Suchergebnisse

The role of music in Grenada, West Indies has traditionally been to pass on knowledges, values, and ideals; and to provide a means of connecting to one another through expressing commonality of experience, ancestry, and nationhood. This paper explores how Eric Matthew Gairy, during his era of political leadership in Grenada (1951-1979), exploited the transmission and performance of music in very specific ways to further his career politically and exert power over Grenadian society. This historical case study of Grenada, where music was deliberately used as a method of supporting perceived social and political binaries, sheds light upon the power dynamics that are at play when we uplift certain musics in the classroom, and silence others.

In an attempt to take a fresh look at the analysis of form in rock music, this paper uses Susan McClary's (2000) idea of 'quest narrative' in Western art music as a starting point. While much pop and rock adheres to the basic structure of the establishment of a home territory, episodes or adventures away, and then a return, my study suggests three categories of rock music form that provide alternatives to common combinations of verses, choruses and bridges through which the quest narrative is delivered. Labyrinth forms present more than the usual number of sections to confound our sense of 'home', and consequently of 'quest'. Single-cell forms use repetition to suggest either a kind of stasis or to disrupt our expectations of beginning, middle and end. Immersive forms blur sectional divisions and invite more sensual and participatory responses to the recorded text. With regard to all of these alternative approaches to structure, Judy Lochhead's (1992) concept of 'forming' is called upon to underline rock music forms that unfold as process, rather than map received formal constructs.

Central to the argument are a couple of crucial definitions. Following Theodore Gracyk (1996), it is not songs, as such, but particular recordings that constitute rock music texts. Additionally, narrative is understood not in (direct) relation to the lyrics of a song, nor in terms of artists' biographies or the trajectories of musical styles, but considered in terms of musical structure. It is hoped that this outline of non-narrative musical structures in rock may have applications not only to other types of music, but to other time-based art forms.

Abstract
This paper conceives of music as discourse. It elaborates on the deictic concept of pointing as a heuristic guide for sense-making and stresses the role of focal attention as a means for singling out those elements that are denoted as being meaningful. Three aspects are discussed: the delimitation of the elements (which elements?), the mutual relations of these elements (the structure of the music) and the mental operations of the listener (narrative comprehension). To the extent that all these aspects can be organized in a kind of overall mental apprehension, it is possible to explore the possibilities of cognitive maps as organizational tools for musical sense-making, both as the result of sensory experience and cognitive processing by the listener.

There is an old political-philosophical tradition dating back to Plato and Aristotle that takes seriously the power of music in shaping, for better or for worse, the character of individuals and societies. In this article I argue that the Tanakh, or Hebrew Bible, likewise contains a broad and sophisticated teaching regarding the power of music. To be more precise, the Bible contains a teaching regarding the problematic power of musical instruments. In order to discern that teaching, however, the biblical text needs to be read with both philosophical awareness and literary sophistication. Adapted from the source document.

The task of this working paper, through a presentation and subsequent discussion of six empirically grounded 'vignettes', is to conceptualise significations in relation to ordering practices (in addition see the SPP working paper on 'technology' and 'space').