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Musicians, scholars, and even reference materials are surprisingly united in the contention that music and politics occupy separate spheres in Canada. However, we suggest that denying the intersection of music and politics in Canada potentially blinds us to the complex ways in which artists, mediators, and audiences—that is, produsers—participate in projects that are undeniably ideological. Indeed, we suggest that appreciating the entwined relationship of music, politics, people, and contexts for circulation is particularly important at a moment when the participatory culture that prevails on social media platforms is increasingly normalised and the authority of established knowledge sources breaks down in the face of "controlless" circulations of content that radically challenge our capacities to communicate across partisan lines. Our analysis takes the form of three case studies: Tony Turner's "Harperman" (2015), Adrian Sutherland's "Politician Man" (2019), and Brock Tyler's "Speaking Moistly" (2020). Our analysis interprets each example according to musical form, lyrics, creator intentions, and genre affiliations but, critically, also addresses how contexts for circulation, curation by produsers, and the affect of musicking illuminates kaleidoscopic meanings that accrue through the complex interactions of music and politics—meanings, notably, that cannot be discerned through a focus on the musical object or political landscape alone.

This article explores how Norwegian record label managers understand their current positions and future possibilities in a market that is increasingly driven by on-demand subscription-based streaming. It adds to a growing body of research by adopting a qualitative approach, seeking to describe issues at a personal or company level, and provide nuance and dynamics in a discourse that is often described in dichotomies and on aggregate levels. The article argues that stakeholders have more varied attitudes than simply being for or against the innovation, the new economic models and their eff ects on their own business, and the market in general. It also demonstrates that perceptions change as markets develop, and stakeholders and their businesses adjust. The article uses four in-depth interviews to assess a 2013 government-initiated project, and provides insights into differing positions and changes over time.

This paper explores the musical history of Japan, emphasizing the Tokugawa and Meiji eras. While these are only two of Japan's many eras, they had the most impact on the musical aspects of society. As the Tokugawa shogunate forced the isolation of Japan from the Western World, it was during this time period that the Western World was expanding. Tensions arose between Japan and the West during the 1850s and 1860s, eventually leading to the overthrow of the shogunate. The result was the beginning of the Meiji era.Why the Meiji era is highly critical to Japanese history is because once the Tokugawa shogunate was overthrown, the new government reversed Japan's isolation, stating that it should embrace Western ideals and practices in order to avoid colonization. Not only did this change the fundamental aspects of Japanese society, but it also lead to many musical changes. Western instruments and a formal music education were introduced, and as Japan became an imperial power military bands played a role in the shaping of Japanese society.As the twentieth century progressed, so did the Westernization of Japanese music. What this paper argues is that once Japan re-opened itself, its music became more Western and less Japanese. In order to fully understand this argument, my paper includes a background of Japanese music history from its beginnings, so readers can examine how Japanese music has evolved over time. Japanese music today is very much Western-influenced, causing the line that defines Japanese music to become blurred. However, it is important not to make the assumption that all Japanese music is no longer Japanese in nature; there are still traditional elements that exist today, even though Western elements seem to have a stronghold.

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This paper aims at showing how German language rap in South Tyrol, a bilingual region in Northern Italy, expresses dissatisfaction and dissent. Since the region seems to be so utterly different from American inner cities, and research on it is practically inexistent, the author, herself a native to the area, wished to examine if and how South Tyrolean rap music expresses social criticism and frustration. In a qualitative sociolinguistic investigation, selected lyrics from one particular rap crew, Homies 4 Life, are interpreted and analyzed against a theoretical background, South Tyrol's history and bilingual and bicultural reality, focusing on the contents as well as language use. Furthermore, the investigation draws on interviews carried out with several hip-hop artists from the area by the author. The results demonstrate how these artists vocalize social criticism and frustration concerning politics, linguistic and cultural segregation between the language groups as well as racism, in both standard German as well as the local Tyrolean dialect, using humor, vernacular language, offensive language, and dissing and boasting.

The centuries-old southern African dance form called rieldans (reel dance), or simply riel (reel), is believed to have emerged from Khoe-San dances. It is characterised by its distinctive footwork, animal mimicry, and courtship displays. In the post-apartheid, postcolonial South African context, the riel has emerged as symbol of indigeneity through largescale public performance of Khoe-San heritage. Despite colonial influences, it represents an historical link to the Khoe-San people for its performers who are, for the most part, persons of mixed descent who were classified as 'coloured' under colonialism and apartheid. Due to a recent riel revival, which emerged from the alignment of Khoe-San and Afrikaans identity negotiations following democracy, the riel has attracted a fair amount of informal attention both locally and internationally over the last decade. However, it remains largely unexplored in performance scholarship. This study investigates riel music of the Northern and Western Cape Provinces of South Africa. The research is qualitative in nature with data collection through participant-observation, semi-structured interviews (including feedback interviews), archival and literature-based research, and organology. A brief history of the riel is presented through a synthesis of documentary evidence and oral history gleaned from fieldwork. This includes an investigation into the history of the ramkie - an instrument that is strongly associated with the riel. By drawing on emic interpretations of riel music in conjunction with Muller's and Impey's ideas about 'music as archive', this study explores how riel music is an oral/aural archive of indigenous knowledge, memory and experience. Findings indicate that contemporary practice links the riel to pre-colonial Khoe-San practices from which it may have derived. An examination of the ramkie's history reveals that it emerged from material and cultural exchanges in the Indian Ocean that link southern Africa to a vast trade network in pre-colonial and colonial times. Moreover, the instrument provides a glimpse into gender issues that influence riel music making. Like the dance that it accompanies, riel music exhibits characteristics that are indicative of its Khoe-San influence. An analysis of the liedjies (songs) shows that they deal mostly with themes of romance, place, and death and suffering, and that the music is a powerful platform for the expression of interpersonal concerns that provide a glimpse into the lived experiences of working-class coloured communities in the rural Cape.

