Negotiating and enacting musical innovation and continuity: How some torres strait islander songwriters incorporate traditional dance chants within contemporary songs

Many Indigenous peoples worldwide engage with popular music and popular music forms, often striving to find a balance between traditional and contemporary influences.

This article uses ethnographic data from Australian Torres Strait Islander songwriters to explore the processes and rationales they use when incorporating traditional dance chants within contemporary songs.

The research demonstrates some of their processes of innovation and continuation while they negotiate crucial cultural and community politics that inform not only music and dance but also other forms of contemporary Indigenous artistic expression.

The songwriters perceive themselves as creators but creators who must also work within the cultural, social and aesthetic dictates of their communities.     

Burmese Indians in contemporary Burma: heritage,influence, and perceptions since 1988

This article seeks to explore the current role, significance and influence of Burmese Indian minorities in post-1988 Burma as well as the perceptions the Burmese indigenous society and elite have developed on them since the colonial era. British Burma (1826–1948) witnessed a massive immigration of Indian communities that disproportionately dominated Burma's colonial enterprise. A strong resentment thus arose among the Burman Buddhist majority, illustrated by the rise of a popular ‘indophobia’ phenomenon. Paroxysmal expressions of the colonial original trauma were observed through recurrent pre-independence anti-Indian riots as well as a specific and enduring linguistic patronizing classification of the ‘Kalas’ by the Burmese language. Nationalistic administrative laws, enacted by the Burmese post-independence parliamentarian and military governments, furthered the downgrading and discrimination of Burmese Indians who remain however a visible minority today, with a manifest economic weight and a strong socio-cultural presence throughout Burma. In this paper, it will, however, be argued that after years of ‘Burmanization’ processes, Burmese old-age ‘indophobic’ sentiments have turned towards more ‘islamophobic’ tendencies, now explicitly targeting the Muslim communities of Indian origin, but that it remains difficult to evaluate their impact on Burma's current policymaking.     

Authorship,gender and the construction of meaning in the Eurythmics' hit recordings

Abstract

Pop songs are often interpreted, by fans, critics and even academic analysts, in relation to traditional notions of ‘authorship’. But in recent pop, such as the Eurythmics' hits, these notions are at the very least in tension with a more fragmented construction of subjectivity. This article seeks to develop a method for analysing such constructions, both generally and in specific Eurythmics songs.

The method draws on Mikhail Bakhtin's dialogic theory of subjectivity and meaning, presenting the various parts of songs (i.e., both textural lines and structural sections) as interactive ‘voices’, each with its characteristic style-features. Such features are always culturally marked, through their multiple associations and their different positionings within various discursive domains. It is possible, therefore, to locate the styles, their features and their interrelations on a range of discursive axes (gender, ethnicity, etc.), making up a ‘map’ of the musico-discursive terrain, then to place the ‘dialogue’ constructed in a specific song in relation to these axes, this map.

For the Eurythmics, the gender axis is the most (though not the only) important one. It functions through the differential positioning of constituent styles (pop, blues, soul, disco, ballad, etc.) on this axis; in relation to other axes of meaning; through articulation in the specific socio-historical context of 1980s British pop; and via interaction with visual images (e.g., on accompanying videos).

After an analysis of eight songs, the article concludes with some implications of the method for the interpretation of gender — and more generally of the construction of subjectivity — in music.     

Navegando,Navegando: Easter Island Fusion and Cultural Performance

This article examines the music of Rapanui singer-songwriter Mito Manutomatoma and his band Fusión Rapa Nui, and investigates the contribution that this music makes to the understanding of Rapanui cultural identity in the context of Chilean popular culture. Mito Manutomatoma has been particularly successful in promoting his music to Chilean audiences, and this has consequences for the way in which Rapanui music and performance culture is viewed in Chile. Mobilising a theoretical framework drawn from the discourse of cultural hybridity, the present article focuses particularly on influential songs from Mito Manutomatoma's 2003 recording Mito y Fusión Rapa Nui in order to explain the capacity for this music to foster intercultural communication and understanding between Chile and Rapanui.     

Where the mystical meets the market: creativity and commerce in the production of popular music

Taking as my theme the familiar opposition between commerce and creativity, this paper contrasts different sociological approaches to the production of popular music and questions some of the assumptions about the rational nature of the market and mystical character of creative inspiration, that are often implied when these terms—‘creativity’ and ‘commerce’—are used in this binary oppositional manner. In arguing for a sociology of the mundane practices that produce‘commercial’ and ‘creative’ texts, I suggest that the production of popular music does not so much involve a conflict between commerce and creativity, but a struggle over what is creative, and what is to be commercial.     

