Music Artists Research Articles

“I ain't sorry”: African American English as a strategic resource in Beyoncé’s performative persona

In this paper, we examine the role language plays in the development of the performative persona of musical artist Beyoncé, as she moves from female pop star to Black Feminist icon. Examining Beyoncé's five solo albums, we present a variationist analysis of a single feature, zero copula, and its use over the course of her career. We argue that this feature is an important symbolic resource for the assertion of an unapologetically Black and feminist persona. As Beyoncé has moved steadily away from popular expectations for representations of Black womanhood, language is a central tool that she uses strategically in the evolution of a newly transgressive persona.

Chasing Dreams, Finding Nightmares: Exploring the Creative Limits of the Music Career

Chasing Dreams, Finding Nightmares: Exploring the Creative Limits of the Music Career

ET: Statistical study to investigate the descending trend of Live Music Industry in Pakistan

Due to the growing demand for concerts after a decline in recorded music sales, the globally live music industry has become an important income source for music artists and countries’ economies. In Pakistan, neither music artists nor the economy could take advantage of this opportunity due to certain factors. The present study was designed to investigate the influences of factors such as extremism and terrorism (ET) and security issues (SIs) on the live music industry in Pakistan. Data was collected through an online questionnaire from 203 music artists and was statistically analyzed through a regression test using SPSS techniques. The findings of our study depicted that these factors had a negative influence on the live music industry. Besides, the frequency of live music events decreased with the increase in the magnitude of these factors.

Rap Facts or Fictional Narratives: How Prosecutors are Using the Creativity of Hip-Hop Artists Against Them

The author of this Comment surveyed the lyrics of many current hip-hop artists, along with many articles and novels, to find just how popular and prevalent crimes are in in the hip-hop industry. Research led to the finding that the industry of hip-hop has become commercialized. Court transcripts of cases involving various hip-hop artists were used in order to exploit the path prosecutors take when seeking to admit evidence of defendant-authored lyrics. For many years now, prosecutors have had their way when bringing cases against defendants who happen to also be musical artists. Specifically, prosecutors have been able to maneuver their way around the Federal Rules of Evidence by admitting music videos and lyrics written by the defendant into trial. From putting a theoretical cap on the careers of artists in the hip-hop industry, to the belief that rappers actually engage in all the behavior that they write about in their lyrics, this Comment illustrates the dangers and biases that are reinforced when prosecutors are allowed to partake in this underhanded practice. While evidence of the defendant’s conduct is generally inadmissible, when using the evidence to prove something other than character, such as intent, motive, or as a confession, the evidence is often deemed admissible. Throughout my research, it was found that while some prosecutors often attempt to admit the character evidence for a reason such as motive, the underlying outcome is what they are actually after, to present the character of the defendant in a bad light. Once a jury hears lyrics of a defendant detailing how he “kicks in doors” or “catches bodies” or watches a music video in which the defendant plays a role in a murder, the character and reputation of the defendant is tarnished for the remainder of the trial. For reasons explained in this Comment, the author purposes that the determination of admitting lyrics or music videos of the defendant into trial become more in-depth by using lyrical experts and making the inquiry into the realism of the lyrics being offered more critical.

“Authenticity” in Popular Electronic Music

This study explores the construction of “authenticity” and related identity-competencies in popular electronic music through an investigation of the music group Ladytron during their formative first decade: 2001-2011. Textual analysis is used to examine the Ladytron narrative; the story that discursively emerges in/between industry and popular articles, music reviews, and band interviews. In developing the Ladytron narrative, the band's identity depends on negotiations between a “roots” concept of electronic music authenticity, performing artistic integrity, and interaction with audiences who participated in the perpetuation and maintenance of this alternative/indie identity. The Ladytron narrative shows how music artists might maintain an identity alternative to mass culture, while creating their own space within it.

ZEKİ ÂRİF ATAERGİN İN KÜRDÎLİHİCAZKÂR MAKAMINDAKİ ESERLERİNİN MAKAMSAL İNCELENMESİ

The aim of the study is to reveal the musical identity and composition characteristics of creations in the Kurdilihicâzkâr maqam which were the most of his creations of esteemed composer Zeki Atarif Ataergin who learned and performed (without compromising from the classical understanding) XIXth Century classical Turkish music. Ataergin, who was the XXth century’s Turkish music artist, is one of the most important performers and composers. He transferred music education and culture of the XIXth century to the XXth century. Since he concerned about Turkish music drifted into the abyss he tried to produce creations which were the classical form and in the forgotten maqams while his colleagues produced creations that were preferred by the public. The fact that Ataergin had influenced his contemporaries and today's composers with these devoted works, makes important to carry out this research. The Descriptive method was used in the research. In accordance with the Descriptive method, it was made benefit of Survey model and Historical model. It is determined that the composer used kurdilihicâzkâr maqam skillfully expressing all features of it and he emphasized prominently melodic variety by using his own performance in his creations.

