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A multi-faceted, interdisciplinary examination of the music and figure of Lady Gaga, combining approaches from scholars in cultural studies, dance, fashion, and music.

Notions of the 'Nordic' have always been an issue in Norway's national identity building, both before and after it became a sovereign state in 1905. Accordingly, Norwegian music has expressed a sense of ambivalence towards being conceived as 'Nordic' from the outside: A strong sense of 'Norwegianness' (forged during the heroic age of cultural nation-building in the 19th century) was challenged by the advent of new, nationalistic currents in the 1930s, which used notions of the Nordic as a political weapon. This book shows how music expresses affirmation and ambivalence towards the 'Nordic' as an ingredient of Norwegian national identity across musical genres. Further, it explores the contingencies of national music and the dramatic changes in 20th-century European political history. At the same time, it sheds new light on the difference between musical nationalism and national music.

International audience ; This article explores how an artistic work can produce knowledge that is complementary to social sciences research on humanitarianism. Through the examination of the creative process and rationality behind the video installation "Reflections on Music and Propaganda", presented as a part of an exhibition on contemporary propaganda at the Lenbachhaus (Munich), this article deconstructs the emotional dimension of humanitarian songs and media narratives which accompanied them.

This article presents a comparative analysis of heroic images that have become widespread in musical works of the 19th and 20th centuries, and created by composers of Russia and China. The analysis reveals the leading works, in which real historical images are revealed, as well as the role of heroic liberators, their courage, independence, and will to win is emphasized.

Music, as Jacques Attali emphasises, "is a way of perceiving the world" (1985:4). Sarah Cohen also suggests that: "Individuals can use music as a cultural 'map of meaning', drawing upon it to locate themselves in different imaginary geographies… and to articulate both individual and collective identities" (1998: 286-287). Tia DeNora extends on this, pointing out that: "Music can be used as a device for the reflexive process of remembering/constructing who one is, a technology for spinning the apparently continuous tale of who one is" (DeNora 2000: 63). Music has served various integral social and cultural functions in human societies throughout history. It seems clear that as music has changed shape and form through the advent of various reproduction technologies, the ways in which we consume as well as produce music, and the shape and form of music-as-cultural map and music as way of perceiving the world, have also changed over time. In his book The Sight of Sound, Richard Leppert points out: "Precisely because musical sound is abstract, intangible, and ethereal – lost as soon as it is gained – the visual experience of its production is crucial… for locating and communicating the place of music and musical sound within society and culture" (1993: xx-xxi). This paper will focus on what Michel Chion describes as "a very influential new audiovisual form, the music video, which has opened the doors to infinite possibilities in representing relations between a voice and its source" (1999: 172). The paper argues that the contemporary articulation of music and images, built on "infinite possibilities in representing relations between a voice and its source", has come to shape a persuasive new audiovisual modality for "locating and communicating the place of music and musical sound within society and culture". In order to examine this new audiovisual modality, I will move away from a conventional approach based upon looking at music video in terms of its non-narrative structure, and instead propose a conceptual approach based on looking at music video in terms of its production of space. This line of discussion will be navigated not by providing close textual readings of various music videos, but rather by examining and theorising the music video as cultural/media form.

This article is devoted to the methods of developing creative thinking in music education at this stage. This paper puts forward effective training methods, hoping to the teaching quality of music, so that more students can have creative thinking.

This article expounds the basic concept of music psychology, discusses the application of music psychology in vocal education in China, and analyzes the reform strategy of vocal teaching in Chinese universities based on music psychology.

During the turbulent decades of the 1970s and 1980s, Papua New Guinea gained political independence from a colonial hold that had lasted almost a century. It was an exciting time for a diverse group of pioneering musicians who formed a band they named 'Sanguma'. These artists heard an imagined future and performed it during a socially and politically critical time for the region. They were united under one goal: to create a sound that represented the birth of a new, sovereign, and distinctly Melanesian nation; and to express their values, identities, and cosmology through their music and performance. Sanguma's experimental music sounded the complex expectations and pressures of their modern nation and helped to steer its postcolonial journey through music. In 'Hearing the Future', Denis Crowdy documents and analyzes the music and activities of the Sanguma band.