Social complex contagion in music listenership: A natural experiment with 1.3 million participants

Can live music events generate complex contagion in music streaming? This paper finds evidence in the affirmative—but only for the most popular artists. We generate a novel dataset from a music tracking website to analyse the listenership history of 1.3 million users over a two-month time horizon. We show that attending a music artist’s live concert increases that artist’s listenership among the attendees of the concert by approximately 1 song per day per attendee (p-value < 0.001). Moreover, this effect is contagious and can spread to users who did not attend the event. However, whether or not contagion occurs depends on the type of artist. We only observe contagious increases in listenership for popular artists (∼0.06 more daily plays per friend of an attendee [p < 0.001]), while the effect is absent for emerging stars. The contagion effect size increases monotonically with the number of friends who have attended the live event.     

Sea breeze: Globalisation and cook islands popular music

This paper examines the dynamics of Cook Islands popular music, most commonly referred to as ‘island music’. Among Cook Islands communities at home and abroad, island music is performed at informal gatherings, at nightclubs and bars. It is also a central component of large functions such as weddings and island fundraising events. String bands—who perform island music—undertake performance tours through New Zealand, the Cook Islands and French Polynesia. These bands also record audiotapes and CDs of their music, which are extremely popular among Cook Islander communities across the region. Despite island music's centrality in many social contexts it is also the subject of much critical debate. It is viewed by some both as a ‘bastardisation’ of ‘traditional’ expressive forms and as an indicator of ‘global’ corruption; local music is seen as ‘swamped’ by Western popular music. I argue that these debates are symptomatic of anxiety about globalisation and related notions of authenticity, cultural ownership and loss. They are also ultimately concerned with negotiating locality and identity across the Cook Islands diaspora.     

Preferences for popular music in and outside school among Chinese secondary school students

During the last two decades, China has experienced the emergence of vibrant popular music, resulting from globalisation and commercialisation. This empirical study investigates Chinese secondary students' popular music preferences in daily life, and to what extent and in what ways they prefer learning about popular music in school in the city of Changsha. Based on the findings from the survey questionnaires completed by 1816 secondary school students and interviews with 45 students from 8 secondary schools, this study revealed that Chinese teenagers preferred popular music styles in their daily lives and in school, particularly popular songs from Mainland China, the USA and the UK. There was a strong relationship found between school music teachers and the students' preferences for learning popular songs. Many of the students surveyed had their own popular music idols, but they mostly maintained that they liked their music idols because of their songs' melodies and lyrics. The findings also showed that there was a gap between the students' preferences for popular music and the popular music styles taught in school music lessons. Despite the division of classical and popular music learning among Chinese youths, most students conceded that these two musical styles should be taught in school music education. This study's findings challenge the notion of how popular music education in a culturally diverse community can be improved, as well as stimulate further examination of young students' music preferences in and outside the school environment.     

后亚文化与流行音乐生产

青年亚文化与流行音乐有深远的渊源。后亚文化理论观照下的流行音乐生产机制,在音乐文本生产方式、音乐视觉生产方式、音乐明星生产方式等许多方面都发生了新的变革。古典、民族与流行音乐元素的混搭,是新的音乐文本生产方式的特点;与当代视觉艺术相融合,是新的音乐视觉生产方式的特点;在互联网上发现未来的明星,并在网上推广,已经成为明星生产中重要的传播策略;后亚文化语境下的流行音乐出现了回归纯粹的人声、干净的配乐和质朴的形象的趋势。     

Homophily of music listening in online social networks of China

Homophily, ranging from demographics to sentiments, breeds connections in social networks, either offline or online. However, with the prosperous growth of music streaming services, whether homophily exists in online music listening remains unclear. In this study, two online social networks of the same group of active users who listened to complete songs over 1000 times and posted over 100 tweets are established, separately, in Netease Music and Weibo. Through presented multiple similarity measures, it is evidently demonstrated that homophily does exist in music listening for both online social networks. The unexpected listening similarity in Weibo also implies that knowledge from generic social networks can be confidently transferred to domain-oriented networks for context enrichment and algorithm enhancement. Comprehensive factors that might function in the formation of homophily are further probed, and many interesting patterns are profoundly revealed. It is found that female friends are more homogeneous in music listening and that positive and energetic songs significantly pull users close. Our methodology and findings shed light on realistic applications in online music services.     

