Music Genres

Questões identitárias, raciais, econômicas e ideológicas predominaram desde o início das pesquisas do rap brasileiro em detrimento de abordagens compreensivas sobre os aspectos poéticos dessa expressão cultural. Dentre as categorias analíticas centrais destes trabalhos, encontra-se a de "representar", com fortes conotações sociopolíticas. Meu objetivo neste artigo é mostrar como, na prática musical de MCs de duelos de rimas, a força dos aspectos políticos do rap também depende de procedimentos e competências performáticas musicais. Para tal, tomo referenciais teóricos provenientes dos estudos linguísticos sobre pragmática e Análise de Conversa (AC) e dos Estudos da Performance em conjunto com dados gerados em pesquisa de campo. Na última seção deste texto, retorno ao problema dos desafios de representação elaborados pelos agentes envolvidos nas práticas do rap, e como essas formulações metapragmáticas fornecem desafios à própria pesquisa acadêmica sobre o tema.

This article aims to analyze how C. Tangana and Nathy Peluso, two artists who initially gained recognition within rap-related contexts, transcend hip-hop culture to craft musical personas characterized by notable eclecticism. The goal is to determine whether the genre fluidity they advocate for is the result of an aesthetic shift within hip-hop itself or whether these artists have instead constructed an aura of generic exceptionality that cannot be generalized to other contemporary artists. To address this, the article examines how both artists create a distinctive metageneric framework, where engaging with diverse genres not only adds variety to their work but also helps them broaden their audiences and redefine their identities through a triangulation of Spanish, Latin, and African American identities. This, in turn, allows for reflection on how the generic framework of rap, historically quite monolithic, has been redefined over the past decade with the emergence of the "urban music" category.

Semah, cem ritüeli içerisinde ses, söz ve beden ilişkisiyle birlikte inançsal doyumu doruk noktasına ulaştırmanın hedeflendiği bir eşiği simgelemektedir. Bu inançsal eşik, cinsiyet ve siyasi kimliklerin silindiği ancak, kendi içerisinde "kimliksiz"liği barındırmasına rağmen "dışarıya" karşı Alevî inançsal kimliğinin bir göstergesi olarak nitelendirilebilir. Alevî ve Bektaşî topluluklarının inanç kültürleri kapsamında ayin-i cem içerisinde icra ettikleri dinsel nitelikli bir dans ve müzikâl bir tür olarak semah, Anadolu'nun hemen her yerinde farklı biçimlerde karşımıza çıkmaktadır. Aynı doğrultuda Anadolu'da yaygın bir gelenek haline gelmiş olan semahın düğün, eğlence veya dernek gibi toplantılarda asıl işlevinden farklı biçimde icra edildiği görülmekte ve çalışmanın ana ekseni, bu geçişkenlik ve farklı icra şekilleri üzerine kurulmaktadır. Semahın türlerarası geçişkenlik bağlamında incelendiği çalışma, Doğu Anadolu'da "kol oyunu"; Çukurova Bölgesi'nde ise "mengi" oyunu özelinde sınırlandırılmış, sosyolojik arka planda dansın geçişkenliği ve işlevsel değişimi incelenmiştir.

Semah, cem ritüeli içerisinde ses, söz ve beden ilişkisiyle birlikte inançsal doyumu doruk noktasına ulaştırmanın hedeflendiği bir eşiği simgelemektedir. Bu inançsal eşik, cinsiyet ve siyasi kimliklerin silindiği ancak, kendi içerisinde "kimliksiz"liği barındırmasına rağmen "dışarıya" karşı Alevî inançsal kimliğinin bir göstergesi olarak nitelendirilebilir. Alevî ve Bektaşî topluluklarının inanç kültürleri kapsamında ayin-i cem içerisinde icra ettikleri dinsel nitelikli bir dans ve müzikâl bir tür olarak semah, Anadolu'nun hemen her yerinde farklı biçimlerde karşımıza çıkmaktadır. Aynı doğrultuda Anadolu'da yaygın bir gelenek haline gelmiş olan semahın düğün, eğlence veya dernek gibi toplantılarda asıl işlevinden farklı biçimde icra edildiği görülmekte ve çalışmanın ana ekseni, bu geçişkenlik ve farklı icra şekilleri üzerine kurulmaktadır. Semahın türlerarası geçişkenlik bağlamında incelendiği çalışma, Doğu Anadolu'da "kol oyunu"; Çukurova Bölgesi'nde ise "mengi" oyunu özelinde sınırlandırılmış, sosyolojik arka planda dansın geçişkenliği ve işlevsel değişimi incelenmiştir.