How to watch Ultra Music Festival Miami 2022 live stream ltra Music Festival Miami is ready to kick off this Friday for its 2022 sold-out edition. They have just announced that Ultra Miami 2022 will be live-streamed as usual via UMFTV . LIVE🔴📺📲👉Ultra Music Festival Miami 2022 live LIVE🔴📺📲👉 Ultra Music Festival Miami 2022 live Throughout the weekend, #ULTRALIVE will feature a plethora of performances from multiple stages, as well as exclusively curated content such as artist and fan interviews hosted by Andrea Helfrich and Will Best. RESISTANCE, Carl Cox Megastructure, will also have its own dedicated stream running throughout the three days, welcoming underground music veterans to bask in nonstop house and techno tuneage. On Friday, viewers can also watch a special broadcast of A State of Trance's Ultra Worldwide Stage takeover, which will commemorate the 10th anniversary of Ultra Music Festival hosting Armin Van Buuren's iconic radio show. #ULTRALIVE broadcast times are listed below. Ultra Miami 2022 live stream broadcast schedule: Friday, March 25: 3:30 p.m. to midnight Saturday, March 26: 4 p.m. to midnight Sunday, March 27: 3 p.m. to 10 p.m ULTRA MUSIC FESTIVAL ANNOUNCES 2022 #ULTRALIVE STREAM Ultra Music Festival partners with Algorand to bring the #ULTRALIVE stream to life this year so fans around the world can tune in. If you couldn't feel the energy from the return of Ultra Music Festival in the air quite yet, then you surely will now. While dance music lovers from all over the planet flock to Florida to immerse themselves in a sea of beats at Bayfront Park on March 25-27, there's something special brewing for those who can't make it. Today, Ultra Music Festival announced that they've partnered with Algorand, the world's most decentralized, scalable, and secure blockchain infrastructure, to bring forth the 2022 #ULTRALIVE stream. Ultra Music Festival is an electronic dance music event founded in South Florida. Organizers have survived multiple controversies and opposition from politicians and neighbors, ...

Intonation is a fundamental music concept that has a special relevance in Indian art music. It is characteristic of a rga and key to the musical expression of the artist. Describing intonation is of importance to several music information retrieval tasks such as developing similarity measures based on rgas and artists. In this paper, we first assess rga intonation qualitatively by analysing varN{dot below}aṁs, a particular form of Carnatic music compositions. We then approach the task of automatically obtaining a compact representation of the intonation of a recording from its pitch track. We propose two approaches based on the parametrization of pitch-value distributions: performance pitch histograms, and context-based svara distributions obtained by categorizing pitch contours based on the melodic context. We evaluate both approaches on a large Carnatic music collection and discuss their merits and limitations. We finally go through different kinds of contextual information that can be obtained to further improve the two approaches. © 2014 Taylor & Francis. ; This research was partly funded by the European Research Council under the European Union's Seventh Framework Program, as part of the CompMusic project (ERC grant agreement 267583). J.S. acknowledges 2009-SGR-1434 from Generalitat de Catalunya, ICT-2011-8-318770 from the European Commission, JAEDOC069/2010 from CSIC, and European Social Funds. ; Peer Reviewed

Introduction -- The economics of music exports -- Music entrepreneurs and export readiness -- Networking at music industry export events -- Case study : Australia -- National case studies, export schemes and policy -- Born global? -- Appendix 1. Interview list -- Appendix 2. Australian Music Industry Exports Survey -- Appendix 3. Music export snapshots.

From an interdisciplinary perspective, the different discussions on the role and nature of music in human evolution and development are considered the core of a larger philosophical analysis of arts in education, as well as its impact on contexts of rehabilitation and inclusion in a global framework. This research compared Ecuador and Germany (NRW) in the field of early childhood education and care (ECEC), considering the question of music as a principle of inclusion at three main levels of qualitative analysis: policies, academics and practices. This comparative study considered the visions of policy-makers, scholars, parents and practitioners in the field of ECEC to represent their opinions about the question of music as a principle of inclusion and its relation to nature, evolution, function, development, caregiver-child interaction, rehabilitation, interculturality, inclusion, education for all and professional training. Research participants represented public, as well as, private and NGO's sectors. Regarding the methods, qualitative research consisting on literature review, data analysis from documents, interviews and focus groups from these mentioned three main sources levels were made. Among the main results of the comparative study are, a great interest in discussing professional training issues; cultural and identity values that Ecuadorian participants referred as relevant, whereas German participants remarked the emotional scope features of music. Concluding elements are that an in-depth philosophical analysis of music as a principle of inclusion in ECEC allows educators, families and researchers, amidst other social and political actors to participate in the inclusion shift within the ECEC community, as for caregivers to bond through music-making while impacting on the quality of ECEC services and the development and positive interaction in childcare.

This article examines the concept of democratization and explains why it has been applied in unhelpful ways to the study of music. We focus on three examples to illustrate the real-world complexities involved in the adoption of new technologies that are often seen as democratic by dint of their widespread use. We argue for a close-reading of the participatory practices of socially-located actors with music-making devices – one that asks detailed questions about who is participating, how, and under what socio-economic conditions. We finish with a call to move beyond the term democratization to an application that is specific to the field of popular music.