Música sertaneja no circo-teatro

Este artigo tem por objetivo divulgar o resultado de minha pesquisa realizada no Doutorado e as reflexões de seu produto final, o texto de tese, defendido pelo Programa de Pós-graduação da Universidade Federal de Uberlândia em março de 2018. Dando continuidade à s proposições teórico-metodológicas, esse trabalho se apresenta também como possibilidade de ampliar as discussões cujo foco se concentra na relação entre música sertaneja e circo-teatro, sobretudo a produção artística de José Fortuna (1923-1983) em sua experiência com trupe Os Maracanãs na cena paulista de teatro circense entre os anos de 1950-1980. A fim de problematizarmos a complexidade das relações que se constrói entre música sertaneja e circo-teatro à luz de um contexto repleto de transformações socioculturais, marcado pela idealização e materialização do projeto nacional-desenvolvimentista a partir dos anos de 1950, debruçamos sobre as práticas desse artista da música sertaneja. Como sujeito que experimenta o êxodo rural e compartilha das dificuldades de famílias inteiras que deixam o campo passando a viver nos bairros periféricos das grandes cidades, compondo uma massa de trabalhadores pobres aglutinados nos bairros marginais, José Fortuna produziu um repertório que não mais dualizava campo e cidade. Pelo contrário. Fruto de seu tempo, a sua produção artística se apresentou como uma forma de reenraizamento, de conectar-se ao campo mesmo estando distante dele. Mas não só. Com ela se experimentava das novas transformações sociais, possibilitando combinações diferentes à música rural como os novos temas da vida urbana, pinçados pela linguagem artística dos melodramas teatrais encenados no palco do circo.

Elites, communities and the limited benefits of mentorship in electronic music

While the emergence of success in creative professions, such as music, has been studied extensively, the link between individual success and collaboration is not yet fully uncovered. Here we aim to fill this gap by analyzing longitudinal data on the co-releasing and mentoring patterns of popular electronic music artists appearing in the annual Top 100 ranking of DJ Magazine. We find that while this ranking list of popularity publishes 100 names, only the top 20 is stable over time, showcasing a lock-in effect on the electronic music elite. Based on the temporal co-release network of top musicians, we extract a diverse community structure characterizing the electronic music industry. These groups of artists are temporally segregated, sequentially formed around leading musicians, and represent changes in musical genres. We show that a major driving force behind the formation of music communities is mentorship: around half of musicians entering the top 100 have been mentored by current leading figures before they entered the list. We also find that mentees are unlikely to break into the top 20, yet have much higher expected best ranks than those who were not mentored. This implies that mentorship helps rising talents, but becoming an all-time star requires more. Our results provide insights into the intertwined roles of success and collaboration in electronic music, highlighting the mechanisms shaping the formation and landscape of artistic elites in electronic music.

Song Recommendations Based on Artists with Cosine Similarity Algorithms and K-Nearest Neighbor

The development of the music industry is currently growing rapidly, millions of music works continue to be issued by various music artists. As for the technologies also follows these developments, examples are mobile phones applications that have music subscription services, namely Spotify, Joox, GrooveShark, and others. Application-based services are increasingly in demand by users for streaming music, free or paid. In this paper, a music recommendation system is proposed, which the system itself can recommend songs based on the similarity of the artist that the user likes or has heard. This research uses Collaborative Filtering method with Cosine Similarity and K-Nearest Neighbor algorithm. From this research, a system that can recommend songs based on artists who are related to one another is generated.

'Tony Tetuila vs. Wizkid': A Legal Opinion on the Copyright Infringement in a Ghanaian Aphorism

This article considers the question of copyright infringement in the use of lyrics in a musical work (in which copyright existed) in another musical work as demonstrated in a lawsuit filed by one Tony Tetuila and Tic Tac (two popular musical artists from Nigeria and Ghana respectively) against Wizkid and DJ Tunes (both musical artist and producer in Nigeria) in regards to their recent song titled “Gbese”. The article examines the possible outcome of the lawsuit by relying on intellectual property tenets as “originality”, “fair dealing”, and as peculiar to the Nigerian setting, “folklore and expression”. From the examination, it became apparent that there was no copyright infringement by Wizkid and DJ Tunes, and Tony Tetuila and Tic Tac lawsuit is destined to fail.

