Music Band Research Articles

Sociocultural Profiles of Women Members of Amateur Music Bands (Example of Nigde)

Kulturunun olusumunda, sanatin en yaygin dallarindan biri olan muzigin yeri buyuktur. Mevcut sehir kulturu icerisinde, muzigin korunmasi, aktarilmasi ve gelistirilmesinde amator muzik topluluklari etkin rol oynamaktadir. Bu topluluklarda faaliyet gosteren kadin uyelerin sosyokulturel profillerinin bilinmesi, kadinin sehir kulturune katkilari kapsaminda dikkate alinmasi gereken bir konudur. Bu arastirmada; Nigde ilinde faaliyet surdurmekte olan amator muzik topluluklarinda yer alan kadin uyelerin sosyokulturel profillerinin analizi, muzige olan ilgi duzeyleri, begenileri, muzik topluluklarindan kazanimlari ve yerelden genele ulkemiz muzik kulturu hakkindaki dusunceleri ortaya konulmus, elde edilen bilgiler vasitasiyla cikarimlar yapilmistir. Anket yonteminin kullanildigi bu arastirmanin bulgularindan, kadinin, sehir ve ulke muzik kulturu hakkinda ciddi bir farkindaliginin bulundugu, bu kulturun aktarilmasi, gelistirilmesi ve yayilmasinda onemli etkilerinin oldugu sonuclarina ulasilmistir.

Beneficencia y música. La Banda del Hospicio de Cádiz

The study of music bands is in an incipient state, as well as their involvement at a pedagogical, social or historical level. There are few studies that deepen the reality of these groups. In the mid-nineteenth century the charity policy implemented music education in hospices to promote their social inclusion and also as a preparation for the profession of musician. At that time the bands and their public concerts had a resounding success, because the means of musical reproduction had not yet appeared and the concerts were not available to all social classes.

A DRM Solution for Online Content Using Blockchain - A Music Perspective

The amount of piracy in the streaming and static digital content in general and the music industry in specific is posing a challenge to digital content owners. The paper proposes a DRM system to monetize, track and control online content cross platforms. The system addresses the need to lowering the barriers of entry for music bands, content reconciliation for royalty payments, and controlling the content after dissemination. The paper benefits from the current advances in Blockchain and cryptocurrencies. In specific, the paper presents a digital currency (Asset Assertion (AA) Token) on a permission based Blockchain to enable the secure dissemination and tracking of the digital content. The paper presents the model, as well as its information schematics. The proposed solution provides the data owner the ability to control the flow of information even after she releases it, by creating a secure, self-installed, cross platform reader located on the digital content file header.

Post-Modern, Post-National, Post-Gender? Suggestions for a Consideration of Gender Identities in the Visual Artworks and Moving Images of Neue Slowenische Kunst

AbstractActive since 1980, the multidisciplinary Slovenian art collective Neue Slowenische Kunst (NSK, New Slovenian Art) and its branches, the fine arts group IRWIN, industrial music band Laibach and theatre troupe Gledališče Sester Scipion Nasice (The Scipion Nasice Sisters Theatre), have seen their works widely and often controversially discussed, most often in the context of subversion and over affirmation of totalitarian imagery, as well as the contemporary nation-state and nationalism. Gender, as another often essentialist category, has not figured prominently in the analysis of NSK’s output and impact. This paper proposes some areas (participation, representation) for investigation, as well as points of departure for a theoretical framework starting with key texts on gender by Judith Butler and R. W. Connell to analyse the moving images, performing and fine art produced within NSK in terms of the role gender plays therein, as well as its relationship to the construction of other defining categories such as nation and class.

