Music Genres

La música urbana latina vive un período de expansión global gracias a la popularidad alcanzada en el último lustro, que le ha situado en niveles de prominencia en la produc- ción y consumo en diferentes ventanas y canales de distribución. Este progreso resalta la creciente influencia en la escena musical del español, hablado por casi 600 millones de personas. Más allá de cruzar fronteras, este idioma fortalece hoy la identidad y el orgullo latinos, con énfasis en dialectos regionales sobre el español estándar.
La digitalización ha jugado un papel clave en esta evolución, y el género ha incorpora- do códigos estéticos y lingüísticos que superan lo estrictamente musical. El informe del Observatorio Nebrija del Español revela un notable incremento en el consumo digital de este género entre 2022 y 2023, especialmente a través de las plataformas de streaming de Spotify y YouTube. Aunque su globalización sigue siendo un fenómeno en desarrollo, hay signos evidentes de la expansión internacional del español en contextos musicales internacionales, con incursiones en géneros tan específicos como el K-pop y J-pop.
La música urbana latina se apoya en la libertad que la tecnología otorga actualmente a los artistas, a quienes posibilita una conexión directa con su público y la promoción de una amplia diversidad. El género se ha expandido asociado a fenómenos de migración y cosmopolitismo, alimentando un sentimiento de comunidad latina y fomentando colabo- raciones transnacionales. Con la celebración de eventos como los Latin Grammy en Sevi- lla en noviembre de 2023, la música urbana latina no solo está redefiniendo el consumo y la producción de un género, sino que, además, fomenta una identidad cultural profunda y la integración social a nivel mundial.

Las jerarquías culturales varían a lo largo del tiempo y dependiendo del contexto. Aunque tradicionalmente han sido entendidas como un reflejo de las divisiones sociales (con las que se corresponderían, como en el famoso concepto de Bourdieu de los gustos homológicos), en las últimas décadas se ha planteado la evidencia de una apertura y de una ampliación del gusto legítimo tradicional. Si bien estos avances suelen estudiarse en relación con el consumo cultural directo, en esta discusión se ha prestado escasa atención a las instituciones que contribuyen a definir el “gusto legítimo”. En este artículo, se pretende cubrir este hueco mediante una mirada a la cobertura de noticias de música en periódicos europeos entre 1960 y 2010. La pregunta que se pretende responder es si, en el terreno de la música, la prensa de referencia habría experimentado un proceso de apertura cultural a lo largo del período mencionado

Dedicated to my beloved parents. About the Series The African Humanities Series covers topics in African histories, languages, literatures, philosophies, politics and cultures and is intended to speak to scholars in Africa as well as in other world areas. Its core goal is to foreground the best research on the continent. The rigorous review process of submitted manuscripts, editorial vetting and, where warranted, involvement of a manuscript mentor to work with the author on their writing, assure that the best quality material is published. The establishment of the African Humanities Association in Abuja in 2020 has allowed the Series to expand in scope and authorship beyond the original five participating countries of the African Humanities Program (Ghana, Nigeria, South Africa, Tanzania and Uganda), to include the entire continent. In addition, the African Humanities Series has broadened its coverage of topics and authorship to capture the work of scholars engaged in African Humanities research globally. The expanded scope encompasses two categories, each under its own imprint: Reflections: A forum for African scholars as well as those in the diaspora to publish work on the state of the humanities on the continent. It will encourage especially senior scholars to reflect on their own experiences of past and current Humanities scholarship. Cutting Edge: An outlet for innovative Humanities work which unsettles the boundaries of knowledge in ways which make us think anew about the abiding social problems across the continent.

