Music,War and Education: the work of the Pavarotti Music Centre

In this paper, I want to address the various programmes that have been implemented by the Pavarotti Music Centre in Bosnia‐Herzegovina, and the impact that these programmes are having on young people. Music has proven to be an instrument that can bring people together from various backgrounds and also allows young people to cope with their traumatic experiences.     

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.     

Aesthetic Identity,Race, and American Folk Music

This article uses the concept of aesthetic identity to interrogate the relationship among musical genres, social movements and racial identity. American folk music has at some times subverted and other times reinforced the categorical boundaries between blacks and whites in twentieth-century United States. Aesthetic identity is the cultural alignment of artistic genres to social groups by which groups come to feel that genres represent our or their art, music, and literature. Genre boundaries then become social boundaries. Folk music inverts the usual relationship of genre and social boundaries. Folk music is always the culture of some other, either racial, regional, class, or national. Before it was called folk music, American vernacular music was much more racially integrated than the society around it, creolized across a spectrum from predominantly European to predominantly African- influenced, but with most exhibiting both. Before the era of commercial recording, black and white musicians sang the same music, learned techniques and songs from each other, and shared a social world of performance. The concept of folk music was created by academic elites, but remained unfamiliar to most people until the organized left took it on as a cultural project in the late 1930s and 1940s. Both academic elites and political activists constructed the genre as an alternative to the racialized genres that the commercial recording industry had dubbed race records and hillbilly music. American communists and their allies were especially self-conscious about using folk music as an instrument of racial solidarity in a particularly racially polarized era. Submerged by McCarthyism until the 1960s, folk music was revived as a racially unified genre, but quickly became whitened. My explanation for why the folk revival was so white revolves around three factors: the continuing legacy of commercial racial categories, the failure of the New Left to control music through a cultural infrastructure as effectively as had the old left, and the cultural momentum of an understanding of folk music as the music of the other at a time when blacks were trying to enter a system that white middle-class youth were rejecting.     

A Sociology of Attachment: Music Amateurs, Drug Users

After describing objects as networks, we attempt to describe 'subject-networks'. Instead of focusing on capacities inherent in a subject, we attend instead to the tactics and techniques which make possible the emergence of a subject as it enters a 'dispositif'. Opting for an optimistic analysis of Foucault, we consider 'dispositifs' and their constraints to be generative: they do not simply reduce but also reveal and multiply. The generative power of 'dispositifs' depends upon their capacity to create and make use of new capacities in the persons who pass through them. Drawing upon a diverse body of literature and upon fieldwork among drug addicts and music amateurs, we show how this point of entry into the question of the subject immediately and irredeemably undoes traditional dichotomies of sociology. It becomes impossible to continue to set up oppositions like those of agent/structure, subject/object, active/passive, free/determined. We also have to look beyond studies of 'action' and describe 'events'. Through the words and trials of the music and drug lovers, it becomes clear that the subject can emerge as she actively submits herself to a collection of constraints. These actors describe necessary yet tentative techniques of preparation to produce this 'active passion', this form of 'attachment' which we attempt to describe as that which allows the subject to emerge—never alone, never a pristine individual, but rather always entangled with and generously gifted by a collective, by objects, techniques, constraints.     

特色酒吧乐场

JZ Club
JZ Club features jazz music from Shanghai and the world. The most authentic Jazz musicians in town keep on performing long after the city goes to sleep. Special drinks and food are available from noon to.9 pm. The live music starts at 9：30 pm.     

Framing Atmospheres: Goffman,Space, and Music in Everyday Life

In this article, we synthesize Goffman's microsociology with recent developments in fields such as aesthetics, geography, and urban studies labeled “atmosphere theory.” Our central rationale is if microsociology is to deepen its account of embodiment and the noncognitive it needs a theory of spatialized moods. In the second half, we develop our synthesis with respect to musical atmospheres and conclude by drawing on our own research regarding how social actors use music to shape “involvements” and “disinvolvements” in the spatial ambiances of public transportation, the street, the workplace, and the home.     

