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Music Therapy in South America  [cached]
Lia Rejane Mendes Barcellos
Voices: A World Forum for Music Therapy , 2001,
Abstract: Music is one of the most important and strongest types of cultural expression in South America. With diverse roots in the myriad of cultures of the many countries which shape our continent, music contributes to the South American identity. Distinct sounds, rhythms, styles and instruments compose a musical tissue, in which it is possible to recognize the special colors of a specific country or the printed image of the sonorous "language" from a special region.
The desire for the ineffable: on the myth of music as absolute
W. Froneman
Koers : Bulletin for Christian Scholarship , 2009, DOI: 10.4102/koers.v74i1&2.114
Abstract: This article proposes to establish and critique connections between religious and musico-aesthetic conceptions of in-effability by exploring the link between neoplatonic thought and romantic aesthetics. The central thesis is that recourse to the ineffable is often made by resorting to theological tenets and, consequently, that romantic aesthetics, although desperately trying to disengage itself from theological thinking, can in fact be interpreted as being inextricably bound up with it. Taking Plotinus’ conception of the relationship between the “One” and “Intellect” as model, the romantic conception of the absolute is revealed to be a fallacy. It is shown that claims of the ineffability of music not only locate music as a false absolute, but also confer on music a quasi-religious authority. This results in an ungrounded secular faith in the power of music and the mastery of its composer-god to lead mankind to the truth. Untangling the myths of ineffability leads the way to a detranscendentalised conception of music with performance at its centre.
Achilles in the age of steel: Greek Myth in modern popular music  [cached]
Eleonora Cavallini
Conservation Science in Cultural Heritage : Historical Technical Journal , 2009,
Abstract: From the Sixties until today, the presence of Greek Mythology in so-called “popular music” appears to be far more frequent and significant than one could imagine. Nevertheless, at the beginning such references are rather generic, loose and even ironical; on the other side, in the Eighties and afterwards, particularly in the framework of certain music genres, entire concept albums are inspired to the deeds of Achilles and Odysseus, or by the tragic vicissitudes of the house of Atreus. Special attention is dedicated to the character of Achilles, who, as a prototype of the modern “super hero”, is somehow close to the sensibility and the expectations of contemporary youth cultures and their associated media.
Playing Traditional Folk Music in Rural America
Kira Marie Leck
Music and Arts in Action , 2012,
Abstract: In the United States, folk musicians are commonly perceived as a liberal, progressive and politically active collective who perform music that was popular during the second wave folk revival of the 1960s. Most studies of folk musicians have focused on this culture, possibly because many aspects of the revival period remain prominent in modern coffeehouse and folk festival settings. Seldom examined is the traditional folk community, which possesses a distinctive set of norms and a small but devoted following. In the present study, musicians were asked to describe their motivations for playing traditional folk music. Interviewees reported that playing music served quasi-social, socializing and cultural functions, with emotional expression and social connection emerging as common reasons for becoming involved with the traditional folk music community.
BETWEEN THE MUSIC AND THE MYTH: THE TRAGIC VOICE OF DIONYSUS A JOURNEY THROUGH THE ALAIN DIDIER-WEILL'S INVOCATIONS
Bruno Portes de Castro
Psicanálise e Barroco em Revista , 2009,
Abstract: Starting from the Alain Didier-Weill's production, we attempt to perceive the interlacement between Apollo and Dionysus in the core of the greek tragedy, situated in the transition between the dithyrambic ritual and the polis. Therefore, considering the Oedipus myth, we try to apprehend the relation of the song with what, in psychoanalysis, was named Feminine
Music Therapy in the United States  [cached]
Michele Forinash
Voices: A World Forum for Music Therapy , 2001,
Abstract: As I have just come on board as the editor for North America for this particular issue I will address music therapy in the US. Future issues of the journal will focus on music therapy in other parts of North America.