Case Studies on Popular Music Band Education in Korea and Abroad

본 논문에서는 대중음악교육이 학교 교육에 적용되는 최근의 경향에 관심을 두고 대중음악밴드를 활용한 학교 음악교육프로그램의 국내외 사례들을 연구하였다. 사례 연구를 위해 먼저 대중음악과 대중음악밴드의 정의 및 대중음악교육의 일반적 특징에 대해 논의함으로써 연구의 방향과 범위를 제시하고자 하였다. 나아가 국내외의 대중음악교육 사례를 문헌연구를 통하여 짚어보고, 최종적으로 우리나라에서의 대중음악교육 활용을 위한 방향성 및 시사점을 도출하였다. 국내의 경우, 대중음악밴드 활용 교육은 대개 교육과정 안에서 보다는 방과후 학교, 동아리 활동이나 학교 밖의 음악교육 프로그램에서 이루어지고 있었고, 점점 관심과 수요가 늘어나고 있어 체계적인 프로그램의 개발의 필요가 있음을 발견하였다. 국외는 미국의 제임스 로빈슨 중등학교의 기타 앙상블과 하버드-웨스트레이크 학교의 리듬 워크숍, 네덜란드의 사운드체크를 조사하여 프로그램의 내용, 교육적 특징과 효과를 살펴보았다. 또한 비영리단체로서 미국 학교의 대중음악밴드 교육을 지원하는 리틀키즈록(Little Kids Rock)이 제공하는 대중음악밴드 프로그램인 모던밴드(Modern Band)에 대해 연구하였다. 사례 연구 결과 우리나라의 대중음악교육의 발전을 위해서는 재정적인 지원, 대중음악교육 프로그램의 개발, 교사 교육의 필요가 있음을 시사점으로 제시하였다.This study explored cases of popular music band education programs in Korea and abroad with an interest in the recent trend of application of popular music in public schools. First by defining key words including popular music and popular music band, and by discussing some characteristics of popular music education in general, researchers intended to propose the direction and range of this study. Case studies on popular music education in Korea and other countries including U.S. and Netherlands through literature review method finally yielded implications regarding popular music education in Korea. In Korea, popular music education took place mainly as after school program, extra-curricular club, or out of school program; and more interests and needs for popular music education were found. Reported results reported the program contents, educational characteristics and effects of guitar ensemble at James Robinson Middle School and Rhythm Workshop at Harvard-Westlake in U.S., as well as Sound Check in Netherlands. Furthermore, Little Kids Rock, a non-profit organization supporting popular music education, and its school program Modern Band were examined. Through case analyzation, researchers suggested implications for continuing progress of popular music educations as need of financial supports, program development, and teacher education.

Música, cultura y sociedad en el ámbito local: el caso de Andújar a través del semanario El Guadalquivir (1907-1917)

Este trabajo, participando de los objetivos y metodología propuestos por el RIPM (Répertoire International de la Presse Musicale), realiza una aproximación a la actividad musical de una localidad andaluza, Andújar, a principios del siglo xx (1907-1917), a través de uno de sus periódicos más importantes, El Guadalquivir, un semanario de orientación conservadora destinado a la información y al entretenimiento. Los resultados obtenidos sugieren, siempre dentro de la línea ideológica de la publicación estudiada, que la vida musical estuvo claramente relacionada (a) con las vicisitudes políticas, sociales y económicas de la plaza y (b) con una serie de entidades privadas y de figuras de la alta burguesía locales, cuyas actividades no obstante estuvieron enriquecidas y complementadas por las desplegadas en torno al cinematógrafo y las bandas de música, de mayor calado popular.

Identifying impact of intrinsic factors on topic preferences in online social media: A nonparametric hierarchical Bayesian approach

Social media offers a new communication channel for users and affords an interactive opportunity between users and the firms about the products and the brands. Understanding what topics are important to users and the corresponding internal motivation is crucial for managers to successfully engage customers and promote business through social media. Assuming topic preference is the outcome of intrinsic factors such as gender, age and personality traits, this paper proposes an improved nonparametric hierarchical Bayesian topic (NHBT) model to investigate the multiple-to-multiple generative relationships from intrinsic factors to topic preferences. The proposed NHBT model employs a three-level generation framework based on Dirichlet process to study the impact of intrinsic factors on users topic preference. Our study of Facebook data shows that NHBT model is able to draw valuable latent topics (e.g. music band, chemical biology, cosplay) from the open social media environment, and reveal the internal motivation for users topic selection behaviors (e.g. users with low conscientiousness and high extraversion personality prefer topics about campus party). Our experiments also show that NHBT model can identify the intrinsic factors dominating topic preferences for individual users, and provide foundations to predict the intrinsic factors for new user generated contents.