Duygu ve dusuncelerimizin anlamli seslerle yeni bir ifade bicimine donustugu muzik eserlerimiz, bunyesinde barindirdigi farkli ozellikleri ile dinleyici begenisini kazanmaktadir. Bir muzik eserini meydana getiren bircok unsur (melodi, tartim, soz vb.) bu konuda etkili olmakla beraber, eserin olusumunda kullanilan metronom hizi, dinleyiciye ulastirilmaya calisilan duygusal mesajin iletiminde oldukca etkili olabilmektedir. Karma bir arastirma deseni kullanilan arastirma surecinde betimsel bir yaklasim sergilenmistir. Oncelikle konuya yonelik kaynaklar taranmis ardindan ise bireylerin konuya yonelik dusuncelerinin daha kolay tespit edilebilmesi amaciyla TRT repertuvarindan secilen 5 eser farkli metronom hizlarinda seslendirilerek 50 kisiden olusan orneklem grubunun gorusune sunulmustur. Eserin duygu aktariminda metronom hizina bagli olarak ortaya cikabilecek farkli dusunceler bu yolla tespit edilmeye calisilmistir. Arastirma sonuclarindan birkacina deginilecek olursa; Turk halk muzigi ...

ÖZ Bu çalışmada Şahkulu Sultan Dergâhında yapılmış bir etnografik alan araştırmasının bulguları sunulmaktadır. Araştırmanın amacı bağlama eğitimi sürecinde rol alan yönetici kadro, eğitmen ve kursiyerlerin Alevi kimliği, müzik ve bağlamaya ilişkin yaklaşımlarının anlaşılabilmesi ve bu kavrayışların icraya olan etkisinin açıklanabilmesidir. Verilerin elde edilmesinde katılımcı gözlem, yarı-yapılandırılmış ve yapılandırılmamış görüşme teknikleri kullanılmıştır. Pek çok modern Alevi kurumu gibi Şahkulu Sultan Dergâhı da çeşitli eğitim faaliyetleri düzenlemektedir. Bu faaliyetlerin başında gelen semah ve bağlama kurslarının amacı,Alevi kimliğini "doğru" biçimde temsil etme becerisine sahip bireyler yetiştirmektir. Nitekim dergâhta görev alan genç zakirler, kurumun kendi bağlama kursunda yetişmişlerdir.Bağlama eğitmeni ve kursiyerler, bireysel bazda farklı Alevilik kavrayışlarına sahiptir. Bu farklar bağlama icrasını, repertuar seçimi ya da tını açısından etkiler. Ancak sonuçta...

Research on the relationship between categorical unconventionality and popularity has produced mixed results. While many accounts suggest that unconventionality is penalized, much sociological theorizing indicates that success comes from a delicate balancing act between conventional and unconventional offerings. Using data on the genre selfclassifications of over 2 million musicians and bands across the United States, the authors find broad support for this balancing act. Yet the shape it takes is also conditioned on local contexts, across both high-order complexes of musical genres and geographic space. The authors highlight the local metropolitan area characteristics that shift the relationship between unconventionality and popularity. They also create a typology of cities based on how their unconventional offerings are rewarded and punished. An online visualization tool enables further investigation of these relationships. The authors close by proposing an agenda for how to study local heterogeneity in the relationship between unconventionality and popularity.

