诗意传承、仪式展演与亚文化资本积累——古风音乐圈的亚文化生产与文化认同

古风文化是本土亚文化中蓬勃发展的一个分支，以生产传统文化元素与流行元素相结合的音乐作品为特色，逐渐聚集起了以青少年群体为主的古风音乐亚文化圈。从亚文化的生产实践入手对古风音乐圈的文化认同进行研究发现：在形塑民族认同层面，古风音乐创作者对中华民族的诗意传统进行了现代化改写；在培养群体认同层面，古风音乐圈对内通过符号生产进行群体身份的赋予，对外则通过仪式化展演强化群体认同；在寻求自我认同层面，古风音乐圈成员通过不同形式的音乐生产实践，或是积累亚文化资本，或是回应对个体身份的疑惑。古风音乐作为传统文化在互联网时代的良好呈现形式，成为提升青少年群体文化认同感的催化剂，也响应了新时代构建文化自信的国家策略，但在发展过程中也存在文化价值被商业价值遮蔽、创作者的话语权被削弱、组织松散缺乏优秀领袖等问题。     

对流行音乐引入中学音乐课堂的一些思考

流行音乐作为当代社会多元音乐文化的一部分,其对于整个社会大众的社会功能、审美功能、教育功能是不容忽视的,尤其是其独特的娱乐功能,对于当代的中学生更是具有重要的作用,如何合理地、最大化的运用流行音乐的教育功能、社会功能,尤其是在中学音乐课堂中如何合理地、正确的引入现代流行音乐,已经成为我们无法回避且要正确对待的时代研究课题,在这里对流行音乐进入中学音乐课堂进行探讨与思考。     

浅谈流行音乐如何进入课堂,激发学生的学习兴趣

在音乐课堂中是否引入流行音乐一直作为备受关注的话题争论不休。笔者认为在中学音乐课上请流行音乐走进来是利大于弊的。而音乐教师则肩负着引导学生正确学习、辨别、欣赏这些流行音乐,真正使音乐在美育上的作用充分发挥出来,激发学生兴趣,对新课程背景下的音乐欣赏教学起到了积极推进作用,真正使音乐在美育上的作用充分发挥出来,提高学生的审美能力,让学生享受到音乐给予的乐趣。     

青年亚文化"城市漫游者"观看实践 与视觉政治

"城市漫游者"是青年亚文化在城市空间场域下所呈现的视觉形象。城市塑造着亚文化青年观看世界的方式,同时影响着大众观看青年亚文化的方式。"城市漫游者"的观看实践最终路径是引发视觉政治。视觉政治,是对视觉表象和视觉文化的空间生产、占有和压榨的政治活动。在青年亚文化"城市漫游者"这里,它是私下的、个人化的,是无意识的表征实践。     

试谈初中音乐教学中流行音乐的引入

随着时代的发展进步,人们对音乐艺术的追求日益增长,流行音乐的出现使人们的艺术生活更加的丰富。但是受传统教学观念和教学习惯的影响,当前音乐教学依然是以学习经典乐曲为主,流行音乐鲜少涉及,教学与社会潮流脱节不利于学生音乐审美的培养。本文试对初中音乐教学中流行音乐的引入进行探究,为初中音乐教学改革提供思路。     

基于初中音乐教学的流行音乐引入分析

音乐是一门艺术类的学科,学生在学习的过程中,可以提升自己的审美能力和艺术情趣。流行音乐是当前比较受欢迎的一种音乐形式,将流行音乐引入初中教学,可以有效提升学生的学习兴趣,提升音乐教学的质量和水平,帮助学生培养对音乐的热情。良好的音乐氛围也可以给学生提供一个轻松的成长环境,同时解决音乐教学中出现的问题。本文主要对流行音乐引入初中教学进行了分析,并提出了一些引入的手段。     

地方音乐在高师器乐教学中的传承与发展——以蒙古族音乐为例

蒙古族音乐具有悠久的历史及丰富的文化资源,蒙古族器乐文化更以它独特的魅力展现民族精神风貌与民族性格特征。然而,随着各种流行音乐对人们艺术审美的影响,民族音乐就陷入了被边缘化的境地。这时,传承与发展就成为蒙古族音乐生存的重要条件。我们应该有效利用文化与教育资源,通过认真组织与实施,将蒙古族器乐及乐器演奏特点运用在民族器乐教学中,将这种乡土音乐在高校教育中进行不断地传承,使其焕发出新的生机。     

