different forms of sociality contribute to its construction and scaling, it is necessary to examine how musicians, organizers and audiences describe their own creative practices. After sketching a brief history of experimental music in Taiwan and contextualizing my positioning as an audience member, musician and critic, I discuss three central components of a music scene: genre, space, and circulation. By analysing the ideological, spatial and material shifts taking place around the Taiwanese experimental music scene in the late 2010s, I demonstrate how musical genres, performance spaces and material circuits are scaled up or down to specific domains of practice or to inclusive social contexts. In this article’s conclusion, I revisit scholarship on the concept of music scene and connect it to the role of scaling in the construction of Taiwan’s experimental music underground.

While previous research has established relationships between perceived parenting styles and children’s deviant behaviours, and links between these behaviours and liking for intense and rebellious music, no research has explored the associations between perceived parenting styles and children’s liking for different music styles. Whereas previous research has considered musical taste by looking at a small number of individual difference variables in isolation from one another, the present research used a cross-sectional correlational design to investigate whether parenting styles, the big five personality traits, sensation-seeking, age, and gender were associated with liking for different music styles. Three hundred and thirty-six Australians completed an online, self-report questionnaire. Analyses demonstrated that there were relationships between five of the six parenting style variables and five of the music styles considered.  This indicates that various parenting styles were associated with musical taste, and that the nature of these associations extends well beyond those concerning rebellious music and neglectful parenting that have been identified by previous research.

An emergency meeting held at UNSC, Human Rights chief said that " Ethnic Cleansing " is taking place. Over the past two weeks an estimated 3,70,000 refugees have poured across the Bangladeshi border to take shelter in squalid refugee camps. Refugees and human rights groups say that the Burmese military and local vigilantes are systematically targeting civilians in a campaign of terror characterised by house burnings, mass shootings, beheading and gang rape.

This presentation classifies, enumerates and itemizes the five elements of polyrhythm, which constitutes the theoretical framework for the polyrhythmic analysis of the traditional genres of Puerto Rico –from the micro to the macrostructure.
The polyrhythmic analysis of the traditional genres of Puerto Rico is based on the tresillo (3+3+2), whose rhythmic cells conforms the phrases, which at the same time conforms the musical forms that are molded by the variation techniques.

In 1984, L.A. punk band Black Flag released My War. Coming three years after Damaged – a canonized classic of the hardcore genre – and following a period of legal dispute and touring hiatus, My War was diverse and polarizing; side two of the album featured three
slow, long riff-heavy songs that run counter to the predominantly lean and fast signature sound of the band’s previous work and that of many contemporaries. With the benefit of hindsight, these tracks signalled punk’s reinvestment in heavy metal, precipitating new
hybrid forms such as sludge metal, drone metal, and stoner metal. In this paper, we exhume a subset of this aesthetic lineage and discuss how it has informed a subsequent recording: Lysol by the Melvins. Through analysis of recorded works, we demonstrate how the sounds of side two of My War have been propagated and refined, highlighting the links between these idiosyncratic sounds and the pragmatic realities of low-budget studio production.

(The treatment of music in Italian multidisciplinary cultural blogs.)
Since the birth of the World Wide Web, cultural debate has gradually spread also in digital telematic media, as well as in traditional paper-based ones. Italy, in particular, has seen the birth of several multidisciplinary cultural blogs since 2010. In this article I focus on the treatment of music in this kind of media, which are to be distinguished from similar formats dedicated primarily to music, as well as from non-blog formats. I consider the following three blogs (in order of foundation): minima&moralia (2009); doppiozero (2011); Le parole e le cose (2011). In search for affinities and differences, constants and peculiarities, and in continuous comparison with the habits of music criticism in traditional media, I study their respective strategies with regard to the following points:
- art forms treated by critical discourse (literature, cinema, music, etc.);
- musical genres treated by critical discourse (Western art music of all eras, folklore, jazz, popular music, etc.);
- ontological types of musical object (live or reproduced or directly technologically-produced music; music pure or mixed with other art forms; single or grouped pieces);
- textual formats (differentiated by length, material structure, content organization, etc.);
- methodological approaches (specialized or popular; inherently musical or non-musical);
- professional characteristics of the authors (critics already active in traditional media or newly enrolled; specialists or non-specialists).

2015. In: Ignácz, Ádám ed. Műfajok, stílusok, szubkultúrák. Tanulmányok a magyar populáris zenéről. Budapest: Rózsavölgyi és Társa, 181-192.