Similmente ai suoi sodali e interlocutori dell’Istituto per la ricerca sociale di Francoforte, in particolare Theodor W. Adorno, Marcuse (1969, 1972, 1978) interpreta l’arte, in specie la musica, come segno sociale. Ben inteso non – secondo uno pseudo-marxismo rozzo (Orlando, 2003) – come pedissequo rispecchiamento sul piano contenutistico, ideologico, per cui ciò che l’arte tratta o afferma esplicitamente corrisponde alla sua posizione sul piano sociale. No, è il modo in cui essa è costituita sul piano delle forme e pragmatico, quindi implicitamente, che ci rivela – mediante una decifrazione che comunque è tutta da compiere da parte del critico – la sua presa di posizione sociale. E per Marcuse l’arte può essere liberazione: può partecipare alla da lui sempre auspicata rivoluzione, che è rivoluzione insieme economica e psico-sociale, cioè inerente alla marxiana struttura ma anche alla non meno importante sovrastruttura, per cui la rivoluzione è compiuta quando tutti sono non solo adeguatamente retribuiti ma anche felici, cioè perfino dispiegano le proprie risorse affettive e creative. L’arte, sul piano sociale, è liberazione, non quando propugna la liberazione (sociale) ma quando realizza liberamente la propria forma, quando cioè si fa esempio di libertà sul proprio piano, in autonomia. Sappiamo che Marcuse fu antifascista in senso stretto (antinazista), ma fu anche antifascista in senso lato, o antitotalitarista, poiché per tutta la vita ha continuato a combattere contro quell’establishement che, con mezzi meno violenti dei fascismi ma non meno pervasivi, comunque conculcava la piena realizzazione delle persone, la loro felicità. Stabilitosi negli Stati Uniti nel 1934, Marcuse poté lì assistere alla nascita della musica popolare di produzione industriale, in specie afroamericana. Riconobbe il potenziale di liberazione insito nel nuovo genere musicale, ribelle all’establishment per la maniera di esprimere l’umano, nonché di creare bellezza, mediante forme però non sublimate, non mistificanti.

The article explores the ontic discourse of the historical “music genre” category in the context of art music composition and theoretical epistemology of the late twentieth through the twenty-first century. The author’s intention to cover the most important theoretical interpretations
of the tradition of typology and taxonomy of art music has transformed into an authorial theoretical model of the music genotype, which is
exhibited in this research through the most important aspects. ! The principal position of the author is the methodological approach of the
General Systems Theory (GST) theoretical paradigm, which contributed to the substantiation of both the conception of the music genotype
(the author’s concept) itself and the state of the “chromatic” intersystemic change in the (macro)systems of music genotypes.
Key words: music genre, music genotype, General Systems Theory (GST), self-organization, system, (macro)system.

Resumen
El flamenco ocupó un lugar prominente en los discursos culturales y políticos de la España
del tardofranquismo y los primeros años de la Transición a la democracia. El presente artículo
examina, a través del vaciado hemerográfico, la presencia del flamenco en cuatro revistas
españolas de música popular urbana durante este periodo histórico, analizando la posición de
aquel como género en disputa en su conceptualización como folklore musical, como canción
protesta y folk, y como música popular urbana. En una primera sección, se presentan referencias
de prensa que muestran el flamenco como una tradición musical folklórica “inmutable” a
través del estudio de sus palos o estilos. En la segunda, se aborda la vinculación del flamenco
“protesta” de cantaores como Gerena, Morente o Menese con el folk y la canción de protesta
social. La tercera sección explora referencias hemerográficas sobre figuras relevantes de la
guitarra flamenca, como Paco de Lucía y Manolo Sanlúcar, que son presentadas mediante
estrategias de popularización habituales en las músicas populares urbanas. En el epílogo se
reflexiona, por último, acerca de cómo la dimensión del flamenco como género musical en
disputa articula discursos de autenticidad que conectan con el contexto cultural y político del
tardofranquismo y la Transición.
Palabras clave: flamenco; música popular urbana; folk; prensa musical; géneros musicales;
tardofranquismo; Transición.

Abstract
Flamenco was essential to cultural and political discourses in Spain during Late-Francoism
and the first years of the Transition to Democracy. Based on hemerographic sources, this
paper examines the presence of flamenco in four popular music magazines of that period, analyzing its position as a negotiated music genre since it was understood as traditional
music, political song or protest folk, and also as popular music. The first section explores
several press references about palos -music styles in flamenco- that show an idea of flamenco
as an “immutable” music tradition. After that, the relationship between protest flamenco by
Gerena, Morente, or Menese with folk music and the idea of the social protest song is studied.
In a third step, it considers how some relevant figures of flamenco guitar, such as Paco de
Lucía and Manolo Sanlúcar, are represented by popularization strategies related to popular
music narratives. In the epilogue, I argue how this dimension of flamenco as a music genre
in constant negotiation articulates several discourses of authenticity related to culture and
politics during Late Francoism and the Transition to Democracy.
Keywords: Flamenco; Popular music; Folk music; Musical press; Music Genres; Late Francoism;
Transition to Democracy.

