This article explores the use of mobile phones as portable remediated sound devices for mobile listening — from boom boxes to personal stereos and mp3 players. This mode of engaging the city through music playing and listening reveals a particular urban strategy and acoustic urban politics. It increases the sonic presence of mobile owners and plays a role in territorialisation dynamics, as well as in eliciting territorial controversies in public. These digital practices play a key role in the enactment of the urban mood and ambience, as well as in the modulation of people's presence — producing forms of what Spanish architect Roberto González calls portable urbanism: an entanglement of the digital, the urban and the online that activates a map of a reality over the fabric of the city, apparently not so present, visible and audible
Given the difficulty to describe the musical forms of the Arabian Peninsula, which are very little known, three main geographical areas are presented here : the Arabian Gulf, Saudi Arabia and Yemen. In the Gulf, there are two main styles : pearl-divers' songs, al-ghaws, and traditional urban music, sawt, accompanying the zafan dance. In Saudi Arabia and the Nejd, four main categories of music can be distinguished : the dewînih, a solo voice accompanied with rabâb, the sâmirî, a collective chanting with frame drums, târ, performed during the night ; the 'arda , a ceremonial dance for political and tribal events and the riddiyya, a poetical contest. The main poetry is the nabatî genre, in colloquial Arabic. In Hejaz, the urban music is influenced by the cultural trends brought by the Pilgrimage, and show influences from Yemen, Syria, Egypt and Irak, although it has its specific features. In Yemen, three main regions can roughly be distinguished : the Zaydi Highlands, dominated by cultivators tribes which have war and agricultural songs, but with an old urban civilization in Sanaa ; the Shafii coastal plains, with a music typically influenced by the sea (fishermen, sailing from the Gulf and Egypt) ; the Hadramawt (inner and outer) which developped very specifical form, mainly based on the dân poetry, with cultural influences from south and south east Asia. In most of the rural forms, the percussions instruments are predominant, when in the urban forms, several forms of lute are dominant. This article does not cover Oman nor the Sanaa Song. The diversity and unity of music in the Arabian Peninsula express themselves in a series of sociological, linguistic and performing features common to all these countries, but with many related variants.
Given the difficulty to describe the musical forms of the Arabian Peninsula, which are very little known, three main geographical areas are presented here : the Arabian Gulf, Saudi Arabia and Yemen. In the Gulf, there are two main styles : pearl-divers' songs, al-ghaws, and traditional urban music, sawt, accompanying the zafan dance. In Saudi Arabia and the Nejd, four main categories of music can be distinguished : the dewînih, a solo voice accompanied with rabâb, the sâmirî, a collective chanting with frame drums, târ, performed during the night ; the 'arda , a ceremonial dance for political and tribal events and the riddiyya, a poetical contest. The main poetry is the nabatî genre, in colloquial Arabic. In Hejaz, the urban music is influenced by the cultural trends brought by the Pilgrimage, and show influences from Yemen, Syria, Egypt and Irak, although it has its specific features. In Yemen, three main regions can roughly be distinguished : the Zaydi Highlands, dominated by cultivators tribes which have war and agricultural songs, but with an old urban civilization in Sanaa ; the Shafii coastal plains, with a music typically influenced by the sea (fishermen, sailing from the Gulf and Egypt) ; the Hadramawt (inner and outer) which developped very specifical form, mainly based on the dân poetry, with cultural influences from south and south east Asia. In most of the rural forms, the percussions instruments are predominant, when in the urban forms, several forms of lute are dominant. This article does not cover Oman nor the Sanaa Song. The diversity and unity of music in the Arabian Peninsula express themselves in a series of sociological, linguistic and performing features common to all these countries, but with many related variants.
Given the difficulty to describe the musical forms of the Arabian Peninsula, which are very little known, three main geographical areas are presented here : the Arabian Gulf, Saudi Arabia and Yemen. In the Gulf, there are two main styles : pearl-divers' songs, al-ghaws, and traditional urban music, sawt, accompanying the zafan dance. In Saudi Arabia and the Nejd, four main categories of music can be distinguished : the dewînih, a solo voice accompanied with rabâb, the sâmirî, a collective chanting with frame drums, târ, performed during the night ; the 'arda , a ceremonial dance for political and tribal events and the riddiyya, a poetical contest. The main poetry is the nabatî genre, in colloquial Arabic. In Hejaz, the urban music is influenced by the cultural trends brought by the Pilgrimage, and show influences from Yemen, Syria, Egypt and Irak, although it has its specific features. In Yemen, three main regions can roughly be distinguished : the Zaydi Highlands, dominated by cultivators tribes which have war and agricultural songs, but with an old urban civilization in Sanaa ; the Shafii coastal plains, with a music typically influenced by the sea (fishermen, sailing from the Gulf and Egypt) ; the Hadramawt (inner and outer) which developped very specifical form, mainly based on the dân poetry, with cultural influences from south and south east Asia. In most of the rural forms, the percussions instruments are predominant, when in the urban forms, several forms of lute are dominant. This article does not cover Oman nor the Sanaa Song. The diversity and unity of music in the Arabian Peninsula express themselves in a series of sociological, linguistic and performing features common to all these countries, but with many related variants.
