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Why do we feel justified in using adjectives such as romantic, erotic, heroic, melancholic, and a hundred others when speaking about music? How do we locate these meanings within particular musical styles? These are questions that have occupied Derek Scott's thoughts and driven his critical musicological research for many years. In this selection of essays, dating from 1995-2010, he returns time and again to examining how conventions of representation arise and how they become established. Among the themes of the collection are social class, ideology, national identity, imperialism, Orientalism, race, the sacred and profane, modernity and postmodernity, and the vexed relationship of art and entertainment. A wide variety of musical styles is discussed, ranging from jazz and popular song to the symphonic repertoire and opera.
First Published in 1984. This is the second volume in a series on musicology and related areas edited by F. Joseph Smith. Deciphering the specific social characteristics of music has long lagged behind the analytical dissection of musical composition and biographical musicology. The essays in this volume have been produced in an attempt to redress the balance. The sociology of music as examined here is an investigation into the ways social formations come together in musical structures. These essays specifically address the problem of our neutralized music consciousness, the separation of music from the social context and the artificial insulation of musical understanding from the realms of social meanings. One theme in these essays concerns the struggle against ideological distortions arising from the insulation of music from its sociological context. The author argues that there is a stronger connection between music and society than is generally assumed.
Songs of Social Protest is a comprehensive companion guide to music and social protest globally. Bringing together scholars from a range of fields, it explores a wide range of examples of, and contexts for, songs and their performance that have been deployed as part of local, regional and global social protest movements, both in historical and contemporary times. Topics covered include: Aesthetics Authenticity African American Music Anti-capitalism Community & Collective Movements Counter-hegemonic Discourses Critical Pedagogy Folk Music Identity Memory Performance Popular Culture By placing historical approaches alongside cutting-edge ethnography, philosophical excursions alongside socio-political and economic perspectives, and cultural context alongside detailed, musicological, textual, and performance analysis, Songs of Social Protest offers a dynamic resource for scholars and students exploring song and singing as a form of protest.
Music and World-Building in the Colonial City investigates how nineteenth-century migrants to Australia used music as a resource for world-building, focusing on coalmining regions of New South Wales. It explores how music-making helped British migrants to create communities in unfamiliar country, often with little to no infrastructure. Its key themes are as follows: people’s relationships to music within specific contexts; how music-making intersects with class, gender and ethnic background; identity through music. Situated within a wider discourse on music and identity, music and well-being and music and emotions, this is an authoritative study of historical communities and their relationship with music. It will be of particular interest to scholars and researchers working in the fields of sociomusicology, colonial studies and cultural studies.
Jazz Sells: Music, Marketing, and Meaning examines the issues of jazz, consumption, and capitalism through advertising. On television, on the Internet, in radio, and in print, advertising is a critically important medium for the mass dissemination of music and musical meaning. This book is a study of the use of the jazz genre as a musical signifier in promotional efforts, exploring how the relationship between brand, jazz music, and jazz discourses come together to create meaning for the product and the consumer. At the same time, it examines how jazz offers an invaluable lens through which to examine the complex and often contradictory culture of consumption upon which capitalism is predicated.
Explaining that musicality is an essential touchstone of the human experience, a concise introduction to the study of the nature of music, its community and its cultural values explains the diverse work of today's ethnomusicologists and how researchers apply anthropological and other social disciplines to studies of human and cultural behaviors. Original.
What is it about the history, geographical position and cultures of the Middle East, North Africa and Central Asia that has made music such a potent and powerful agent? This volume presents the first direct look at the complex relationship between music and power across a range of musical genres and countries. Discourses of power in the region centre on some of the most contested social issues, most notably in relation to nationhood, gender and religion. Individual chapters examine the ways in which music serves as a forum for playing out issues of power, ideology, resistance and subversion. How does music become a space for promoting - or conversely, resisting or subverting - particular ideologies or positions of authority? How does it accrue symbolic power in ways that are very particular, perhaps unique? And how does music become a site of social control or, alternatively, a vehicle for agency and empowerment, at times overt and at others highly subtle? What is it about music that facilitates, and sometimes disrupts, the exercise and flows of power? Who controls such flows, how and for what purposes? In asking such questions in the context of countries such as Afghanistan, Egypt, Iran, Tunisia and Tajikistan, the book draws on a wide range of relevant theoretical and critical ideas, and many disciplines including ethnomusicology, anthropology, sociology, politics, Middle Eastern studies, globalization studies, gender studies and cultural and media studies. The countries and areas explored share a great deal in historical and cultural terms, including a legacy of colonial and neo-colonial encounters and predominantly Judeo-Muslim religious traditions. It is hoped that the volume will contribute ultimately to a richer understanding of the role that music plays in these societies.
This collection brings together many African voices expressing their ideas and conceptions of musical practice and arts education in Africa. With essays from established scholars in the field as well as young researchers and educators, and topics ranging from philosophical arguments and ethno-musicology to practical classroom ideas, this book will stimulate academic discourse. At the same time, practical ideas and information will assist teachers and students in Africa and elsewhere, bringing fresh musical perspectives on instrument playing, singing, childrenis literature and play.
Music education has historically had a tense relationship with social justice. One the one hand, educators concerned with music practices have long preoccupied themselves with ideas of open participation and the potentially transformative capacity that musical interaction fosters. On the other hand, they have often done so while promoting and privileging a particular set of musical practices, traditions, and forms of musical knowledge, which has in turn alienated and even excluded many children from music education opportunities. The Oxford Handbook of Social Justice in Music Education provides a comprehensive overview and scholarly analyses of the major themes and issues relating to social justice in musical and educational practice worldwide. The first section of the handbook conceptualizes social justice while framing its pursuit within broader contexts and concerns. Authors in the succeeding sections of the handbook fill out what social justice entails for music teaching and learning in the home, school, university, and wider community as they grapple with cycles of injustice that might be perpetuated by music pedagogy. The concluding section of the handbook offers specific practical examples of social justice in action through a variety of educational and social projects and pedagogical practices that will inspire and guide those wishing to confront and attempt to ameliorate musical or other inequity and injustice. Consisting of 42 chapters by authors from across the globe, the handbook will be of interest to anyone who wishes to better understand what social justice is and why its pursuit in and through music education matters.
It is a truism in teaching choral conducting that the director should look like s/he wishes the choir to sound. The conductor's physical demeanour has a direct effect on how the choir sings, at a level that is largely unconscious and involuntary. It is also a matter of simple observation that different choral traditions exhibit not only different styles of vocal production and delivery, but also different gestural vocabularies which are shared not only between conductors within that tradition, but also with the singers. It is as possible to distinguish a gospel choir from a barbershop chorus or a cathedral choir by visual cues alone as it is simply by listening. But how can these forms of physical communication be explained? Do they belong to a pre-cultural realm of primate social bonding, or do they rely on the context and conventions of a particular choral culture? Is body language an inherent part of musical performance styles, or does it come afterwards, in response to music? At a practical level, to what extent can a practitioner from one tradition mandate an approach as 'good practice', and to what extent can another refuse it on the grounds that 'we don't do it that way'? This book explores these questions at both theoretical and practical levels. It examines textual and ethnographic sources, and draws on theories from critical musicology and nonverbal communication studies to analyse them. By comparing a variety of choral traditions, it investigates the extent to which the connections between conductor demeanour and choral sound operate at a general level, and in what ways they are constructed within a specific idiom. Its findings will be of interest both to those engaged in the study of music as a cultural practice, and to practitioners involved in a choral conducting context that increasingly demands fluency in a variety of styles.