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Music Therapy and Culture: An Essential Relationship?  [PDF]
Daisy Morris
Approaches : Music Therapy & Special Music Education , 2010,
Abstract: Whilst being interviewed by Brynjulf Stige for the Nordic Journal of Music Therapy (volume 10, issue 1), Kenneth Aigen said “I do not think it is reasonable to think that we could automatically work with someone from a very different culture” (Aigen 2001: 90). Standing alone, this passage spoken by Aigen may give a negative impression. This paper will aim to put the above statement in context and think carefully about what Aigen might be suggesting. Through an honest and open exploration of the questions the statement raises, a realistic and more optimistic dialogue which was hidden beneath the words is unearthed. Through the deconstruction of Aigen’s statement this paper investigates our attitudes as music therapists towards culture and music and the preconceptions and assumptions which may arise. This paper will stress how a willingness to explore and broaden not only our attitudes towards culture, but also the confines of our musical ability, can result in an expansion of our knowledge, awareness and receptiveness. This, in turn, could lead to a practice of music therapy which is more fruitful and successful, one in which we are clinically open and prepared for whatever our clients might bring to or need from their sessions.
The Dynamics of Music and Culture in Traditional Ibibio Society of Nigeria
AE Ekpa
African Research Review , 2012,
Abstract: This paper examines the degree of inter-relationship between music and culture with a view to establishing that there can be no thought of culture particularly in a typical African community without reference to music. The paper focuses on the extent to which musical recreation is an integral aspect of the life style of the traditional Ibibio. The analysis also considers the way social relations and social institutions are integral to the music. It concludes by stating that since the cultural landscape in Africa as a whole is experiencing serious erosion due to modernity, we should wake up and preserve our heritage for generations yet unborn.
Professional Piano Education in Chinese Piano Music Culture  [cached]
Changkui Wang
International Education Studies , 2010, DOI: 10.5539/ies.v3n1p92
Abstract: The development of Chinese piano music culture including professional piano education is based on the traditional culture of “neutralization”, and in the researches about the professional piano education in the 21st century, the research of the piano teaching in normal colleges is the most active one, and it is mainly centralized in the piano teaching reform, the teaching mode, the vamping, the teaching materials and teaching methods. In this article, above aspects are classified and analyzed, and the future development direction of the piano teaching research in higher normal colleges in the 21st century is discussed, and it should be studied more seriously.
Nicole Biamonte, ed., Pop-Culture Pedagogy in the Music Classroom  [cached]
Matthew Baumer
Journal of Music History Pedagogy , 2011,
Abstract: Leaving aside the question of pop music’s place in the college music curricula, this volume of sixteen essays offers practical suggestions for integrating the skills, technologies, and repertories of popular music into the classroom. Several essays focus on aural skills seldom taught in college, such as analyzing a recorded mix, following formal concepts without notation, and beat and pitch matching using turntables. More applicable to music history are essays on teaching critical listening via American Idol, a methodology to help students critically compare cover versions of popular songs, and the culture of Crunk, the Southern rap genre.
Transforming African Nations Through Indigenous Music: A Study of Haruna Ishola s Apala Music
R.O. Ajetunmobi,Adewale Adepoju
The Social Sciences , 2013, DOI: 10.3923/sscience.2013.29.33
Abstract: Music and music education in traditional society in Nigeria is of antiquity. It has played an important role in the inculcation of values and transmission of knowledge among the Yoruba, one of the major ethnic groups in Nigeria. The moral tone of the society was reinforced by various types of music before the introduction of Western music and the value of traditional music as culture and moral enforcer has not been given any serious academic attention. The thrust of this presentation, therefore, is Apala music in Yorubaland with special emphasis on Haruna Ishola, popularly known as Baba n Gani Agba, a legend in Apala music. The study presents a discussion and analysis of importance of proverbs used by Haruna Ishola in communication and highlights their significance as an instrument for inculcating moral values, ethical changes, transmission of culture, conservation and agent of culture preservation from one generation to another.