Тувинская музыка и World Music

В эссе представлены авторские наблюдения о процессе вхождения тувинской музыки в World Music — нишу мировой музыкальной культуры, в которой представлены этнические музыкальные традиции. Автор был свидетелем пробуждения интереса к традиционной музыкальной культуре в Туве и России, а также процесса глобализации тувинской музыки. Он ставит цель осмыслить эти перемены и выяснить, как они повлияли на саму традиционную музыку, на хоомей.В конце советского времени традиционная музыка в Туве, как и во многих республиках страны, была как бы законсервирована. В период перестройки и процесса национального возрождения традиционность стала восстребованной. В Туве стали проводиться симпозиумы, фестивали, на которых самодеятельные исполнители выступали наравне с профессиональными. Особым почетом пользовались старые мастера хоомея. Ученые активно обсуждали происхождение, роль хоомея и его жанры.Рыночный интерес к хоомею пришел извне. В конце 1980-х гг. американским ученым и продюсером Т. Левиным впервые были проведены полевые записи хоомейжи для выпуска диска. Был создан этнографический aнсамбль «Тыва». Его участники впоследствии образовали свои музыкальные группы. Музыкальные программы составлялись по принципу этнографического дивертисмента, в тот период востребованная форма проведения концертов в самой Туве и за ее пределами. Начались выпуски дисков, гастроли тувинских исполнителей за границей. Резкий рост интереса к феномену World Music ознаменовался знаковым интересом к феномену горлового пения и обертоновой музыки и развитие тувинской музыки с этого времени стало тесно связано с западным музыкальным рынком. Автор прослеживает особенности таких групп, как «Хун-Хурту», «Ят-ха» и др., и отмечает, что ценность тувинской музыки не столько в звездах, покоривших небосклон западного рынка, сколько в образовании стабильного сообщества людей, вдохновленных этой музыкой и культурой, ищущих новые пути эстетического и духовного мировосприятия.Сегодня Тува имеет свои рок-группы, авангардные, женские и т. д. Горловое пение стало востребованным видом вокального искусства. Тувинская музыка привлекла сотни тысяч поклонников по всему миру. Распространение звуконосителей, в особенности тувинской музыки, позволило музыкантам Саяно-Алтая и Центральной Азии заново открыть многие жанры собственной традиции.C начала 1990-х годов тувинская музыка ворвалась в мировое сознание наподобие монгольского нашествия. Очевиден глобальный успех тувинской музыки на мировом музыкальном рынке. Но неизбежен процесс нормализации восприятия тувинской музыки внешним миром. К статье прилагаются аудиофайлы (см. «Дополнительные файлы» во вкладке «Инструменты для статьи»).

Тувинская музыка в школах США

Статья представляет собой наблюдения автора в области музыкальной антропологии; поднимается тема восприятия этнической музыки слушателями из другой культурной среды.Автор родился и вырос в США. Закончил колледж «Макалестер» в г. Сэйнт-Пол (Миннесота) со степенью бакалавр по музыке и древним языкам. Получив грант «Фулбрайт», в 2003 г. впервые приехал в Туву с целью изучения тувинского горлового пения, культуры и языка. Был учеником многих известных хоомейжи Тувы. Впоследствии вернулся в Туву, продолжил совершенствовать свое исполнение хоомея. Работал музыкантом Тувинского Национального оркестра. В совершенстве освоил тувинский язык. В 2008 г. ему присвоено звание «Заслуженный артист Республики Тыва». С 2015 г. работает специалистом-артистом в Центре развития тувинской традиционной культуры и ремесел, выступает в составе Национального оркестра Тувы.С 2006 г. стал менеджером тувинской фольклорной группы «Алаш». Успешно организует гастроли группы по всему миру, одновременно работая в ансамбле в качестве продюсера, менеджера, переводчика и звукорежиссера. Побывал с группой во многих странах. Был продюсером трех студийных альбомов ансамбля.Много концертных выступлений было организовано в учреждениях образования (в школах и колледжах) Америки. В своей статье автор описывает реакцию людей, которые впервые в своей жизни сталкиваются с тувинской музыкой и какой ошеломляющий эффект производит на них тувинская музыка. Его антропологические наблюдения представляют чрезвычайный интерес для таких наук, как музыковедение, культурная антропология, психология, культурология и т. д.