A címben feltett, látszólag naiv kérdés a zene-, illetve általában a kultúrakutatásban jól ismert alternatív-populáris, művészi-szórakoztató, mainstream-underground, autonóm-heteronóm szembenállással kapcsolatos elméleti dilemmákra utal. Előadásomban a 21. századi magyar alternatív zene szférájához kapcsolódó jelenségeken keresztül vizsgálom a zenei műfajkategóriák konstrukciójának diszkurzív, mediatizált és kollektív-társas folyamatát. Vizsgálom egyrészről az alternatív rock és a népzene olyan típusú összefonódásait, amelyet legismertebb formában a Csík zenekar képvisel. Röviden reflektálok továbbá az alternatív közszolgálati médián keresztül történő „mainstreamesítésének” specifikus, a „művészi zene” diskurzusára is támaszkodó folyamatára, kimondottan az újrapozicionált MR2 Petőfi Rádió szerepére összpontosítva, beleértve a Red Bull Liszt Remix és az MR2 Szimfonik projekteket. A bemutatott példák elméleti hozadéka a populáris zene tudományos vizsgálatához elengedhetetlen dinamikus és kritikai reflexió hangsúlyozása a műfajok, stílusok kategóriáira és azok használatára vonatkozóan.

In  this  article  I  shall  examine  how  Poppy  uses  her  extreme  grotesque  effect  to  construct  visual,  audial  and  lyrical  narratives  of  empowerment  –  in  gender,  personal,  and  musical  context. I shall shed a light on the way her self-awareness as a female vocalist deconstructs the image of ‘metal woman’ – through subversive combination of hyperfeminine image with aggressive  music  and  involved  lyrics  –  to  expose  excluding  paradigms  which  determine  female  presence  in  metal.  Finally,  I  shall  show  how  her  post-genre  aesthetics  undermines  hardened determinants of what is, and what is not ‘metal’.

Based on a sample of 28,360 albums identified by an online community devoted to progressive rock, this article examines factors that shape the retrospective consecration of music that operates beyond the mainstream. Drawing on previous work on fields of cultural production, genre trajectories, and creative careers, the article produces findings that both replicate and innovate. As in previous research, critical acclaim greatly enhances the likelihood of consecration; however, it is not mainstream critics but underground critics whose opinions are most influential and most consistent with popular appeal among the progressive rock audience. Likewise, although performers from the “first wave” of progressive rock and from the United Kingdom have an advantage in getting consecrated, a more recent wave of performers in the online era see higher odds of consecration and there is neither a significant advantage for U.S.-based performers nor a significant disadvantage for performers from the...

In this presentation I will argue that while progressive rock may be regarded and discussed as a genre, meta-genre, style or network of styles (as often seen in academic and journalistic work and in fan discussion), we might also examine the development of progressive rock at a more granular level by adopting and adapting the notion of musical idiolect. I draw on the work (in literary theory) of John Frow (2005) and John Rieder (2010) in understanding genre “as a form of symbolic action” (Frow 2005: 2) wherein the “types” (Fabbri 2012: 180) of music that are defined and discussed as progressive rock do not form “a set of texts” but are instead “a way of using texts and drawing relationships among them” (Rieder 2010: 193). I argue that our understanding and use of the term progressive rock should be regarded as occurring within a “genre field” (drawing loosely on the work of Pierre Bourdieu) in which genre, style and idiolect are mutable forms that change over time and in relation to geographical, historical and promotional industry factors (Rieder 2010) and to the various “communities of practice” (Bowker and Starr 1999) within which those definitions and understandings develop. I suggest that musical idiolects (both “personal” and “collective”) should lie at the heart of our analysis of these discussions, alongside processes of “enrolment” (Latour 1999) that include a “retrofitting” of the past (ibid.).

Resumo: Este artigo pretende discutir a relação entre pesquisadores e seus sujeitos/objetos empíricos no âmbito das pesquisas sobre cenas e gêneros musicais, a partir das diferentes abordagens metodológicas utilizadas pelos autores. Partindo da revisão teórica sobre as noções de gêneros e cenas musicais, passando pela descrição dos resultados e discussão dos métodos utilizados, e considerando as possibilidades e os limites de cada abordagem metodológica aplicada, a análise das relações construídas pelo pesquisador-insider em diferentes contextos conduz à reflexão de questões mais sutis a respeito do método e suas implicações nos resultados de pesquisa e na formação do pesquisador.

FuJaBoCla – New Music Genre
FuJaBoCla is the acronym for Funk, Jazz, Bossa, Classical. They represent the different cultural music influences in the world.
Some other genres are missing like Rock, Pop that I am not going to deal with as playing FuJaBoCla leads to a contaminated Pop as well as Rock. Starting from Europe we are going to arrive to Norther and Southern America.