Wang Ming-hui and Blacklist Production: the Third World/Asia turn of Taiwan’s new music production

ABSTRACT

The paper discusses the music group ‘Blacklist Production’ (also known as Blacklist Studio) that was established in the late 1980s when the Martial Law was lifted in Taiwan, and the group’s original works of music. It investigates the music composition and thinking process of Wang Ming-hui, the founder of Blacklist Production, and analyses two albums produced by the music studio, Songs of Madness (1989) and Lullaby (1996), as a way of reconsidering and reflecting the feeling process and limitations of the nativist ideology from 1989 to 1996 that took shape in Taiwan’s society. In addition, the paper also explores Wang’s musical practices through which he has tried to answer the question of ‘how to express thoughts with music’. Through the historical analysis of musical works and interviews with Wang Ming-hui, the paper suggests that ‘Taiwan’s New Music Production’ brought up and practiced by Wang and Blacklist Production is embedded with the possibility for Taiwan’s culture and imagination of modernity to ‘turn’ the referent point to the Third World/Asia.     

Promoting young people’s musical identities to facilitate recovery from mental illness

The new ‘youth mental health paradigm’ (IAYMH. 2015. “International Association for Youth Mental Health.” Accessed February 15, http://www.iaymh.org/) promotes the need for youth-friendly mental health options. Music therapy initiatives offer innovative modes of working towards young people’s recovery in ways that align with the ethos of these services (McCaffrey, Edwards, and Fannon. 2011. “Is There a Role for Music Therapy in the Recovery Approach in Mental Health?” The Arts in Psychotherapy 38 (3): 185–189). This paper details a participatory research project investigating how and why promoting young people’s musical identities can facilitate their recovery from mental illness. Young people accessing a music therapy programme in a youth mental health service in Australia participated in collaborative qualitative interviews that were analysed using constructivist grounded theory techniques. Cycles of action and reflection resulted in a grounded theory explaining the recovery of musical identity, and mapping young people’s community-based music needs for wellbeing. We propose that promoting young people’s musical identities facilitates recovery through: the construction of a health-based identity; facilitating meaning-making; and supporting social participation. Findings are discussed in relation to recovery literature and social justice issues that arise in response to findings about young people’s needs for appropriate music access.     

The Defeat of the Guitar Army: Don DeLillo,John Sinclair,and the Rock Revolution

Abstract

Don DeLillo’s 1973 novel Great Jones Street is seldom analysed as a serious engagement with the rock music and countercultural politics of the 1960s, yet these constitute its historical context, its subject matter, and its central concerns. An historicized reading positions the novel as an intervention into contemporary debates about the causes and consequences of the defeat of the 1960s ‘rock revolution’. These debates were most thoroughly synthesized by the rock culture’s chief agitator and organic intellectual John Sinclair in his 1972 book Guitar Army. Like Guitar Army, Great Jones Street dwells on the connections between the political failure of the rock revolution and the provenance and validity of rock’s anti-rational aesthetic. Sinclair finds political hope in re-emphasizing rock’s anti-rationalism, rooted equally in black music and the psychedelic experience. More sceptical, DeLillo offers a very different reading of the rock culture’s view of African American aesthetics and its use of psychedelics.     

Romancing the nation,effacing history: reading Kenya through patriotic choral music

This article looks at music as one of the channels used by oppressive regimes to persuade the public to pledge loyalty to the nation and government of the day while at the same time blinding citizens from acknowledging the social, economic and political realities on the ground. Music composed, performed and accompanied by dance and visual images, and subsequently broadcast through different media channels, can be effective in achieving this mission. This article examines the song Tuishangilie Kenya (1984, revised 2012) as an example of the way music and performance in the Kenyan context become tools to efface substantial historical realities in order to project an imagined vision of a united nation. This article draws on Stuart Hall’s argument that music channelled through mass media can instil a sense of patriotism and national consciousness, and Nicholas Cook’s analysis of music in television commercials, to argue that the 2012 remaking of Tuishangilie Kenya provides a potential avenue for constructing a kind of double meaning, one overtly intended and one subverted at the end. Through an analysis of the song’s lyrical, musical and visual parameters I demonstrate how the audience is “hoodwinked” but how propaganda can backfire.     

Systematization of Kazakh music in Mongolia: activities of theater and radio station during the Soviet era

ABSTRACT

This paper examines the systematization of Kazakh music in Mongolia during the Soviet era in Bayan-Ölgiy Province, focusing on the music collection and preservation activities led by a theater and radio station. Bayan-Ölgiy is located far from Ulaanbaatar; adjacent to Kazakhstan, Xinjiang (China), and Russia. Using three–years participation observation, this study identified three activities in promoting the systematization of Kazakh music in Mongolia: importing musical knowledge and technology from the Soviet Kazakh Republic (1950–1960s); establishing a radio station and audio archive following the Sino-Soviet split (1960s–1980s); collections of Kazakh music in Mongolia (1960s–1980s). These activities were driving forces for Kazakhs to claim their identity in the post-socialist period in Mongolia. Diener found that Kazakh culture in Mongolia was preserved thanks to the geographic isolation of Bayan-Ölgiy. However, this study clearly identifies international relations and Bayan-Ölgiy’s strategic location as drivers of systematization of Kazakh music in Mongolia.     