Bu araştırmanın amacı, lise öğrencilerinin demografik özellikleri ile dinledikleri müzik türleri arasındaki ilişkiyi saptamaktır. Araştırmanın evrenini Ankara'daki Milli Eğitim Bakanlığı.'na(M.E.B.) bağlı liseler, örneklemini ise her bir lise türünden random yöntemi ile farklı ilçelerden seçilen 7 liseden 634 öğrenci oluşturmaktadır. Hazırlanan ankette ilk olarak Kolmogorov-Smirnovtesti ile verilerin normal dağılıma uyup uymadığı incelenmiştir. Maddeler normal dağılıma sahip olduğundan iki grubun karşılaştırılmasında Independent Sample t testi, ikiden fazla grubun karşılaştırılmasında ise One-Way ANOVA kullanılmıştır. Grupların birbirinden farklı olduğunun tespit edilmesi için Scheffetesti uygulanmış, grupların karşılaştırılmasına ilişkin testler varyans homojenliği varsayımı Levene testi ile incelenmiştir. Çalışmada yer alan analizler için IBM SPSS 20.0 paket programı kullanılmıştır. Araştırma sonucunda; lise öğrencilerinin dinlemeyi en çok tercih ettikleri müzik türünün Pop müzik olduğu belirlenmiştir. Farklı demografik özellikteki öğrencilerin, dinledikleri müzik türü arasında belirgin farklar olduğu görülmüştür. Müzik türlerini tercih düzeylerinin; yaşa, cinsiyete, okudukları okula, enstrüman çalmalarına ve liseye başlamadan önce kaldıkları en uzun yerleşim yerine göre karşılaştırıldığında anlamlı farklar olduğu saptanmıştır.

Reflecting on the relevance of music genres today more than ever requires a circular relationship between theoretical thinking, corporate strategies and empirical inquiry. For the latter, digital tools like the APIs released by platforms, the metadata they provide, and the tools used to analyse and aggregate them, become key resources for research. In our paper, we present some findings and perspectives on the genres classification of popular music on Spotify, starting from empirical research on “made-up genres” carried out by employing available digital resources like Every Noise at Once, Spotify Artist Network, Organize Your Music, and SpotiGeM Hub – a tool for exploring links between genre metadata and playlists, specifically designed by a multidisciplinary team at the University of Milan. Data gathered this way is confronted with musicological theories of genre and used to answer some research questions on the relationship these pseudo-genres establish with better-known pre-streaming categories, on what kind of agency they perform on current communities of listeners and musicians, and on how streaming services and listeners use and think of music genres today. Then, our hypotheses are understood under the light of information gained from a relevant Spotify insider, thus highlighting how much of our comprehension of the phenomenon is bound to be limited by our outsider perspective. This presentation describes an approach to the platform that utilises digital methods to enable research and reinterpretation of music-related metadata within the field of digital humanities. Finally – after noticing mutations in the previous genre system following recent changes in Spotify’s staff – we reflect on the fluidity of the concept of “genre” and the power streaming services have in redefining the socio-technical imaginaries (“collectively held, institutionally stabilised, and publicly performed visions of desirable futures”; Jasanoff and Kim 2015) behind it.

В статті розглядаються зразки зарубіжного інструментального концерту за період 1995 – 2024 років, зокрема твори К. Акіхо, Ф. Ґласса, А. Дормана, М. Маццолі, Тан Дуна, Ю. Тіенсуу, С. Хаапамякі, Д. Фудзікури, И. Чін та інших митців, з метою виявлення загальних тенденції розвитку жанру кінця ХХ – першої чверті ХХІ століття.