Introduction: The intercultural approach to indigenous peoples in the American continent requires knowledge of the concepts and cultural practices that favor or impair health, considering their own perspective.Objective: To understand the meaning of health and mental health in the context of a Muisca community from Cota, Colombia, as well as the potential of music therapy to promote health.Materials and methods: Case study with a qualitative approach —social research of second order. Data collection included social cartography, in-depth interviews, focus groups, participant observation, and music therapy sessions.Results: This community has a different conception of health in relation to the beliefs of the dominant society, since health and mental health are not separate ideas. Music is integrated to community activities and health practice.Conclusions: The re-indigenization process is a political decision with cultural, health and organizational consequences. This type of communities cannot be equated with the dominant society or other indigenous groups in terms of health decisions. Public health requires an intercultural dialogue to work adequately with these communities. ; Introducción. El enfoque intercultural hacia las comunidades nativas americanas requiere el conocimiento de los conceptos y las prácticas que favorecen o perjudican la salud de estas poblaciones desde su propia perspectiva.Objetivo. Comprender el significado de salud y salud mental que circula en las narrativas de la comunidad reetnizada indígena muisca de Cota y el potencial de la musicoterapia comunitaria para promoverlas.Materiales y métodos. Estudio de caso con enfoque cualitativo tipo investigación social de segundo orden. Para la recolección de datos se utilizó cartografía social, entrevistas a profundidad, grupos focales, observación participante y proceso musicoterapéutico.Resultados. La comunidad maneja un concepto de salud diferente al de la sociedad mayoritaria. No hay división entre los conceptos de salud y salud mental. La música está integrada a las actividades comunitarias y de sanación.Conclusiones. La reetnización es una decisión política con implicaciones culturales, organizativas y de salud. Las comunidades reetnizadas no pueden ser equiparadas con la sociedad dominante ni con otros grupos indígenas en cuanto a decisiones en salud. La salud pública requiere un diálogo intercultural que permita el trabajo adecuado con estas comunidades.
Rebel Music", from the 1974 Natty Dread album, is a classic articulation of Marley's liberatory politics. Though the album credits state that the song was written by Aston Barrett and Hugh Peart, the vision is unquestionably Marley's. "Rebel Music" both roadblock and curfew become symbols of a larger system of brutality with its roots in plantation slavery.
Rebel Music", from the 1974 Natty Dread album, is a classic articulation of Marley's liberatory politics. Though the album credits state that the song was written by Aston Barrett and Hugh Peart, the vision is unquestionably Marley's. "Rebel Music" both roadblock and curfew become symbols of a larger system of brutality with its roots in plantation slavery. ; "Rebel Music", del álbum de 1974 Natty Dread, es un clásico de la articulación política liberadora de Marley. Aunque los créditos del álbum afirman que la canción fue escrita por Aston Barrett y Hugh Peart, la visión es, sin duda, de Marley. En "Rebel Music" los toques de queda y las restricciones de movilidad se convierten en símbolos de un sistema más amplio de brutalidad con sus raíces en la esclavitud en las plantaciones.