This article scrutinizes the Finnish religious insults and the related legal practice during the 21st century. It examines how the Office of the Prosecutor General, the courts, as well as the defendants construct the category of religion – i.e. that, which is a target of a special protection – and how the discourses on ethnicity and race play a part in that process. It is found, that ways in which the defendants construct the targeted groups with terms considered to be about religion, ethnicity or race affects the ways the officials construct these groups. This includes the practical abolishment of the formal category of religion, found in the letter of law, in favour of the popular one.  Furthermore, it is argued, that while being part of the established religion discourse improves the chances for benefitting from the religious insult legislation, the said law, applied quite inconsistently, is found to be relatively ineffective avenue for groups seeking justice amid speech or actio...

Voidgaze is a “phantom genre”: people often listen to this kind of music without even knowing what it is. If you google it, you will find more pages asking for a definition than providing one. Being located at the crossroads between blackgaze, post-black metal, atmospheric black metal, doom metal and neofolk, this genre seems to lack an actual community and is most likely the product of genre classifications operated by streaming services to guide the algorithm’s recommendation work. In this paper I investigate the origins and family tree of this genre by crossing the results of research done using several online tools for the analysis of Spotify playlists metadata – Organize Your Music, All Noise at Once and SpotiGeM. Thus, I use voidgaze as a case study to describe new ways in which genres are born in the age of streaming, highlighting analogies and differences with “old style” genres and their respective functions. The real absence described in this paper, then, is not that implied in the name of voidgaze; it is that of a hypothetical loss of centrality of the concept of “genre” on streaming platforms. But are genres really bound to become just tags and labels in an all-fluid listening experience, or should we broad the old definition of “music genre” to accommodate new “phantom” forms of classification?

This paper deals with a detailed description of the "Figures Voice", that is, selected organs of the vocal tract, whose control and management are part of the vocal method "Estill Voice Training" (EVT) and its first stage of study. The author is an opera singer and voice pedagogue, Jo Estill, who based on scientific research, has built an independent and modern system of teaching singing, which can be used in the interpretation of the vocal repertoire from classical as well as non-classical styles of music.

Choral art of the 1930s is of considerable historical and artistic value. His ideology reinforces interest in research in view of the development of a factual and statistical base in relation to that period and approaches to a holistic view of it as a phenomenon unfolding in a very specific space. The aim of the study is to take a step towards filling the knowledge gap by identifying contextual predetermining and influences, binding style analysis, and providing a basis for panoramic understanding of choral art in the 1930s as a significant component of the then mass culture of both Ukrainian areas on the basis of the systematization of data on conceptual, genre-related peculiarities and stylistics of choral opuses of the given period.The scientific novelty (taking into account the factors of educational, system-forming and artistic influence of collective music on individual and mass consciousness) is determined by the comprehension of analogies and differences between political parties and different areas of creativity, as well as identifying typical patterns in this important area.The methodology is based on fixing a peculiar transgression aimed at overcoming the idea of an impassable ideological boundary between the choral arts of Western and Soviet Ukraine. This methodological “shift” is necessary for the field of study of academic choral music and mass choral song, as well as for the formation of objective and weighted “cultural history”.Conclusions. Choral art as an art form in this complex decade demon-strates a rather flexible genre-style system. Its verbal and musical concepts legitimately identify contextual and societal patterns. These concepts contrib-uted to the transformation of abstractions into the universals of mass con-sciousness, revealing signs of the association of genres with certain ideological content, while leaving the rest wide field for their identification with various phenomena. The potential of creative search beyond strict censorship remains high, encouraging further study of choral creativity of that time.