The process of globalization, which has been rapidly, unfolding since the end of the 20th century, has brought together the development of science and technology, national cultures, turning the world into a real "global village". The increase in the frequency of cultural exchanges has highlighted the need to understand the phenomenon of multiculturalism and the urgency of improving intercultural communication skills. Today's global music industry needs international talent with intercultural qualities.

"The emergence of social media in the early 21st century promised to facilitate new "DIY" cultural approaches, emphasizing participation and democratization. However, in recent years these platforms have been criticized as domineering and exploitative. For DIY musicians in scenes with lengthy histories of cultural resistance, is social media a powerful emancipatory and democratizing tool, or a new corporate antagonist to be resisted? DIY Music explores the significant challenges faced by artists navigating this fraught cultural landscape. How do anti-commercial musicians operate in the competitive, attention-seeking world of social media? How do they deal with a new abundance of data and metrics? How do they present their activity as "cultural resistance"? This book shows that a platform-enabled DIY approach is now the norm for a wide array of cultural practitioners; this "DIY-as-default" landscape threatens to depoliticize the call to "do-it-yourself.""--

This article reviews the development history of Chinese vocal music art before and after the founding of New China, and introducing modern educational technology and other innovations. It is of great significance for the future development of Chinese vocal music art education to promote the integration of vocal music art education and Chinese excellent traditional culture.

The article Totalitarianism and Music evaluates the system of totalitarianism and realization of its ideologies in arts. The article does not aspire to provide comprehensive and detailed analysis of totalitarianism, its purpose is to create an informed impetus for further in-depth studies of totalitarianism, the objectives are to (1) comprehend the totalitarian systems and the musical culture politics established in 1930ies by the most notable examples of totalitarianism – USSR and Germany (3rd Reich), (2) to compare these examples, highlighting the main ideological conceptions of the realization of the aforementioned culture politics (socialistic realism, songs of masses, degenerate music, censorship, ceremonial, music outside the law, et al), (3) to observe differences and similarities in the perceptions of the ideological criteria of "correct" art (principle of party and principle of nationalism), (4) to define the place and role of the artist – creative personality – in these systems. The work employs methods based on research of scientific and journalistic sources, audio and video documents that capture processes of the given time period, personal competencies of composer and conductor, as well as other available materials. The conclusion of the article offers a comparison of similarities and differences of music politics in totalitarian systems. Fundamentally, several similar totalitarian ideologies and mechanisms of artistic control exist; differences hide within their realization and concept of priorities, as well as in the general perception and view of culture politics. Music and arts are subject to control exerted by party and ruling elite; the term music outside the law is clearly defined. Musical and ideological upbringing objectives facilitate its purpose for wide social strata (music in factories, for town squares, for working people, etc). The relative competence of the leaders (Y. Stalin and A. Hitler) in music history and musical processes, their general interest in music and arts, as well as desire and pleasure to act as "enlightened rulers" facilitated spreading of specific musical taste and comparatively proficient evaluation of musical tendencies, as well as valid concept definitions. The "ideological" composer of both systems was Beethoven, confirming the universal nature of his music. In the Soviet Union the mass musical education was realized through new music of social realism, reflecting the ideology of the regime. The culture politics of the 3rd Reich prioritized values of classical music. The USSR differentiated music and art according to their ideological characteristics, declaring the aesthetics of social realism and mass songs the cornerstones of its culture ideology. In Germany, however, music and arts were differentiated according to national characteristics (degenerate art). In contrast with the communist ideology of ceremonial and commissioned music, Germany forbids composition of dedications to individuals or to party. The juxtaposition of mass song and academic music, as well as the contrasting attitudes towards innovative elements in art are the most significant differences between both totalitarian culture politic systems.

Sinc eancient times,the area we know today as Slovenia has been influenced by the diverse political, economic and cultural impulses that ran from north to south and from west to east. The bustle of activity along these trade routes brought novelties which refined and defined various spheres of everydaylife. It was no coincidence, therefore, that music culture aswell pulsated in various forms – it was unique, yet also tightly bound to other cultures. Throughout history, it was the neighbouring cultural environments that enjoyed the most intense interdependence with the Slovenian lands; the countries within the Austrian Empire and later the Austro-Hungarian Empire were most closely tied.

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