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"Music in Youth Culture" examines the fantasies of post-Oedipal youth cultures as displayed on the landscape of popular music from a post-Lacanian perspective. jagodzinski, an expert on Lacan, psychoanalysis, and education's relationship to media, maintains that a new set of signifiers is required to grasp the sliding signification of contemporary "youth." He discusses topics such as the figurality of noise, the perversions of the music scene by boyz/bois/boys and the hysterization of it by gurlz/girls/grrrls. "Music in Youth Culture "also examines the postmodern

In this first major collection of its kind, thirty contributors tackle centuries of music censorship across the globe from the medieval era to the modern day. Focusing on individual composers and artists as well as eras within single countries, this Handbook champions the efficacy of music as an agent of collective power and resilience.

This book offers a major exploration of the social and cultural importance of popular music to contemporary celebrations of Britishness. Rather than providing a history of popular music or an itemization of indigenous musical qualities, it exposes the influential cultural and nationalist rhetoric around popular music and the dissemination of that rhetoric in various forms. Since the 1960s, popular music has surpassed literature to become the dominant signifier of modern British culture and identity. This position has been enforced in popular culture, literature, news and music media, political rhetoric -- and in much popular music itself, which has become increasingly self-conscious about the expectation that music both articulate and manifest the inherent values and identity of the modern nation. This study examines the implications of such practices and the various social and cultural values they construct and enforce. It identifies two dominant, conflicting constructions around popular music: music as the voice of an indigenous English 'folk', and music as the voice of a re-emergent British Empire. These constructions are not only contradictory but also exclusive, prescribing a social and musical identity for the nation that ignores its greater creative, national, and cultural diversity. This book is the first to offer a comprehensive critique of an extremely powerful discourse in England that today informs dominant formulations of English and British national identity, history, and culture. This book offers a major exploration of the social and cultural importance of popular music to contemporary celebrations of Britishness. Rather than providing a history of popular music or an itemization of indigenous musical qualities, it exposes the influential cultural and nationalist rhetoric around popular music and the dissemination of that rhetoric in various forms. Since the 1960s, popular music has surpassed literature to become the dominant signifier of modern British culture and identity. This position has been enforced in popular culture, literature, news and music media, political rhetoric -- and in much popular music itself, which has become increasingly self-conscious about the expectation that music both articulate and manifest the inherent values and identity of the modern nation. This study examines the implications of such practices and the various social and cultural values they construct and enforce. It identifies two dominant, conflicting constructions around popular music: music as the voice of an indigenous English 'folk', and music as the voice of a re-emergent British Empire. These constructions are not only contradictory but also exclusive, prescribing a social and musical identity for the nation that ignores its greater creative, national, and cultural diversity. This book is the first to offer a comprehensive critique of an extremely powerful discourse in England that today informs dominant formulations of English and British national identity, history, and culture.

"We are creating the same quantity of data every two days, as we created from the dawn of time up until 2003. It is estimated to be 5 Exabyte" [1]. The Internet and web technologies give billions of users the ability to share information and express their opinions on various issues. This enormous amount of data might be very valuable. Social media, as the main sharing platform, is a very promising data source for researchers to investigate and analyze how people feel or think on variety of issues, from politics to entertainment. Previous research has explored the problem of detecting controversies involving multiple kinds of entities (people, event, ) by analyzing different feelings and opinions on these entities. The music domain, as one of the most controversial domains, has not been investigated much in this research. This thesis studies to which extent Twitter, as a social media platform, can be used to detect controversies involving music artists. It generalizes and extends the work proposed in previous research to build good machine learning prediction models to detect these controversies. We analyze what people share about music artists in Twitter, present the problems in this data and study how to tackle most of them. Then, we use this data to build a new controversy detection dataset in the music domain. The created dataset is then used to evaluate a comprehensive set of features to be used in building prediction models to detect controversies involving music artists. We propose using information about the users who share their opinions along with information about the shared opinions themselves to enrich this set of features. Our evaluations show promising results in detecting controversies involving music artists using the created dataset. They also show that we can easily improve the results of detecting controversies in other domains as we also run our evaluations on a CNN news dataset. ; submitted by Mhd Mousa Hamad ; Universität Linz, Masterarbeit, 2017 ; (VLID)2344955