World Music,nation and postcolonialism

Recent scholarship on representational politics in popular music tends to dwell on the macropolitical entailments of contradictory desires acted out through the consumerization of culture within the globalized circuitry of supranational capitalism. This article takes a micropolitical look at what salsa means for working-class Puerto Ricans in the colonial diaspora, positing salsa as a musical culture that fuels, and is fuelled by, the organic intelligence of its practitioners. Comparatively analysing the performative content and contexts of two albums produced at the symbolic juncture of the Quincentennial (1992) – Willie Colón's Hecho in Puerto Rico and Ruben Blades' Amor y Control – and sharing an auto-ethnographical account of experiences with salsa music in the Puerto Rican colonial diaspora, this article explores the cultural politics obtained between mainstream appropriations of Latin musical cultures and salsa within the working-class communities who created it. Thus shifting the critical lens from above to below, the most salient concerns become the ethical dimensions of subaltern (kin)aesthetics and knowledges, which can be charted alongside the overt rejection of consumerist assimilation, the conscious racialization of cultural agency and other articulations of liberatory desire.     

Time to go home? The conflictual politics of diaspora return in the Burmese women’s movement

ABSTRACT

The initiation of political reforms and a peace process in Myanmar has fundamentally altered the conditions for Burmese diasporic politics, and diaspora groups that have mobilized in Myanmar’s neighbouring countries are beginning to return. This article explores how return to Myanmar is debated within the Burmese women’s movement, a significant and internationally renowned segment of the Burmese diaspora. Does return represent the fulfilment of diasporic dreams; a pragmatic choice in response to less than ideal circumstances; or a threat to the very identity and the feminist politics of the women’s movement? Contrasting these competing perspectives, the analysis offers insights into the ongoing negotiations and difficult choices involved in return, and reveals the process of return as highly conflictual and contentious. In particular, the analysis sheds light on the gendered dimensions of diaspora activism and return, demonstrating how opportunities for women's activism are challenged, debated and reshaped in relation to return.     

Refugees and transnationalism on the Thai–Burmese border

The past decade has seen the rapid development of transnationalism research, but transnationalism from below in situations of mass refugee influx has received little attention. However, the case study of Burmese refugees in Thailand clearly demonstrates that those refugees can maintain economic, social, cultural and political links with co‐nationals in all the domains of the refugee diaspora, even if their capabilities are in principle strained. It is argued here that the legal status of the person or diaspora organization concerned, as well as the country of origin and the host country have a larger influence on the type of transnationalism than the label ‘migrant’ or ‘refugee’. The concept of transnationalism should thus be conceived in a more encompassing sense, both geographically, thematically and including all emigrants regardless of their original motivations for migration. The article is based on fieldwork, including over 150 interviews with Burmese refugees and political activists.     

Collaborative Music‐Making with Digital Audio Workstations: The “nth Member” as a Heuristic Device for Understanding the Role of Technologies in Audio Composition

This article examines amateur music‐making using a digital audio workstation, showing how audio and software are used as resources for creating compositions. The article has two aims. Firstly, to depict how digital music‐making is formed from routine interactional techniques. Secondly, to probe how researchers might account for such multi‐modal activity through a heuristic device: the “nth member.” Whereas sociology has typically been concerned with the cultural facets of how music is made and consumed, we explore the material practices of collaborative song creation utilizing conversation analytic techniques—“turn‐taking” and “next‐selection”—to capture two key interactional moments.     

Climate Justice and Cultural Sustainability: The Case of Etëtung (Vanuatu Women’s Water Music)

This article investigates connections between climate justice and cultural sustainability through the case of Etëtung, or ‘Vanuatu Women’s Water Music’, as it is found in the ni-Vanuatu community of Leweton. Drawing on existing literature, interviews and field visit observations, I consider how and why Etëtung is proving increasingly important in local efforts toward cultural sustainability and climate justice (social justice as it relates to climate change). Specifically, I focus on three ways in which community members are employing the practice of Etëtung to progress both climate justice and cultural sustainability concerns: first, through the use of Etëtung to maintain and transmit cultural and environmental knowledge; second, through featuring Etëtung in cultural tourism; and third, through drawing on Etëtung to enable greater participation in the regional and international climate change discourse. As such, this article presents and reflects on one multifaceted approach to advancing dual cultural sustainability and climate justice interests, with potential relevance to other contexts in the Pacific and beyond.     