CREATIVE ACHIEVEMENTS OF THE LEADING MUSIC BANDS OF UKRAINE

The article is devoted to the examination of modern Ukrainian variety art and show business. The purpose of the article is to analyze the creative achievements of young national bands and artists in the international music arena and define their cultural value to Ukrainian culture and art. The problem setting is conditioned by the lack of information in scientific sources about the development of modern music culture in Ukraine during the past decade. The scientific novelty of the article is based on the exploraton of the main trends in popular music and the development of new genres. The research methodology consisted in a combination of biographical and textual analysis. The study was concerned with the history and achievements of young music bands, as well as problems of modern show business and their impact on the development of music, based on the analysis of music internet space and articles in specialized music publications. Conclusions. It was proved that Ukraine today is a favorable environment for the development of young music artists; over the past few years there has been a large number of lovers of the domestic music product. New performers decently represent Ukraine abroad and have reached higher positions than their predecessors. It can be stated that, through them, Ukrainian music occupies one of the leading positions in the European music space, which is proved by hosting «Eurovision–2017» in Kyiv.

CULTURAL SIGNS IN TEXTS OF LATGALIAN BANDS

During ten years, since Latgalian popular music has returned to the mainstream Latvian music stage, 44 Latgalian music albums have been released. The lyrics of these songs are written by musicians, Latgalian and Latvian poets and as a result of teamwork of poets and music authors. The subject of the present research is represented by cultural signs in the song texts of Latgalian bands; the research object is song lyrics of Latgalian bands. Sources selected for the research are the song texts of Latgalian bands and performers: "Borowa MC", "Bez PVN", "Dabasu Durovys", "Green Novice", Laura Bicāne, "Kapļi". Some musicians and bands use Latvian and Latgalian folk songs in their music, yet they are not discussed in the present research. Other musicians use works of Latgalian poets, which are mentioned here only for comparison. Therefore, the key focus is on texts written by musicians themselves, collected from the released music album brochures and from correspondence with band members. The texts of schlager music bands are not examined here either, as they are worth making a separate research.It must be admitted that cultural signs in the examined texts do not occur particularly often, although the feature of the post-modernist culture is related to reassessment and mock of previous culture, the song lyrics are still rather romantic, traditional and compliant with the requirements of mass culture. The use of cultural signs is not characteristic of bands "Green Novice", "Bez PVN" and performer Laura Bicāne, therefore, the song texts of bands "Borowa MC", "Dabasu Durovys" and "Kapļi" are analysed the most. The research has been carried out based on the method of structural semiotics (J. Lotmans, R. Veidemane) by analysing cultural signs found in the selected texts.The signs related to cultural history are rather traditional: Latgale, Latgalians, rarely, some specific natural or geographical objects relevant to cultural historical events or associated exactly with the Latgale region. However, the search for territorial and ethnic identity and its construction for oneself and others (mostly, neighbours of other regions) is one of the main questions in the lyrics. As the mentioned bands "Borowa Mc", "Dabasu Durovys" and "Bez PVN" play popular, mass-oriented music, their texts are mostly intended for broad public, therefore, the first features that characterize the song lyrics of Latgalian bands are the cultivation and preservation of stereotypes. These stereotypes are divided into two groups:1) favourable, emotionally uplifting, sometimes even rousing self-confidence; 2) critical, prejudiced, causing negative atmosphere and emotions.The poetical rock band "Kapļi", which belongs to an alternative direction of Latgalian music and has ironic, sarcastic texts, sing about cultural signs related to Latgale in a completely different way. Their lyrics show a different view of things that are holy, inviolable, and indisputable to many Latgalians.Regarding cultural signs representing the folkloristic level, it must be noted that in this research ‘folkloristic’ is meant in the broadest sense of this word (not only folk compositions, but also events, objects, things that have become a part of folklore over time, often becoming subjects of literary tales), for instance, Pinocchio, the main character combines several characters: a fool, a body-builder, and even a lyrical ego seeking for its own identity. All character appearances, which are reflected in other songs about the modern hero, suggest that the character avoids activity or makes the new world unstable by drawing, making it from plasticine, using the phone, and consequently, creates a virtual world which is modern and transitory. "Dabasu Durovys" reveals their life philosophy and search for meaning with the help of historical cultural signs, for instance, the river Rubicon, known from ancient times, meaning the breaking of links to the past and not returning to previous situation, or the royal court of the Sun King, that symbolizes absolute monarchy, or Napoleon, etc.“Little man” and his daily life are related to another group of cultural signs. Depiction of daily life in poetry shows on the one hand that the author values the place and time of his life; on the other hand it demonstrates an artistic approach to everyday reality. These texts usually convey tragically ironical feeling and show modern typical dramas right beside us. Such characters most frequently appear in the texts of the bands "Kapļi" and "Dabasu Durovys".Even though cultural signs do not appear in the texts of Latgalian bands frequently, they are diverse. Cultural historical signs, which appear in patriotic and ironic lyrics, reveal authors’ homeland Latgale and Latgalians with their typical positive and negative stereotypes. Cultural signs related to Latvia and Europe highlight ironically sharp reality of emigration and infrequent visits to Latvia and are bound to several historical periods, which are mostly related to domestic, rarely social political situations.

