Suchergebnisse

Abstract
Traditional North-Indian music has played a crucial role in creating a distinct identity for Indians in the Caribbean since the arrival of the first indentured migrants in 1838. The use of socio-cultural and political elements to connect with the homeland is one of the important features of Indo-Caribbean music. 'Creolisation' is indisputable in Caribbean music, which was a result of merging Indian music with local Caribbean music, giving rise to different styles of music, i.e., Baithak Gana, Chutney, and Chutney Soca. This article examines diasporic metamorphoses as a means to understanding how immigrants from India asserted their ethnic identity through such metrics of music. One of the important findings of this research shows that Indians in the Caribbean tried to keep Hindustani music alive despite constant changes taking place in the field as a result of globalisation.

Intro -- Acknowledgements -- Note on Transliteration -- Praise for Music in the Making of Modern Japan -- Contents -- Notes on Contributors -- 1 Introduction -- Affective Media: Towards a Definition -- Three Stages of Affective Media -- Conclusion -- References -- Part I Reception -- 2 Western Art Music in Pre-Edo and Meiji Japan: Historical Reception, Cultural Change and Education -- Introduction -- The Introduction of European Music by the Jesuits -- The Meiji Era: Re-introducing Western Music -- Conclusion -- References -- 3 Western Musical Elements in Japanese Koto Music: Affective Media in Sonic, Visual and Behavioural Context -- Introduction -- Sonic Culture -- Visual Culture -- Behavioural Culture -- Conclusion -- References -- 4 Guitar Making and Intercultural Communication in Japan and Australia -- Introduction -- The Electric Guitar and Manufacturing -- The Acoustic Guitar and Luthiery -- Summary -- References -- Part II Transformation -- 5 Black Intentions: Ishii Maki, Hirose Ryōhei, Shinohara Makoto and the Japanese Avant-Garde -- Introduction -- The Recorder -- The European Context -- Hybridity -- Avant-Garde Japanese Composers -- Japanese Legacies -- Beyond Japan -- References -- 6 Scarlett, an American Musical Made in Japan -- or, How Japanese Learned to Stop Worrying and Love Integrated Musicals -- Introduction -- Scarlett's Pre-history: How Japanese Worried About "Myūjikarusu" -- A Three-Way Struggle for Artistic Hegemony: How Japanese Learned to Love Integrated Musicals -- After the Success of the Tokyo Production: How an American Integrated Musical Was Unpopular in the US in the Early 1970s -- References -- 7 "Like Some Cat from Japan": Sukita Masayoshi's Photographs of David Bowie as Japan's First Appearance in the History of Rock Music -- Introduction -- Bowie's Antitheatrical Aesthetics.

The field of music in the Kingdom of Serbs, Croats and Slovenes/Kingdom of Yugoslavia went through a thorough transformative processes that affected not only music production and performance but also music journalism. Beside the fact that the musical phenomena gained attention in the popular newspapers and magazines of that time, the need for more specialized publications dedicated solely to diverse problems of music profession manifested continuously through various initiatives for the foundation of different types of music journals. ; Conference was Organized by Centro Studi Opera Omnia Luigi Boccherini, Lucca and Societat Catalana de Musicologia, Barcelona (17-19 October 2016)

Composers generally write music alone, and we commonly understand the great figures of classical music as singular geniuses. Even where composers' social networks and friendships are of contextual interest, it is arguable that their association with other musicians arises because they choose to socialize with similar others. However, it is also possible that creative work, even for artists as solitary as composers, depends significantly on interaction and collaboration. Certain periods and places are considered hotspots of creativity where new musical ideas are shared and movements arise. In this paper we consider the case of British classical composition, both as an example of a music network, and to contribute to debates in music history.

Responding to the development of a lively hip hop culture in Central and Eastern European countries, this interdisciplinary study demonstrates how a universal model of hip hop serves as a contextually situated platform of cultural exchange and becomes locally inflected. After the Soviet Union fell, hip hop became popular in urban environments in the region, but it has often been stigmatized as inauthentic, due to an apparent lack of connection to African American historical roots and black identity. Originally strongly influenced by aesthetics from the US, hip hop in Central and Eastern Europe has gradually developed unique, local trajectories, a number of which are showcased in this volume. On the one hand, hip hop functions as a marker of Western cosmopolitanism and democratic ideology, but as the contributors show, it is also a malleable genre that has been infused with so much local identity that it has lost most of its previous associations with?the West? in the experiences of local musicians, audiences, and producers. Contextualizing hip hop through the prism of local experiences and regional musical expressions, these valuable case studies reveal the broad spectrum of its impact on popular culture and youth identity in the post-Soviet world