Search Results

You are looking at 81 - 90 of 345 items :

Clear All

point be complemented by studies of Turkish indigenous minorities in Kosovo, Macedonia and elsewhere in South-Eastern Europe. Ambitious discographic projects such as the series Osmanlı Mozaiği / Mosaic of Ottoman (2001), featuring sultan, women and non-Muslim (Armenian, Greek, Jewish) composers remind us of the positive aspects of Ottoman œcumene, while another discographic project (Köprüler, 2006), featuring the bridging between Turkish and Western art music, sends out a modern political message about the awareness of the distinctiveness of each person and the

students, and only as a personal identifier. Then why include ‘ethnic music’ in school programmes? And what music should be chosen? As professional cultural and political evaluator, I have over the years experienced how easily the central goals of a project are forgotten or never really formulated (Fock 2003, 2004). In this way, projects become unfocused, and consequently the goal-method-result relationship is blurred. For example, we find a tendency to present African music in the classroom of Danish music classes when attempting to include and engage youngsters

PopolVuh (a Guatemalan term) counters Caruso’s opera recordings. In the last twenty-five years, historians have become increasingly interested in such cultural transfers. They have explored them mostly in view of transatlan- tic encounters and the possible Americanization of Western Europe. Focused on the political economy of mass media and the allure of consumer culture, some authors propose that the American senders effectively shaped European culture to a large extent (De Grazia; Malchow). While these studies look at Fitzcarral- do’s record player and the

exoticism, while the second de- scribes the similar need for differences and exceptionalism in visual appear- ance. The third signifier relates to a visible happiness and devotion of the mu- sicians, and the fourth addresses the idea of music as a universal language. The fifth and last of the signifiers calls attention to the political side of the music, which inherently or explicitly is present for most of world music and musicians. The first signifier The first signifier is related to what the festivals seemed to be trying to com- municate at every musical encounter

(1953), H. 12, S. 49-54 Dezillio, Romina: »Between Nation and Emancipation: Women’s Musical Work in Buenos Aires, Argentina, During the Political Conflicts of 1945«, Vortrag beim IMS-Kongress Rom 2012, unveröffentlicht Domínguez, Mignon: Cartas desconocidas de Julio Cortázar 1939-1945, Buenos Aires 1992 Douer, Alisa / Ursula Seeber (Hg.): Wie weit ist Wien. Lateinamerika als Exil für österreichische Schriftsteller und Künstler, Wien 1995 Driessen Gruber, Primavera: »Tango desperado. Musik-Exil in Argentinien”, in: Zwischenwelt 28 (2011), H. 3, S. 40

cognitive and emotional dimensions (cf. Acord/Denora 2008: 230) which cannot be con- fined to audibility. They synesthetically intertwine with visual, haptic and olfactory aspects: music is “seen” when the YouTube video is clicked, “felt” when a subwoofer vibrates through every muscle and “smelled” when the sweating festival crowd rocks. Moreover, notions of origin or ancestry, ideas of the sacred, certain plac- es, political claims, aesthetic norms or economic exchange create compound contexts for defining music and its connected practices. From this perspec- tive

thereby criticizes the many exclusions that pop’s star system produces. Field note 1/ Aug. 2006: The Detroit dance music producer Moodymann, known for his obscurantist attitude, deejays at Berlin’s Cafe Moskau from behind a sheet. In his performance the sheet draws our attention to the physical absence of the sound sources that we listen to, while at the same time it grants Moodymann a special presence. Within electronic dance and pop music, practices of anonymity have been tested for their political and aesthetic3 potential since the late 1980s

term persona specifically emphasises the fact that celebrity is a product of the media and of acteurs of the cultural industries, while the term image specifically emphasises that, above all, it is a product of the audience’s imagination. The division of star studies that investigates celebrity by looking at media production under- stands agents of ‘persona construction’ generally as either: individual agents (or- ganisational approach), as mere executives of strategies containing commercial uncertainty in a risk-prone media business (political economy and

Every- day Life“, in: The Psychologist, July 1997, S. 309-312. North, Adrian C.; David J. Hargreaves und Jon J. Hargreaves (2004): „Uses of Music in Everyday Life“, in: Music Perception 22, 1, S. 41-78. Seibt, Oliver (i.D.): „Jenseits der Authentizität, oder: Wie es kam, dass die Japaner an einer Gitarre nun doch cool aussehen“, in: Detlef Altenburg (Hg.), Musik und kulturelle Identität (Be- richt vom XIII. Internationalen Kongress der Gesellschaft für Musikforschung), Kassel: Bärenreiter. Smith, Zerick Kay (1999): „The Rhythm of Everyday Politics: Pub- lic

responsibility, per fectly reflected the ideal of liberation of indi- viduality through development of independence, the final goal being unification of all individualities into a free community.”27 Wulf Konold takes up this idea of the speechless message: “Beethoven’s Symphony No. 5 is both: it is an autonomous work, and it is ‘fait social’; it points out a historical position, has the character of an appeal; and the one aspect—and this goes beyond the other works—can be defined in terms of the other. Its autonomy, its renunciation of topical statements in the political