流行音乐与中国风的融合

流行音乐不是单一元素的音乐,而是多种不同元素的构成体,中国流行音乐的发展可以说是伴随着中国改革开放的进程,从封闭到半封闭,从开放到融合,逐渐在与国外流行音乐的冲击碰撞和对国内音乐传统的内向回归审视中形成了具有中国特色的流行音乐文化系统。在这个流行音乐文化系统中,流行音乐与中国风的融合体现的尤为明显。研究中国风的概念特点以及流行音乐与中国风的融合形式,对于中国流行音乐的独立、长足发展具有十分重要的意义。     

试论流行音乐现代传播的新趋势

流行音乐已经成为人们日常生活的组成部分,成为受众的一种文化体验。伴随着传播技术的日新月异,在流行音乐的现代传播中,也体现出风格化、交互化、消费化等重大变革,为流行音乐的发展,提出了新的更高的要求。     

浅谈当代中国流行音乐的审美特征

<正>流行音乐最初起源于欧洲,后来在各个国家得到了不断发展。随着社会制度的变革、意识形态的转变,流行音乐也受政治、经济、文化等诸多因素的影响,在世界沃土上不断地发展壮大起来。流行音乐以其独特专有的特点,给其他音乐、音乐的观赏性以及音乐的理论创作等方面带来巨大的效应。其不仅使我国音乐的发展方向发生了重大改变,也对我国文化发展起了较为深远的影响。如果说一种文化能够一直存在并且持续发展,必定有其存在的价值,所以,对于中国流行音乐的发展以及未来走向的研究,具备非常重要的意义。     

Barbie Zelizer,Ed., Visual Culture and the Holocaust/Matthew Baigell and Milly Heyd,Eds., Complex Identities: Jewish Consciousness and Modern Art

Mass media and the culture it carries have been identified as a key site of conflict in the so-called culture wars, pitting evangelical Christians against mainstream American society. Paradoxically, Evangelicals historically have appropriated the spectrum of forms of popular culture in America and secular commercial practices for evangelizing vehicles and, at the same time, contributed an evangelical voice to that culture. The author argues that Evangelicals' use of media has moved into a new level of sophistication enabling effective entry into the national discourse, partly through dramatic growth of contemporary Christian music. Given this phenomenon, the author examines issues of identity and social forces driving the subculture; he also explores potential influences or effects on the broader secular culture. Using a range of cultural theory, the author argues that the movement toward religious messages in the form of popular music enables the subculture of evangelical Christians to resist against a dominant secular society by taking possession of a cultural form and redefining it as their own, empowering them to effect an influential voice in the cultural discourse of American society.     

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.     

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.     

'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.     

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.     

Three profiles of heavy metal fans: A taste for sensation and a subculture of alienation

Profiles of three fans of heavy metal music are presented, in order to examine the definition and boundaries of the heavy metal subculture. It is suggested on the basis of these profiles that a high level of sensation seeking can lead to a liking for heavy metal music, because the music provides such high-intensity sensation. However, fans become part of thesubculture of heavy metal music only to the extent that their high sensation seeking is combined with alienation. Although all three people profiled enjoyed the high sensation qualities of the music, their involvement in the subculture varied according to the depth of their alienation. Jack, deeply alienated, was deeply committed to the subculture. Brian's alienation was moderate, and his involvement in the subculture was moderate as well. Marvin was not alienated in the least, and was essentially outside the subculture.     

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.     

MUSIC THAT MOVES: POPULAR MUSIC,DISTRIBUTION AND NETWORK TECHNOLOGIES

This essay examines the consequences of technology for how music reaches people and for how people reach music. It is argued that new media technologies, particularly the Internet, create new territorializations of space and of affect. The spatial distribution of music wrought by new technologies provides an opportunity for cultural studies to bring distribution to the centre of the study of media. By so doing we can better understand cultural processes as not only industrial ones but ones of geography, audience and fan, and thereby de-centre production and consumption as the sites of cultural critique.     

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.