The Sydney Dance Music Scene and the Global Diffusion of Contemporary Club Culture
Ed Montano
Transforming Cultures , 2009,
Abstract: The development of contemporary, post-disco dance music and its associated culture, as representative of a (supposedly) underground, radical subculture, has been given extensive consideration within popular music studies. Significantly less attention has been given to the commercial, mainstream manifestations of this music. Furthermore, demonstrating the influence of subculture theory, existing studies of dance culture focus largely on youth-based audience participation, and as such, those who engage with dance music on a professional level have been somewhat overlooked. In an attempt to rectify these imbalances, this paper examines the contemporary commercial dance music scene in Sydney, Australia, incorporating an analytical framework that revolves mainly around the work of DJs and the commercial scene they operate within. Given the increasingly global and corporate nature of the dance music scene, there is a sense that the music and culture are becoming less ‘local’ and more ‘international’, with this global movement affecting the identity and development of local scenes, the understandings and practices of those who are involved with these scenes, and the very definition of a ‘scene’ itself. The ideas, opinions and interpretations of a selection of local DJs and other music industry practitioners who work in Sydney are central to the paper’s analysis of DJ culture within the city. It is my intention to place the local scene in Sydney into some sort of wider cultural and global context, but at the same time to highlight what aspects of the scene give it a unique local identity. Being a scene that relies quite heavily on overseas dance culture, and indeed places a certain emphasis on the cultural value of overseas music and international DJs, it can be somewhat difficult for local DJs and producers to establish themselves, and thus a certain tension exists between the local and the global.
Pop-Music as а Case-Study of Youth Culture  [PDF]
Alexander Teslenko
Advances in Anthropology (AA) , 2016, DOI: 10.4236/aa.2016.64010
Abstract: In article the problem of youth culture through a prism of musical socialization of youth is considered. On the basis of own researches and the secondary analysis of results of sociological polls of other scientists the author analyzes a place and a role of popular music in youth subcultural communities. The youth culture in this case acts as the system of values, installations, ways of behavior and vital styles of a certain group differing from dominating in the society of the culture though its direct genetic generation of a social and psychological dichotomy “We-They”. For popular music, first of all, its dancing and entertaining directions are a space of personal improvisation and adaptation to accelerate a post-industrial civilization.
On Piano Music Xi Yang Xiao Gu and Chinese Culture  [cached]
Ren-ge HUANG
Canadian Social Science , 2006,
Abstract: As the representative work of Chinese piano music, “Xi Yang Xiao Gu” has aroused a lot of research in musical world. This paper tries to study the relationship between this work and the traditional Chinese culture, so as to understand this work better. Key words: “Xi Yang Xiao Gu” , Chinese piano music, Chinese traditional culture Résumé: En tant qu’oeuvre représentative de la musique de piano chinoise, Xi Yang Xiao Gu a incité beaucoup de recherches dans le monde musical. Cet essai tente d’étudier les relations entre cette oeuvre et la culture traditionnelle chinoise pour permettre de mieux le comprendre. Mots-Clés: Xi Yang Xiao Gu, musique de piano chinoise, culture traditionnelle chinoise
A discourse on the master musician and informal music education in yoruba Traditional culture  [cached]
OLUSOJI STEPHEN Ph.D
Journal of Arts and Humanities , 2013,
Abstract: This paper discusses issues relating to informal education in Yoruba traditional music using the master musician as an important agent for propagating traditional knowledge and values. The study is an ethnographic research and uses oral interviews and other qualitative techniques for eliciting information. As part of its findings, the study found out that informal education in Yoruba culture follows a typical pattern of instruction which is acquired through heredity, apprentice under a well-known artist, observation and participation in communal activities. In the case of music, which is the focus of the study, it is promoted by the master musician, a position that could be occupied by men or women depending on the nature of the ensemble and the societal norms approved for such groups. In conclusion, it was suggested in the study that contemporary music educators and curriculum planners should tailor their curriculum to reflect the traditional values and practices of their people.
Kickboxing, Breakdance and Pop Music versus Wrestling, Round Dance and Folk Music? Popular Culture in Buryatia Today  [PDF]
Stefan Krist
Folklore : Electronic Journal of Folklore , 2009,
Abstract: This paper deals with the peculiarities and recent developments ofpopular culture in general and sports competitions, dance and music, particularly in Buryatia and other regions of significant Buryat population. Based mainly on the author’s own observations it is shown how the ongoing societal changes are reflected in the activities of sportspeople, dancers and musicians. All of them are characterised by both traditional and re-traditionalised elements as well as by processes of modernisation. It is shown that these at first sight contradictory features are in fact most often converging. Thus, in Buryatia today, mixing styles can be identified as one of the main and most typical characteristics of sports, dance, and music.
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