Introduction

Introduction Judson L. Jeffries and Shannon M. Cochran We can think of no American music icon in recent memory that has generated more scholarly interest in death than most musical artists have in life.1 Already, Prince has been the subject of three major academic conferences, one in Manchester, England, in 2017, another in his hometown of Minneapolis, Minnesota, in 2018, as well as a two-day symposium at Historically Black Spelman College in Atlanta, Georgia, in 2019. These conventions have attracted people from all over the world. Journal editors have also featured Prince in special issues with the Journal of African American Studies (JAAS) leading the way. Similar projects are slated within the next few years. Dare we say, with Prince's transition, a new fan base has emerged—one that includes individuals who were not yet born when Prince was at his zenith. For 40 years, Prince piqued our curiosity and kept our interest. He shocked us, stretched our imaginations, educated us, titillated us, and, in so doing, enlightened us. Anyone who has studied his music knows there are layers to Prince, layers that cannot be peeled back by just one person. The more layers that are peeled back, the more mutations, one discovers. The study of Prince requires an interdisciplinarity that no one writer or scholar possesses. Writers who embark on single-authored book-length manuscripts about Prince have their work cut out for them. Prince was a multi-instrumentalist whose tastes were wide-ranging and far-reaching. Most people, writers, and scholars alike go their entire lives and never hone their craft, never master their supposed specialty, never step outside of themselves, and never exhibit the kind of intellectual, metaphysical, emotional, or spiritual adventurism that leads to new discoveries not only about their work, but about the world and themselves. Prince, an adventurer, scaled all of these mountains. Because he was a multi-instrumentalist, naturally, his work is, both, multidisciplinary and interdisciplinary. Shannon M. Cochran, whose academic training intersects Africana Studies, English Literature, and Women's and Gender Studies, and Judson L. Jeffries, a political scientist by trade with specializations in Africana Studies, media, and political communication, film, and 1960s revolutionary movements, have set out, first in 2017 in the JAAS and now in 2020 with this publication, to create a body of work that can [End Page 1] be most aptly characterized as PrincEnlighteNmenT: a counterculture, a different way of being, thinking, learning and living. Prince's music encourages us to question the conventional, redefine the firmly established, scoff at the widely accepted, and be unafraid to ignore, if not downright break the rules, as rules are made to be broken. The canon? Rewrite it, but in your own image. Politicians? Stop looking to them for inspiration. The media? Believe half of what you see and none of what you hear. Way back in 1981 Prince crooned, "I just can't believe all the things people say . . . Controversy . . . am I black or white? . . . am I straight or gay? . . . Controversy . . . do I believe in God? . . . do I believe in me? . . . yeah . . . Controversy." In a world where the majority of us are miseducated and destined to be, in the words of Pink Floyd, "just another brick in the wall," Prince, the oracle, pulled back the veil of ignorance, raised the venetian blinds, and convinced us that there were no such things as dead-ends, blind alleys, or cul-de-sacs. Therefore, when Funkadelic sang "So wiiide, you can't get around iiit, Sooo loow, you can't get under iiit, Get Up, So high, you can't get over iiit," there was a young artist in Minneapolis who, just a few short years later, came at it from a different angle. As far as Prince was concerned, there weren't any obstacles that couldn't be overcome; we are only limited by our imagination. For all of Prince's complexity and depth, for him, it was simple—artistry and life are inextricably linked. His genius was in coaxing his listeners (from the shrinking violet to the tone deaf to the know-it-all) to tap into reservoirs of creativity they never knew they had, to think and...

Modernizing Traditional Game Songs through [i]Gqom[/i] Music: A Case Study of Babes Wodumo

Many Gqom music composers and/or singers derive their inspiration from isiZulu izilandelo (traditional game songs). The focus of this paper will be on the Gqom music artist Babes Wodumo and how she adapts traditional game songs, through the addition of a couple of lines and a beat to make her Gqom rhythm. This action contributes to the richness of traditional izilandelo in contemporary spaces. This article contextualizes Gqom within isiZulu cultural and social contexts, deeming it a cultural product. The research material consists of Babes Wodumo’s song lyrics from her different albums and the author’s collection of izilandelo. The article will not include the analysis of sonic qualities of Gqom and izilandelo. It argues that Gqom music is an adaptation which has revitalized and revised izilandelo and introduced this genre to modern entertainment spaces making it easier for izilandelo to be accessed by technology-savvy people. This article recognizes the critical role of technology, TV and live concerts in distributing Gqom. The research shows how traditional orature is incorporated into a new genre which popularizes it in modern entertainment spaces, through music-making technology and rhythm-creating musical instruments. This article employs modernization theory which emphasizes how cultural evolution incorporates and transforms local traditions in new genres.