Voice,place and genre in popular song performance1

Earlier sociolinguistic studies have conceptualised popular song as a field of phonological variation where singers do or do not maintain features of their national or regional accents in singing. The present paper explores a wider agenda for the sociolinguistics of popular song, theorised as a diverse field of performance organised according to genre. Following initiatives in the sociology of popular music (particularly Simon Frith's research), voice is interpreted as the repertoire of meaning‐making options available to performers. Voice subsumes dialect indexicality, but also the management of singer identity and singer‐audience relations through the performance of lyrics, rhythmic and bodily modalities. Place is understood as the specific socio‐cultural contexts that are explicitly or implicitly voiced, including contexts of performance and reception. By performing within or against generically structured stylistic norms, performers construct and disseminate different vernacular values and identities. Live tracks from three different, broadly‐defined genres are considered in detail – classic rock and roll (Chuck Berry's Maybellene), folk/country (James Taylor's Copperline), and punk rock (the Sex Pistols’Johnny B. Goode).     

'SALSA NO TIENE FRONTERA': ORQUESTA DE LA LUZ AND THE GLOBALIZATION OF POPULAR MUSIC

This article discusses key dynamics in the globalization of popular music, more specifically the interplay between technology, social and commercial structure, and meaningful sound forms. It analyses Orquesta de la Luz, an all-Japanese salsa band, as an example of the transgression of ethnic, geographical, linguistic and national boundaries of Latin American music. The band demonstrated the intertwined nature of the global and the local, in addition to the historical formation of modern Japanese culture. Their worldwide fame derived from their musicianship, their synchronicity with the world music boom, and finally the diffusion of digital technology in popular music production and consumption. This article argues that economic and technological conditions are as much constitutive of the band's unique practices as are aesthetic ones. It then goes on to question the dichotomies, ‘universalism vs. particularism’ and ‘creativity vs. copy’. This discussion builds towards an examination of the relationship between purist aesthetics (hyperrealism) and the Japanese concept/method of learning; it also explores the notion of cultural authenticity that located the activities of the band. Paradoxically, Orquesta de la Luz demonstrated that Japanization does not necessarily imply synthesis with vernacular elements for purist musicians. Theoretically, this ‘becoming Other’ reveals a parallel capacity for self-exoticization and self-orientalization with respect to Japanese identities. Orquesta de la Luz's musical search for the roots of otherness is closely tied with the feeling among many Japanese youth for the loss of Japan's ‘genuine’ cultural identity. Another focus of this study, then, is to shed light on the relevance of exoticism in the band's foreign reception and to assess their Latino image in the Japanese context.     

Tragic Narratives in Popular Culture: Depictions of Homicide in Rap Music1

Homicide is a rare event, but depictions of it are quite common in our culture and discourse. Commercially successful rappers have appropriated homicide as a central theme in their lyrical compositions. The tremendous success of rap music is indicative of its increasing popular appeal and cultural impact. We reveal the ways homicide is constructed within rap music and its frequency of occurrence across time. Employing a cultural criminology framework, we analyze the most popular rap songs over the period 1989–2000, as determined by Billboard music charts, for references to homicide. Using content analysis we explore the emergent themes associated with homicide scenarios in rap lyrics. Results show violent death was constructed in glorified ways, incorporated cautionary tales, or used as an analogy for powerful rhyming. The major themes found in these homicide‐related rap lyrics were the normalization of killing, respect maintenance, confrontation with the power structure, vengeance, and masculine confrontation. Gender patterns of killing were surprising and distinct. Homicide was almost always male on male. Careful consideration is given to the multiple meanings of homicide, particularly the ways rappers have appropriated the word “killing” and transformed it into a term that indicates creative success.     

Musical Ties That Bind: Nostalgia,Affect, and Heritage in Festival Narratives

Affective heritage embracement, a collective narrative of nostalgia, is identified at two popular music festivals. “MusicFest” embraces a tradition of “Red Dirt” country music through performance (music festival), whereas the “Walnut Valley Festival” embraces a bluegrass/folk musical heritage through performance and participation (musicians' festival). The symbolic importance of musical interaction is explored to highlight the experienced emotionality that leads to the affective ties that bind these otherwise temporary communities. This collective narrative reveals the various functions of nostalgia wherein collective sentiment both reflects and creates the perceived authentic experiences of festival attendees.