Beyond the Fife and Drum: Northern Protestant Working Class Cultures

The author contends that throughout the duration of the present conflict in NorthernIreland, the world has been repeatedly given a one-dimensional image of this culture depicting it as mainly a product of ethnicity and also a reflection of class sentiment and lived experience.As drummer and songwriter of Ruefrex, a musical band internationally renowned for its songs about the Troubles conflict in Northern Ireland, Burgess discusses the need to express Protestant cultural traditions and identity through words and music. Citing Weber’s argument that individuals need to understand the world and their environment and that this understanding is influenced by perceptions of world order and attitudes and interpretations of symbolic systems or structures, the author argues that losing the importance of symbolic structures in relation to actual events will result in failure to understand why communities embrace meaning systems that are centrally informed by symbol and ritual. In his mind, rather than seeking to promote an understanding of Protestant or Catholic reality, it is important to speculate how the practice of difference might be used in developing any kind of reality of co-operation and co-ordination

ФОРМУВАННЯ ВМІНЬ ДЖАЗОВОГО АКОМПАНЕМЕНТУ МАЙБУТНЬОГО ВЧИТЕЛЯ МУЗИКИ У ПРОЦЕСІ ФОРТЕПІАННОГО НАВЧАННЯ

The article highlights the ways of development of jazz accompaniment skills of future music teacher in the process of his piano training. It examines the genre and stylistic peculiarities of solo piano jazz standards, specificity of jazz trio music playing. It suggests the methods and musical creative tasks for effective development of jazz accompaniment skills. A piano is an important musical instrument which plays a significant role in jazz development. The artaesthetic development of student, his creative abilities training and formation of music performing competence occur in the process of such education. An important aspect of development of jazz accompaniment skills is mastering the stride-piano technique. This style requires a perfect performing technique and ability to play with the left hand as fluently as with the right one. Considering the individual peculiarities of a future music teacher, his technical level and a step-by-step methodology will provide for effective stride-piano technique mastering in the process of his piano training. The use of the jazz accompaniment creation method will provide for the broadening of a performing capability of a future music teacher while accompanying a solo singer or a music band. In the following article the musical creative tasks and practical exercises aimed at the development of the left-hand playing technique and coordination on a piano keyboard and mastering the basic jazz accompaniment elements, its rythmic patterns have been suggested.