DETECTION OF PULMONARY FUNCTION ON ACTIVE SMOKERS WHOM REGULARY PLAY WIND INSTRUMENT “PUI-PUI”

The method used to increase the lung capacity value is to practice using a wind instrument, one of which is the traditional Makassar wind instrument, the Pui-Pui. The purpose of this study was to look at the description of the lung capacity values of pui-pui wind instrument players in Makassar City. This research was conducted at the Pulmonary Polyclinic of Wahidin Sudirohusodo General Hospital with 27 smokers using a purposive sampling technique. Examination of lung capacity is carried out using a spirometry device by converting its value based on values based on Pneumobile Indonesia. The results of this study indicate that smokers who have been "Pui-Pui" blown music artists for more than 6 years have lung function: 24 people (89%) who have normal lung impression, 2 people (7.4%) mild obstruction, and 1 person (3.7) mild restriction. The conclusion is the occurrence of lung function disorders due to smoking is minimized by the habit of playing a wind instrument "Pui-Pui", so that this can be used as a medium of prevention or treatment to improve the lung function of those who have smoking habits.

Study on the Effects of the Servant Leadership of Performing Arts Organization on the Relational Quality, Customer Orientation, and Performing Performance

본 연구는 예술단 리더의 서번트리더십이 예술단원들과의 관계품질 및 고객지향성과 공연성과에 미치는 효과를 파악할 목적으로 수행되었다. 예술 공연은 생산과 동시에 소비로 연결되는 특성을 가지고 있다. 따라서, 성공적인 공연을 위해서는 고객 만족을 위한 프로그램의 구성이 필수적이다. 고객 만족지향성을 높이기 위해서는 예술 단원의 협력적 관계가 필요하다. 단원 간의 관계결속을 위해서는 예술단 리더의 적절한 리더십이 요구된다. 예술단 리더의 리더십이 권위주의적 방식에서 섬김의 서번트리더십으로의 전환에 대한 검토가 필요한 시점이다. 서번트 리더십이 과연 예술단단원들 간의 관계품질에 긍정적인 영향을 주는지, 단원간의 관계품질이 고객지향성과 공연성과과의 관계는 어떠한지를 실증적으로 살펴보았다. 본 연구에서는 관련된 가설들을 제시하고 검증하기 위하여 선행연구를 토대로 변수별 측정문항을 선정하여 설문조사를 진행하였다. 경남지역 연주단체에 속해있는 음악 예술인을 대상으로 2019년 4월부터 5월까지 총 400부의 설문지를 배포하여 최종적으로 276부의 설문지를 응답받아(응답율 69%) 표본으로 확보하였다. 통계분석을 수행한 결과 서번트리더십은 관계품질의 구성요인인 신뢰 및 결속에 긍정적인 영향을 주었으며, 관계품질의 신뢰와 결속은 고객지향성을 높이는 것으로 나타났다. 특히, 리더와의 결속은 공연 성과에 직접적인 영향을 주었다. 이러한 결과는 구성원들의 성장을 돕고 지원하는 서번트리더십이 구성원들의 리더에 대한 신뢰와 결속을 높이는데 도움을 준다는 선행연구와 일치하며, 예술단 표본에서도 일관된 실증결과를 얻을 수 있었다. 또한, 예술단의 경우에는 책임자 의식, 성장지원, 공동체 형성, 비전제시 등과 같은 서번트리더십의 하위 구성요소들을 고려하여 예술단을 운영할 필요가 있으며, 단원들의 관계결속과 함께 고객지향성을 향상시켜야 성공적인 공연성과를 올릴 수 있음을 시사하고 있다.Arts have characteristics that lead to production and consumption at the same time same as other services. Therefore, for the successful art performance, it is essential to form a program for customer satisfaction. In addition, relevant leadership is required to enhance cooperation and customer orientation of the arts members. Thus, the purposes of this study are to investigate the effects of artistic leaders’servant leadership on the relationship quality, customer orientation and performing performances. Servant leadership seems to have positive effects on the relational quality with the leader, that would be closely related to customer orientation and performing performance. In order to verify these hypotheses, the measurements are selected based on the previous research. A total of 400 questionnaires were distributed from April to May 2019 for musical artists belonging to Kyungnam Regional Performing Organizations, and 276 responses were finally analyzed as a sample. The results showed that servant leadership positively affected relational quality composed of trust and commitment. This result is consistent with the previous studies that servant leadership helps to enhance members’trust and commitment to leader. The trust and commitment enhanced customer orientation as well as the performing performance. These results implies that the leader of art organization should consider and develop the components of the servant leadership such as responsible person consciousness, growth support, community formation and vision presentation. The result suggests that those factors of servant leadership and relational qualities of trust and commitment leads to customer orientation and performing performance. So, leaders of the performing organization should consider those critical factors to be developed for improving customer orientation and performing performances.