Este artículo parte de un discurso presente en una relación de prensa de 1836 sobre exámenes estudiantiles de una escuela pública de primeras letras denominada el Colegio Chico en Durango. Con él, se examinan los procesos de inserción de la música a través de la educación en el ámbito civil desde el final de la tradición musical de la catedral, y las implicaciones políticas de la orquesta de niños del mencionado colegio. A través del análisis del discurso de las autoridades asistentes a los eventos, el artículo interpreta el sentimiento de historicidad manifestado dentro de la élite civil y religiosa. El presente trabajo aporta explicaciones inéditas, desde punto de vista cultural, sobre los procesos de secularización de la música de Durango en la primera mitad del siglo xix, y abona nuevos elementos a la historiografía mexicana sobre el mismo tema.

This  article  is  based  on  a  speech  from  an  1836  press  report  regarding  student  examinations  at  a  public  elementary  school called ‘Colegio Chico’, in Durango. With it, I examine the insertion processes of  music  through  education  in  the  civil sphere since the end of cathedral musical
tradition,  and  the  political  implications  of  the  school’s  children  orchestra.  By  analyzing the discourse of the authorities attending  the  events,  the  article  interprets  the  expressed  feeling  of  historicity within  the  civil  and  religious  elite.  This  paper  provides  unprecedented  explanations, from a cultural point of view, of the secularization  processes  of Durango’s music in the first half of the 19th century, and  offers  new  elements  to  the  Mexican historiography on the subject.

Cultural and religious heritage, which has been important in understanding social relations throughout human history, appears with its differentiating profiiles in today's modern world. After long years of woodworking, Tahtacıs have settled down and gained a new life look with their cultural characteristics. There are few studies in the literature about the profiles of Tahtacıs, who made a living by woodworking in the past, in direct proportion to processes such as modernization and urbanization. Within the scope of the study, the current lifestyles, traditions, and cultures of Tahtacıs, together with their problems and expectations will be examined through the data obtained from the regions where they live. Based on this, Elmalı Akçaeniş Village and Manavgat Gültepe Neighborhood, both of which have Tahtacı population in Antalya province, have been determined as field of study. The study was designed with a qualitative research design and the data were obtained using interview a...

The Caribbean has long been considered a melting pot of Old and New Worlds. Writer, director, and cultural researcher Julian Henriques looks at the Jamaican reggae dancehall sound system to explore how this street technology has found creolizing ways to prevail in the neocolonial power struggle between popular culture and Jamaica’s ruling elite

This Fieldwork Playlist emerges from a conference of the same name at Goldsmiths back in 2013. The idea was a simple one: “For our fieldwork playlist, each contributor will pick one song and recount the story of how that song came to hold significance in relation to their research encounters and experience” (Fieldwork Playlist Call For Papers 2013). Each of the papers here explores the evocative nature of music in relation to the experience of social science fieldwork.  Each author has selected a song as a starting point to consider their experience in the field. Music is woven into the fabric of the social world of the field, our location in it, our collection and interpretation of data and the writing up process. This edited collection brings together diverse experiences and reflections through the evocative medium of particular songs.

Through the prism of the song You'll Never Find a Love Like Mine by soul artist Lou Rawls, this paper explores the intersections of personal life, fieldwork and the centrality of music to social reproduction across generations in South Africa.