Dibujar Música. Historia etnográfica en imágenes de una banda procesional / Investigating the accompanying pianist.

Este trabajo es el resultado de una investigación casi obsesiva por mi parte y de carácter etnográfico, se intenta explicar el significado de una banda procesional desde dentro, qué es de ella durante el año, qué pasa, cómo funciona… en definitiva, intento contar aquello que no se ve a simple vista en una procesión o un concierto. Todo esto no está contado de cualquier manera, lo cuento mediante ilustraciones y pequeñas anotaciones graficas, de forma que todo se entienda mejor y que el lector no se haga una interpretación distinta a la que yo quiero transmitir. Además aprovecho para unir dos disciplinas artísticas: la música y la pintura. Mediante los trazos doy significado a distintos aspectos musicales y a algo tan complejo como es una banda de música de Semana Santa, que además cuenta con gran numero connotaciones y significados propios.Investigating the accompanying pianist.Throughout the different epochs and educational systems, the pianists have been formed in the majority of the cases like interpreters, although almost all they end up working as piano teachers. Some few decide to opt for the specialty of Pedagogy of the Piano, a specialty oriented to the teaching. However, for the last years the most affordable work for young pianists who want to join the public system of education in our country is that of accompanying pianists. Although the number of pianists who perform this work increases each year according to the different lists of personnel placement, there is not currently in Spain a specialty focused on the preparation of accompanying futures. About this and other problems related to the practical exercise of the work and the lack of stability in their administrative situation complain the accompanying pianists in addition to the teachers and students of the different specialties of Music, Dance and Dramatic Art. However, despite the need to address all of this problem from a scientific perspective, the number of research carried out on this subject is very scarce in our country, so we believe that it will be very useful to compile a bibliography more relevant in this field of research. In the following article, articles, books and theses written both in Spain and abroad in relation to the figure and the work of accompanying pianists will be exposed and analyzed with brevity

Networked Flow in musical bands

This study aimed at using the Networked Flow (NF) model to investigate group collaboration in the context of musical bands. We analyzed the relationship between flow, social presence, structural dynamics and performance as they related to 15 bands in a rehearsal room. Flow was measured using the Flow State Scale; social presence was assessed with the Networked Minds Social Presence scale; and interpersonal communication structure (exchange of gazes and verbal orders) was assessed by means of Social Network Analysis (SNA). In addition, we considered: (a) a subjective measure of performance, rated by each member on an ad-hoc questionnaire; and (b) an expert rating of performance, based on the evaluation of audio-video recordings of each group. Findings showed the multifaceted nature of the relationship between social presence and flow. Group flow score was a significant predictor of self-reported performance, but not of expert-evaluated performance. Moreover, several correlations were found between flow, social presence and patterns of interpersonal coordination (both implicit and explicit). Specifically, SNA reveals that flow was positively related to exchanges of gazes and negatively associated with exchanges of orders. Overall, this study contributes to further elucidating the complex interplay between group flow and intersubjective dynamics in music collaboration.

Modernity of Shakespeare’s Performances in Korea focusing on Romeo and Juliet by Oh Taesuk and A Midsummer Night’s Dream by Yang Jungung