Music therapy researchers and clinicians widely discuss music's therapeutic benefits, but have largely overlooked the potential for harm to arise within music therapy sessions. This important topic may be neglected due to its complexity; defining and understanding negative effects of music and music therapy are difficult endeavors. However, the music therapy profession may make progress on several professional issues (e.g., governmental recognition, educational standards) by examining the potentially harmful effects of music-based interventions. Mentions of harm within music therapy literature are irregular and imprecise, perhaps because the field lacks a theoretical structure to organize this complicated subject. This paper presents the Music Therapy and Harm Model (MTHM), which aims to conceptualize six potential sources of harm within clinical music therapy practice. Specifically, these potential sources include 1) the music presented, 2) the music therapist, 3) the therapeutic application of music, 4) the therapeutic relationship, 5) client-specific music associations, and 6) ecological factors. This paper illustrates each source with examples of either physical or psychological harm. Furthermore, these same factors are theorized to act as protective elements that allow music therapists to remediate instances of harm and promote client resilience in the face of negative music therapy experiences. The MTHM is further conceptualized with a brief literature review surrounding harm within music therapy practice, along with related research in psychotherapy. Finally, this article lays out the clinical, educational, advocacy, research, and global implications of the MTHM. ; Los musicoterapeutas clínicos e investigadores discuten ampliamente los beneficios terapéuticos de la música, pero han pasado por alto en gran medida la posibilidad de que surjan daños durante las sesiones de musicoterapia. Este tema importante puede pasarse por alto debido a su complejidad. Definir y comprender los efectos negativos de la música y la musicoterapia son tareas difíciles. Sin embargo, la musicoterapia puede progresar en varios temas (por ejemplo, reconocimiento gubernamental, estándares educativos) al examinar los efectos potencialmente dañinos de las intervenciones basadas en la música. Las menciones al daño dentro de la literatura de musicoterapia son irregulares e imprecisas, quizás porque el campo carece de una estructura teórica para organizar este complicado tema. Este artículo presenta el Modelo denominado "Music erapy and Harm Model" (MTHM), el cual tiene como objetivo conceptualizar seis fuentes potenciales de daño dentro de la práctica clínica de la musicoterapia. Específicamente, estas fuentes potenciales incluyen 1) la música presentada, 2) el musicoterapeuta, 3) la aplicación terapéutica de la música, 4) la relación terapéutica, 5) las asociaciones musicales específicas del cliente y 6) los factores ecológicos. Este documento ilustra cada fuente ejemplificando cada posible daño físico o psicológico. Además, se teoriza que estos mismos factores actúan como elementos protectores que permiten a los musicoterapeutas remediar casos de daño y promover la resiliencia del cliente frente a las experiencias negativas de la musicoterapia. El MTHM se conceptualiza aún más con una breve revisión de la literatura sobre el daño dentro de la práctica de la musicoterapia, junto con la investigación relacionada en psicoterapia. Finalmente, este artículo expone las implicaciones clínicas, educativas, de promoción, de investigación y globales del MTHM.
[ES]En los últimos años, han aparecido nuevos enfoques, métodos y formas de entender el aprendizaje. Aprendizaje Integrado de Contenidos y Lenguas Extranjeras o Aprendizaje de la Lengua Asistido por Ordenador son algunos de estos nuevos paradigmas que tiene un rol importante en el día a día de la escuela. Gobiernos, asociaciones, padres, profesores y estudiantes se están dando cuenta de estos cambios y demandan nuevos e innovadores recursos para mejorar su aprendizaje. Sin embargo, en el campo de la Música combinado con la metodología AICLE no ha habido el mismo avance que en otras áreas. Para este proyecto he analizado una serie de recursos y actividades que se centran en enseñar Música en un entorno AICLE, para así demostrar sus ventajas e inconvenientes. Luego, presento y explico varios recursos y sugerencias que he realizado para así ayudar a mejorar el uso del enfoque AICLE en la enseñanza de la Música. ; [EN]New approaches, methods and ways of understanding the teaching have appeared in the last years. Content and Language Integrated Learning (CLIL), or Computer Assisted Language Learning (CALL) are some of these new paradigms that have a significant role in our current schools. Governments, associations, fathers, teachers, and learners are becoming aware of these changes and they demand new and innovative resources in order to improve their learning. However, in the field of Music, CLIL methodologies have not developed as in other areas. In this project I have analysed a series of resources and activities which focus on teaching Music in a CLIL environment, in order to address their advantages and pitfalls. Then, I present and explain resources and suggestions that I have made to enrich CLIL Music lessons and so help to promote the use of CLIL in the teaching of Music.
This book investigates the relationship between music and war from the end of the XVIII century to WWI. 0The centennial commemorations of the Great War in 2014 have yielded significant research on the relationship between music and this first world-wide conflict. Thanks to several conferences and publications, our knowledge about the musical repertoire played on the home front, the musical practices of the soldiers, or the war?s impact on European musical life, is expanding. While joining the efforts to enlighten this particularly little-known period of music history, this book aims to investigate that relationship by adopting a larger time-span: from the end of eighteenth century until the outbreak of the First World War. What kind of connections can be found between music, musicians or the musical economy (editions, the circulation of scores, opera and concert programming, professionalisation) and the different conflicts that would tear the European continent apart? Bringing together more than twenty case studies dealing with several European wars, this volume also investigates the evolution of the perception of the sound of war (by Martin Kaltenecker), and proposes new perspectives based on recent 20th-century music and war studies