МУЗИЧНА КУЛЬТУРА ЗАХІДНОУКРАЇНСЬКОЇ НАРОДНОЇ РЕСПУБЛІКИ

Окреслено побутування в ЗУНР головних складових полінаціональної музичної культури. Її прикметою був інструментальний і вокальний фольклор українців, поляків, євреїв, вірмен, німців, угорців, ромів, ін. етносів і особливості музики етнографічних регіонів (Бойківщини, Буковини, Гуцульщини, Закарпаття, Лемкінщини, Опілля, Покуття). Музичне мистецтво успішно виконувало притаманні йому соціокультурні функції в житті цивільних і військових, соціальних прошарків, віруючих різних конфесій. Воно допомагало жити й воювати, виховувати та мобілізовувати, утверджувати українство й оздо- ровлюватися. Закономірні дії новоствореної держави у сфері культури, зокрема мистецтва засвід- чували розуміння його важливості на фронті й у тилу. У статті уточнено окремі факти з біографій діячів музичного мистецтва, авторство деяких їхніх творів.

Gestión de los procesos creativos de los músicos independientes en México

In this article we will analyze the various scenarios that present the management of the creative process of Mexican independent musicians (representatives, social practices, technical explorations, problems, etc.), scrutinizing their particularities, their cohesion with new technologies and heterogeneous trends in the preparation of a sound material. This academic effort examines the data released from a series of in-depth interviews with musical artists in the country, who reveal different guidelines on creation, an essential stage for cultural industries, and in particular for the productive chain of the Mexican music sector, framed in a context of constant change and adaptation to the digital era.

Of “Tomatoes” and Men: A Continuing Analysis of Gender in Music Radio Formats

The 2015 radio controversy “SaladGate” revealed a lack of female music artists gaining airplay. This study expands a previous gender analysis of American music radio into a longitudinal study. A content analysis of 192 stations revealed that airplay is increasing for females. However, most of these gains came from the Top-40 format, echoing concerns about the recording industry’s preference that women become pop stars, leaving all other musical genres to men. The results suggest the existence of a gender order in music radio, one that works hand-in-hand with the music industry to exclude women.

THE BLUES AND OLDER MINORITY MUSICIANS: MORE THAN JUST MUSIC XXVI

This 26th annual symposium again showcases a world-wide musical genre in a regional setting with local performers. Texas Blues has emanated from a pantheon of talented artists beginning in the earliest days of Roots and Blues music to the present day, and Austin has become the epicenter of this talent and music. With legendary classic blues musicians from the early 2oth century to emerging younger musicians who re-energize and re-invent this uniquely American musical genre, to legendary music labels and venues like Antone’s which continue to engage blues music artists of all ages, Austin continues to be the home of Texas Blues. Lifetime Achievement Award -winning 89-year-young, Miss Lavelle White epitomizes the resilience and energy interchange of both the performer and the music, and their mutual contribution to longevity and continued engagement. Still performing after 70 years, she has influenced generations of younger prominent blues performers and continues to appear weekly at local blues mecca Antone’s along with her Grammy Award winning band and is preparing her fourth album release. This session will celebrate her music, her artistry, and her continued success as an older blues performer. A visit to a local blues venue later in the evening will allow for a true appreciation of the blues music scene in Austin.

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.

Karnatic Meets Kattaikkuttu: Notes on an Unusual Cultural Conversation

Karnatic Meets Kattaikkuttu is an experimental production in which urban karnatic concert music and rural kattaikkuttu theatre artists collaborate on equal footing, ignoring the division of the Indian performing arts into “classical” and “folk.” Using music, language, and acting, the production addresses the blindness that prevents people, entrenched within their own cultural, social, and political ghettoes, from experiencing any art form with an open mind.