Romeo and Juliet by Oh Taesuk and A Midsummer Night’s Dream by Yang Jungung have been noted for their characteristics of Koreanness. However, this article aims to focus on the modernity of these two performances. Against the general opinion that these works represent only Koreanness, they have strong ‘modern’ characteristics that are immersed in themselves so that those qualities are not that manifest. Those qualities are the uses of montage technique, performativity, and body and gestures. The montage technique, which was a Brecht‘s concept, stresses the rupture of the flow of the plot. Therefore, the stop of the flow becomes noticeable to the audience so that the significance of the moment becomes stronger. Performativity refers to a coexistence of the stage and the audience. If performativity is strenghthened, then the stage can be more communicative with the audience and the audience participation in the work can be more possible. In addition, gestures are an active participator for thought, which means that gestures induce thought from the audience. Significant gestures are mostly poetic and are like images which have strong implications. In Romeo and Juliet by Oh Taesuk and A Midsummer Night’s Dream by Yang Jungung, these three qualities are broadly and deeply prevailed. For example, when Tybalt kills Mercutio, Oh Taesuk uses the stoppage of the performance and slow actions, therefore the continual flow of the plot is interrupted and the meaning of the moment is stressed. Its meaning is that those killings will strongly affect Romeo and Juliet’s love. Another example of the increased performativity is that Ryu and Hang play the roles of characters in A Midsummer Night’s Dream and a little later they become the members of a musical band on the stage, which implies that the work does not depend on the fictional illusion of the theatre. Instead, it provides the recognition of the audience. The audience is supposed to participate in the work by thinking that the work tries to dispel the illusory identification in the work by the audience. These three aspects are variously represented in the two performances. The montage technique represents the fragmented aspect of the modern world. Performativity stands for the flexible and unstable modern world in that every audience reacts to the stage and the work in his own way. This audience participation creates the new interpretation of the work. Furthermore, the use of the gestures are modern too because the use of gestures/bodies does not stand out the reason and logicality. Gestures distance themselves from Descartes’ reason.

Leveraging BIG Data from BIG Databases to Answer BIG Questions

What is “big data?” This phrase has become so commonly used that Wikipedia has an entry for it (and not just for the music band). Big data is generally considered to be datasets that exceed the cap...

Entre la censura y los negocios: notas sobre la industria del corrido de narcotráfico y de la nueva música regional mexicana

This text offers a study about different positions and media reactions around the growing popularity of drug traffic and violence music. The so called narcocorrido, with roots in the musical cultures of the border region between Mexico and the United States, becomes a evidence of the violence associated with criminal activities. But, taking advantage of its contents with lucrative opportunity, get inserted into the transnational record industry regardless of censorship and accusations of conservative moral and other ethical discourses. Findings presented here precedes examination of newspaper articles and interviews with promoters and musicians of regional music bands. Retaking the postulates of Howard S. Becker, the musical production of narcocorrido will be characterized as an Art world, an activity subject to conventions into logical marketing and distribution spaces where its use and enjoyment passes over any prohibition based in social control mechanisms. The authorities however much they try, they face a problem cannot be resolved in any way: narcocorridos are the visible and glamorous part of a more complex political, social and transnational economic dynamics.

Становление музыкальной сатирической иконографии: по материалам зарубежных карикатур XVIII — начала ХIХ вв .

Artistic satire constitutes an extensive part of musical iconography. Good-humored and ironical pictures of musicians captured the essential elements of their creative image, as well as represented fights between the music bands. Providing information on prominent performers and composers they shaped public opinion, imprinted aesthetic senses of epochs and exposed the peculiarities of public musical perception. Musical satirical iconography has never been the subject of an independent research. This articles deals with the Italian and English caricatures of the XVIII — beginning of the XIX centuries that refer to the evolution of satirical musical iconography.

Authenticity in Chinese Minority Popular Music: A Case Study of Shanren, a Multi-Ethnic Indie Band

This paper focuses on the ethnic minority indie music band, Shanren, which presents a representative example of such musicians and their association with authenticity and culture in modern China. Ethnic minority indie bands are interested in shaping their own identity in contrast to the officially promoted minority music scene found in mainstream media. Shanren, as an example, seeks to represent themselves as connected with “nature and reality,” instead of being motivated by modern trends in music and culture. They achieve a sense of authenticity through visual (instruments, movements, clothing and album cover art) and aural (vocal and instrument timbre, music structure and lyric) production associated with the social aspects of ethnic minority life, especially the migrant workers’ life, represented in their songs.