Özet
Bu araştırmanın amacı, lise öğrencilerinin demografik özellikleri ile dinledikleri müzik türleri arasındaki ilişkiyi saptamaktır. Araştırmanın evrenini Ankara’daki Milli Eğitim Bakanlığı.’na(M.E.B.) bağlı liseler, örneklemini ise her bir lise türünden random yöntemi ile farklı ilçelerden seçilen 7 liseden 634 öğrenci oluşturmaktadır. Hazırlanan ankette ilk olarak Kolmogorov-Smirnovtesti ile verilerin normal dağılıma uyup uymadığı incelenmiştir. Maddeler normal dağılıma sahip olduğundan iki grubun karşılaştırılmasında Independent Sample t testi, ikiden fazla grubun karşılaştırılmasında ise One-Way ANOVA kullanılmıştır. Grupların birbirinden farklı olduğunun tespit edilmesi için Scheffetesti uygulanmış, grupların karşılaştırılmasına ilişkin testler varyans homojenliği varsayımı Levene testi ile incelenmiştir. Çalışmada yer alan analizler için IBM SPSS 20.0 paket programı kullanılmıştır.
Araştırma sonucunda; lise öğrencilerinin dinlemeyi en çok tercih ettikleri müzik türünün Pop müzik olduğu belirlenmiştir. Farklı demografik özellikteki öğrencilerin, dinledikleri müzik türü arasında belirgin farklar olduğu görülmüştür. Müzik türlerini tercih düzeylerinin; yaşa, cinsiyete, okudukları okula, enstrüman çalmalarına ve liseye başlamadan önce kaldıkları en uzun yerleşim yerine göre karşılaştırıldığında anlamlı farklar olduğu saptanmıştır.

Abstract
The aim of this study is to determine the correlation between high school students’ demographical qualifications and music genres that they listen. The universe of the study is the high schools in Ankara which are connected to National Education Ministry, the sample is 634 students from 7 high schools from various districts which are randomly chosen from each genres of high school. At the prepared questionary firstly dataset was researched whether it answered for mormal dispersion with Kolmogorov-Smirnovtesti. Therefore elements have normal dispersion, for comparing two groups Independent Sample Test had been used, for comparing more than two groups One-Way ANOVA had been used. For determining whether groups are different from each other Scheffe Test was applied, tests for comparing groups had been searched with Levene Test, variance homogeneity assumption. For the analysis in the study, IBM SPSS 20.0 package programme had been used.
In accordance with the result of the study, when general grades of musical genres were analysed, it is seen that the most favourite music genre is pop music. It is seen that there are differences on musical choices of students who have different demographical qualifications. When choice grade of music genres are compared with age, sex, the high school that they study, ability playing any musical instruments and the residential they stay to longest duration before they start to go to high school , it was determined that there were significant differences.

It has been repeatedly shown that sad music induces mainly pleasant or mixed emotions, and is particularly relevant for self-regulation goals. However, this is not entirely compatible with the view that sadness is one of the basic emotions experienced in the face of an unpleasant event or a loss. Also, a distinction between grief and sadness is often drawn, which seemingly does not have relevance in relation to musical experiences. The discrepancy between the positive accounts of emotions associated with sad music and those present in ordinary sadness may be related to the previously unacknowledged spectrum of affects associated with music-related sadness. The present study aims to expose the underlying affective experiences of music-related sadness. To examine this, a large qualitative data, consisting of open-ended answers from 363 participants, was subjected to thematic content analysis. The analysis revealed a range of emotions experienced which were classified into three themes...

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.

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.).

Reggae Ambassadors has the look of an anthology of short articles from a glossy French music magazine. It does not purport to be a scholarly study. However, as France has produced some of the best reggae journalism of recent times, this is not necessarily a bad thing. This book, like the much-missed French fanzines Natty Dread and Ragga, displays a relatively high standard of music journalism (as does the companion video documentary released in conjunction with it). It consists of thirty-four...

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.

Several notions have been developed in research currents studying popular music, to examine the geographic, social and economic dimensions of musical facts and their dynamics. These notions were jointly developed and mobilized by French and English-speaking researchers from cultural studies, political economy (or socio-economics of cultural industries), and the sociology of arts and culture. This article considers the possible divergences and articulations between three of these notions, the scene, the proto-market and the musicalized network, and discusses their respective heuristic potentials. Based on the example of musicians from various parts of France and the United Kingdom, we seek to show just how useful these notions can be to study the modalities of development of music projects, particularly to examine the musicians’ construction of the symbolic and economic value of their musical activities.