Lena Finkle’s magic arc: hybrid influences in the Russian American graphic novel

ABSTRACT

The article examines Anya Ulinich’s graphic narrative Lena Finkle’s Magic Barrel and the novel’s use of visual culture from both the author’s Russian and US American backgrounds. The article interrogates the use of history and timelines, Russian art history and Russian art education in Ulinich’s text. It also analyzes other literary constructs that influenced Ulinich’s novel: US American comics/graphic novels and their use of stereotype, and novels by Russian-speaking Jewish American writers, with their thematized Jewishness.     

Influence of musical genres with Andean contents on the components of Peruvian national identity / Influencia de géneros musicales con contenidos andinos en los componentes de la identidad nacional peruana

The purpose of this study is to analyse the influence of different musical genres with Andean influences (Huayno, Chicha and Rock/Fusion) on the components of Peruvian national identity. To this end, we enlisted the participation of 92 upper-middle-class people (M = 19.91, SD = 1.95). The participants were randomly assigned each music genre in three experimental groups: Huayno (n = 30), Chicha (n = 31) and Rock/Fusion (n = 31). The results show that Rock/Fusion is the most highly rated musical genre with the most positive influence on some stereotypical components of national identity, attitude towards music and positive emotions. In contrast, the more ‘Andeanized’ genres, especially Chicha music, are perceived more negatively and have fewer positive effects on the stereotypical components of national identity, attitude towards music and positive emotions. The discussion suggests that the influence of the musical expressions evaluated depends on the ascribed status of the social group where these expressions were originally conceived and are currently consumed.     

Rhythm Nation

ABSTRACT

Bion’s remarks about music were few but fascinating. This paper provides a close reading of Kendrick Lamar’s To Pimp a Butterfly (2015), an album that has been embraced as the musical centerpiece of the Black Lives Matter movement in terms of Bion’s profound comments on the power of rhythmic speech to engage other minds and bodies in otherwise noncommunicable aspects of experience. Bion’s observations about rhythm are elaborated with respect to the French psychoanalyst Nicolas Abraham’s notion of “rhythmizing perception” and Freud’s fundamental rule of psychoanalysis.     

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.     

On Being Bad and Good: My Brilliant Friend Muriel Dimen

ABSTRACT

This essay focuses on Muriel Dimen’s work on ambivalence as an important factor in female identity formation through a parallel with Elena Ferrante’s My Brilliant Friend novels.     

The sampling continuum: musical aesthetics and ethics in the age of digital production

This article argues for a view of popular music production that better accounts for sampling than has historically been the case by viewing it as a continuum of activity. Weighing evidence from interviews with musical practitioners against the legal and industry frameworks, we illustrate, first, how sampling has been legally differentiated from other types of musical copying. Secondly we show that, despite this, comparable ethical codes exist within and across musical methods wherein sampling is part of the spectrum of activities. Thirdly, we discuss the ubiquity of digital technology within popular music production and the resultant closer relationship between sampling and other musical techniques moving onto, fourthly, how the sampling aesthetic has become integrated into musical practice in a manner insufficiently accounted for by its legal and industrial contexts. This ‘post-sampling’ reality places sampling and other musical techniques along a spectrum, in practical and ethical terms, and musicians would be better served by sampling being treated as part of the overall musical palette, allowing both scholars and the law to concentrate on ideologies of practice across the tools that musicians use rather than between different specific techniques.     

Sound,silence, music: Organizing audible work settings

Music is by and large an underexplored social resource in the organization theory framework. There is small but intriguing literature on the uses of music in organizations, stretching back to the days of the engineering revolution, and a body of texts examining the innovation of musical instruments, but music remains primarily a marginal phenomenon in organization theory. Drawing on a variety of literatures, this paper suggests that music plays a key role in creating possibilities for agency. Studies of the use of music in manufacturing settings and in retailing provide empirical evidence of how music is not detached from broader social interests and concerns but rather is a constitutive element in the social fabric. The paper concludes that music and the scholarly field of musicology are two domains to be further explored in organization theory and management studies.     