The Myth as the Overcoming
Bayzhol I. Karipbaev
European Researcher , 2013,
Abstract: This article studies the role of myth in the modern social transformations, in the conditions of new values creation. The author focuses on the worldview potential of the myth, its ability to legitimize, sanctify important social components of social reality
Poética musical mapuche: factor de dislocación de la música chilena contemporánea: El caso de "Cantos ceremoniales", de Eduardo Cáceres The Mapuche Musical Poiesis as a Means of Dislocation of Chilean Contemporary Music: The Case ofthe "Cantos ceremoniales" by Eduardo Cáceres  [cached]
Rafael Díaz S
Revista musical chilena , 2008,
Abstract: Esta comunicación es una reflexión sobre cómo los procedimientos composicionales mapuches se constituyen en un factor de dislocación y de relectura del paratexto musical contemporáneo. El objeto de estudio es la obra compuesta por Eduardo Cáceres, Cantos ceremoniales para aprendiz de machi (2004), obra sobre textos en lengua mapuche escritos por el poeta chileno-mapuche Elicura Chihuailaf. Esta obra se constituye, para este estudio, en un soporte de (re)significaciones de la cultura musical mapuche, trasplantada al contexto de la música académica. La hipótesis de trabajo es que las maneras de representar al otro, por medio de estrategias composicionales transculturales, han terminado por modificar las fronteras y la posición de la música chilena contemporánea, generando alteridad en su propio núcleo canónico de su otrora paradigma centroeuropeo. The present paper deals with the in uence ofthe Mapuche technique ofmusic composition upon the contemporary style ofacademic Chilean composers, considering how such factors as mass media and rural urban displacement affect and dislócate the aesthetics of Chilean contemporary music. For this purpose the work Cantos ceremoniales para aprendiz de machi isanalyzed. This workwas writtenin 2004 by the Chilean composer Eduardo Cáceres and it is based on Mapuche poetry written by the Chilean- Mapuche poet Elicura Chihuailaf. This work is conceived as a framework for the change of meanings that the rich and varied Mapuche musical expressions underwent when transplanted to the context ofacademic contemporary music. The central hypothesis has to do with how the (post) modern ways ofrepresenting the Other, by means of transcultural strategies ofmusic composition, have modi ed the location and borders of Chilean contemporary music, generating inner changes in its European canonic nucleus.
THE MYTH OF THE IMF  [cached]
J. Melnick
Revista mexicana de astronomía y astrofísica , 2009,
Abstract: The Myth of Science is the idea that complex phenomena in Nature can be reduced to a set of equations based on the fundamental laws of physics. The Myth of the IMF is the notion that the observed distribution of stellar masses at birth (the IMF) can and must be explained by any successful theory of star formation. In this contribution I argue that the IMF is the result of the complex evolution of the interstellar medium in galaxies, and that as such the IMF preserves very little information, if any, about the detailed physics of star formation. Trying to infer the physics of star formation from the IMF is like trying to understand the personality of Beethoven from the power-spectrum of the Ninth Symphony!
Eurocentrism and Artistic Creation in Chinua Achebe’s Things Fall Apart
IB Lar
African Research Review , 2010,
Abstract: This article goes beyond the plot of Chinua Achebe’s Things Fall Apart to codify the inspiration and moving spirit behind the novel. Eurocentrism is a philosophical and cultural construct that perceives Europe as the centre of civilization and the future of humanity. The racism that Eurocentrism engendered accorded an inferiority status to non-whites. In the quest to correct and rehabilitate the African cultural past from a sympathetic insider’s perspective, Achebe adopted cultural nationalism as an ideological frame of reference in order to affirm his people’s ethos in Things Fall Apart. As an objective and balanced imaginative writer, however, Achebe demonstrated moral integrity in portraying his people’s past with all its strengths and imperfections. In specific terms, the novel depicts such cardinal themes as Igbo festivals, ceremonial rites and worship of the gods, the people’s oral culture and other social practices, the colonial and missionary era that was both disruptive and also conferred some benefits, and Okonkwo’s tragedy that hinged mainly on his unbalanced understanding of the duality concept in Igbo cosmology.
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