This article was checked by Turnitin. 971 | S a y f a female performers who performed baglama professionally. The data obtained were subjected to content analysis and tabulated as themes and codes, and frequency (f) and percentage values (%) were also included in the tables. As a result of the research, it was determined that female performers were influenced by musical elements such as short and long neck baglama type preferences, ergonomic structure of baglama, local behavioral characteristics, tuning order, as well as cultural elements such as family and social environment regarding baglama playing. In addition, it was determined that gender stereotypes have negative effects on the binding type preference and that problems in this context can affect the balance of these patterns.

La música urbana latina vive un período de expansión global gracias a la popularidad alcanzada en el último lustro, que le ha situado en niveles de prominencia en la produc- ción y consumo en diferentes ventanas y canales de distribución. Este progreso resalta la creciente influencia en la escena musical del español, hablado por casi 600 millones de personas. Más allá de cruzar fronteras, este idioma fortalece hoy la identidad y el orgullo latinos, con énfasis en dialectos regionales sobre el español estándar.
La digitalización ha jugado un papel clave en esta evolución, y el género ha incorpora- do códigos estéticos y lingüísticos que superan lo estrictamente musical. El informe del Observatorio Nebrija del Español revela un notable incremento en el consumo digital de este género entre 2022 y 2023, especialmente a través de las plataformas de streaming de Spotify y YouTube. Aunque su globalización sigue siendo un fenómeno en desarrollo, hay signos evidentes de la expansión internacional del español en contextos musicales internacionales, con incursiones en géneros tan específicos como el K-pop y J-pop.
La música urbana latina se apoya en la libertad que la tecnología otorga actualmente a los artistas, a quienes posibilita una conexión directa con su público y la promoción de una amplia diversidad. El género se ha expandido asociado a fenómenos de migración y cosmopolitismo, alimentando un sentimiento de comunidad latina y fomentando colabo- raciones transnacionales. Con la celebración de eventos como los Latin Grammy en Sevi- lla en noviembre de 2023, la música urbana latina no solo está redefiniendo el consumo y la producción de un género, sino que, además, fomenta una identidad cultural profunda y la integración social a nivel mundial.

Las jerarquías culturales varían a lo largo del tiempo y dependiendo del contexto. Aunque tradicionalmente han sido entendidas como un reflejo de las divisiones sociales (con las que se corresponderían, como en el famoso concepto de Bourdieu de los gustos homológicos), en las últimas décadas se ha planteado la evidencia de una apertura y de una ampliación del gusto legítimo tradicional. Si bien estos avances suelen estudiarse en relación con el consumo cultural directo, en esta discusión se ha prestado escasa atención a las instituciones que contribuyen a definir el “gusto legítimo”. En este artículo, se pretende cubrir este hueco mediante una mirada a la cobertura de noticias de música en periódicos europeos entre 1960 y 2010. La pregunta que se pretende responder es si, en el terreno de la música, la prensa de referencia habría experimentado un proceso de apertura cultural a lo largo del período mencionado

Duygu ve dusuncelerimizin anlamli seslerle yeni bir ifade bicimine donustugu muzik eserlerimiz, bunyesinde barindirdigi farkli ozellikleri ile dinleyici begenisini kazanmaktadir. Bir muzik eserini meydana getiren bircok unsur (melodi, tartim, soz vb.) bu konuda etkili olmakla beraber, eserin olusumunda kullanilan metronom hizi, dinleyiciye ulastirilmaya calisilan duygusal mesajin iletiminde oldukca etkili olabilmektedir. Karma bir arastirma deseni kullanilan arastirma surecinde betimsel bir yaklasim sergilenmistir. Oncelikle konuya yonelik kaynaklar taranmis ardindan ise bireylerin konuya yonelik dusuncelerinin daha kolay tespit edilebilmesi amaciyla TRT repertuvarindan secilen 5 eser farkli metronom hizlarinda seslendirilerek 50 kisiden olusan orneklem grubunun gorusune sunulmustur. Eserin duygu aktariminda metronom hizina bagli olarak ortaya cikabilecek farkli dusunceler bu yolla tespit edilmeye calisilmistir. Arastirma sonuclarindan birkacina deginilecek olursa; Turk halk muzigi ...