Music and Social Movements

Music is a key component of social movements. This article addresses the relationship between music and social movements through four foci: collective identity, free space, emotions, and social movement culture. Collective identity is developed and nurtured within free spaces through the use of music. These spaces are often rife with emotions that are instrumental in development of collective identity. A social movement culture may develop as these processes unfold. Music is part of this culture and serves as an important mechanism for solidarity when participants move beyond free spaces to more contested ones. Examples of song lyrics demonstrate these processes. Research on music and social movements, it is argued here, can be enhanced by addressing technology and popular culture.     

Symbolic Interaction as Music: The Esthetic Constitution of Meaning,Self, and Society

Analytical frameworks such as dramaturgy and narrative analysis are respectively grounded in metaphors of life as theater and life as a story. In related fashion, in this article the authors argue for the creation of another metaphor: life as music. Viewing selfhood and symbolic interaction as music sensitizes us to observe and understand an important but much too neglected dimension of social life: the esthetic. Drawing from the pragmatist philosophy of John Dewey, the authors argue that the realm of the esthetic should not be confined to museums and art galleries, for the intentional perception of beauty constitutes the very foundation of individuals' embodied experiences of their lifeworlds. From within our metaphor of life as music we conceptualize beauty as the diverse rhythms, melodies, and harmonies contributing to the constitution of both subjectivity and intersubjectivity.     

Appreciating the Beauty of Music,Painting and Architecture in English Writing

Wen Yiduo, a famous Chinese scholar, put forward "Three Beauty" theory that respectively refers to the beauty of music, the beauty of painting and the beauty of architecture, which is his view on poetry. This theory with important pioneering insight is of great significance to instruct translation from English to Chinese or from Chinese to English, additionally, to perfect English writing. This paper clarifies "what is the beauty of music and the beauty of painting, the beauty of architecture in English writing" and focuses on how to use "Three Beauty Theory" in English writing, as well as help students master the application of "Three beauty" theory.     

Translocality,Network Structure,and Music Worlds: Underground Metal in the United Kingdom

Translocal music worlds are often defined as networks of local music worlds. However, their networked character and more especially their network structure is generally assumed rather than concretely mapped and explored. Formal social network analysis (SNA) is beginning to attract interest in music sociology but it has not previously been used to explore a translocal music world. In this paper, drawing upon a survey of the participation of 474 enthusiasts in 148 live music events, spread across 6 localities, we use SNA to explore a significant “slice” of the network structure of the U.K.'s translocal underground heavy metal world. Translocality is generated in a number of ways, we suggest, but one way, the way we focus upon, involves audiences traveling between localities to attend gigs and festivals. Our analysis of this network uncovers a core‐periphery structure which, we further find, maps onto locality. Not all live events enjoy equal standing in our music world and some localities are better placed to capture more prestigious events, encouraging inward travel. The identification of such structures, and the inequality they point to, is, we believe, one of several benefits of using SNA to analyze translocal music worlds.     

Music and the Social Studies

The author examined the way students enrolled in the Introductory Human Geography course at Kansas State University described their hometowns using the location theme of geography. Participants completed this task as a required take-home assignment. Because the majority of students were from Kansas, the author presents results from locations of Kansas hometowns in this article. Students seemed to prefer to use relative location rather than absolute location to describe their hometowns. Realizing that expressing relative location only in one way may not be sufficient, students described relative location in numerous ways. In doing so, students provided interesting information and new insights about the place theme of geography. They also analyzed how absolute and relative location are subject to change over time. Through this assignment, students realized the importance of location and the significance of interactions of places of different sizes.     

Fetishizing Music as Rape Culture

The concept of “rapey music” has recently emerged as a social problem in feminist and mainstream contexts. Rapey music references songs that critics perceive as artifacts of “rape culture” because they allegedly perpetuate sexual violence, misogyny, and rape myths. This article draws on the concept of “fetishism” to analyze accusations that certain songs are rapey and argues that such songs can be recuperated through a kink lens. In the first part, I review the burgeoning category of songs that have been condemned in feminist media analyses and the weak evidence that connects certain songs to sexual coercion, arguing that the terms “rapey” and “rape culture” operate as negative fetish concepts. I then analyze the disproportionate and more vehement targeting of Black performers, contending that a racialized fetishization underlies this phenomenon. In the last part, I defend music branded as “rape culture” by suggesting that its pleasurable dynamic can be understood through a non-normative kinky fetish framework.