Moses and nation-building Zora Neale Hurston's Moses,Man of the Mountain and Edward Said's Freud and the Non-European

Abstract

This article examines the significance of the representation of Moses as an Egyptian in Zora Neale Hurston's Moses, Man of the Mountain and Edward Said's Freud and the Non-European. Pairing Hurston and Said continues Said's project of seeing authors 'contrapuntally', so exposing imperialism as a neglected, if submerged, context for Hurston's response to nationalism in Moses. I argue that Hurston's novel cannot be read as a straightforward critique of race-based nationalism. Although Moses is of a different ethnic group to the Hebrews he leads, Hurston's portrayal of his rule is haunted by imperialism, in which one ethnic group exploits another. In this sense, Moses, Man of the Mountain bears the signs and strains of her struggle against racialist thinking.     

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.     

The becoming of an archive: perspectives on a music archive and the limits of institutionality

ABSTRACT

The call on South African music departments to critically engage with their curricula in order to reflect the broader music landscape wherein they function has been ongoing for the past 40 years. While some departments did engage in strategies to transform their curricula, various scholars have pointed out that most of these institutions have to some extent remained fixed within conservative syllabi and ideological practices conceived to serve the previous dispensation. It is within this field of discursive engagement and political actions directed towards change that archives can play an important role in decolonising higher education institutions. While recognising that archives work to a slower historical beat than what is currently (often militantly) demanded in debates on decolonisation in South African universities, this article wishes to argue that this temporal differential is important in terms of long-term institutional and curricular reform. This article will consider these questions with particular reference to the Documentation Centre for Music (DOMUS), an archive-centred music research project in the Music Department at the University of Stellenbosch. This article will posit that DOMUS’s collection practices and projects may serve as examples of active and radical strategies with the potential to affect change within conservative institutional spaces.     

Max Weber and the Sociology of Music

The sociology of music has been an area largely left to European sociologists. In an effort to generate greater domestic interest in the field, an examination of Max Weber's methodology and an update to his study of music is proposed. Fewer occupations or cultural projects are more social than making music, and the domestic sociological community's absence from the debate is deplorable given the dominant position our country possesses regarding musical production. Weber's Sociology of Music, which combines urban theory, class/labor theory, rationalization theory, and even climatic changes, is an excellent place to begin a thorough discussion of the social components of music. Our present understanding of cultural theories, urban theories, and Habermas's Communicative Action Theory can be employed to improve on Weber's theory; toward a new approach for the study of the sociology of music.     

The musical composition of social reality? Music,action and reflexivity1

Developments in the sociology of music during the 1980s have brought the sub-field more firmly in to the center of sociological concerns, The ‘worlds’ concept, and the concern with music and social status have helped to ground and specify links between music and society. Meanwhile however, questions concerning music's social content have been sidelined. This paper explores music as an active ingredient in the constitution of lived experience. As with other cultural/technical forms, music provides a resource for the articulation of thought and activity. Bodily conduct and movement, the experience of time, and social character within opera are used to illustrate this point. Recent developments in feminist music analysis have been suggestive for the ways in which music metaphorizes social processes and categories of being. These developments can enrich the sociology of music. However, as with all attempts to ‘read’ music's social content, they should be conceived as claims made by analysts who are themselves engaged in social projects. Analytical readings of music have no a priori claim of privilege. A constructivist sociology of music should therefore be devoted to the question of how specific music users forge links between musical significance and social life. A sociology of the construction and deployment of musical realities is capable of avoiding the naive positivism otherwise implicit in attempts to ‘read’ music's social content.     

Engaging with happy-sounding music promotes helping behavior in 18-month-olds

Engaging with music fosters prosocial responding in infants and toddlers. In this pilot study, we examined whether music that expresses contrasting emotions (happy vs. sad) was associated with toddlers’ helpfulness. Seventy-five 18-month-olds from Hong Kong China were randomly assigned to engage with music with an experimenter in one of two conditions: happy- or sad-sounding music. After the musical engagement task, toddlers from both conditions completed the same set of helping tasks. For instrumental (action-based) helping, toddlers were significantly more helpful after engaging with happy-sounding music than with sad-sounding music. Our initial findings suggest that cues linked to happy- and sad-sounding music influence toddlers’ prosocial responses.     

The Attitude of High School Pupils Toward History

Music has been a source of inspiration, of protest, of wisdom, and of emotion for millennia. In the United States, music became woven into the fabric of the culture well before it became a nation and it remains so today. Songs have expressed a range of emotions and informed listeners of historical, social, and political issues at every level of sophistication. Yet our passion for music, coupled with its significance as an artifact of history, has not found its way into classrooms in any prominent way. This article explores four models of using music in the history classroom, each of which ventures to encourage history teachers to consider music, its analysis, and even its creation as integral to history curricula. Each model uses various instructional strategies grounded in tenets of historical thinking and range from a teacher-centered Close Reading Model to inquiry and discovery-based approaches, concluding with a student-centered model of Creative Development.