ÖZ Bu çalışmada Şahkulu Sultan Dergâhında yapılmış bir etnografik alan araştırmasının bulguları sunulmaktadır. Araştırmanın amacı bağlama eğitimi sürecinde rol alan yönetici kadro, eğitmen ve kursiyerlerin Alevi kimliği, müzik ve bağlamaya ilişkin yaklaşımlarının anlaşılabilmesi ve bu kavrayışların icraya olan etkisinin açıklanabilmesidir. Verilerin elde edilmesinde katılımcı gözlem, yarı-yapılandırılmış ve yapılandırılmamış görüşme teknikleri kullanılmıştır. Pek çok modern Alevi kurumu gibi Şahkulu Sultan Dergâhı da çeşitli eğitim faaliyetleri düzenlemektedir. Bu faaliyetlerin başında gelen semah ve bağlama kurslarının amacı,Alevi kimliğini "doğru" biçimde temsil etme becerisine sahip bireyler yetiştirmektir. Nitekim dergâhta görev alan genç zakirler, kurumun kendi bağlama kursunda yetişmişlerdir.Bağlama eğitmeni ve kursiyerler, bireysel bazda farklı Alevilik kavrayışlarına sahiptir. Bu farklar bağlama icrasını, repertuar seçimi ya da tını açısından etkiler. Ancak sonuçta...

Циљ овог истраживања је испитивање односа између музичких преференција и криминалног понашања. Истраживање је обухватило 216 испитаника мушког пола, узраста од 18 до 30 година (просечне старости 24,59), подељених у две групе: студенти (115) и затвореници (101) на издржавању казне због кривичних дела крађе. Подаци су прикупљени у анонимној ситуацији, посебним упитником намењеним истраживању музичких жанрова. Тај упитник садржи седам питања о томе које су музичке жанрове испитаници слушали током одрастања, као и у разли-1

Devirsel ya da döngüsel algı insanın Tanrı ve evren ile ilişkisini açıklamak ve yaşamına aktarmak için kullandığı en eski düşünce sistemlerinden biridir. Tarım toplumlarıyla beraber keşfedilen doğanın periyodik bir biçimde aktifleşip ürün vermesi ve sonrasında uykuya çekilmesi fikri, bu düşünce sisteminin "tarımsal devir" olarak da adlandırılabilecek ilk katmanını var etmiştir. İnsanın aynı sistemi, evrendeki döngüsel yörüngeyi takip eden tüm gök cisimlerinden ve bu döngüsel etkinin kendi beden-ruh dünyasına yansıyan etkilerinden takibi, bu sistemin "kozmolojik devir" olarak da adlandırılabilecek ikinci katmanını var etmiştir. Söz konusu sistemin üçüncü ve son katmanı ise evrendeki "tarımsal ve kozmolojik" ayrıntıları haiz olan tüm döngüsel sistemi var eden Tanrısal bilgiye ulaşabilme ve bu bilgiyi içselleştirebilme yolculuğudur. Devirsel algının bu katmanına ise "irfâni devir" ismini vermek mümkün olabilir. İnsanlık tarihi açısından dini müzik ve dans ise, tüm bu düşünsel katmanları insanın bilincine "zaman ve mekân" algısı değişiklikleriyle aktarabilen bir model olarak kullanılagelmiştir. Anadolu ve çevre bölgelerin en önemli ibadet uygulamalarından olan "semah-semâ" gelenekleri, söz konusu devirsel algının olgunlaşma vadeden bir "inançsal model" olarak insan yaşamına sirâyet edebilmesinin en önemli örnekleri arasındadır. Bir anlamda semah ve semâ ibadetleri Tanrısal ve insani zaman algılarını bütünleştiren "zamanın döngüselliği" fikrini insan zihninde somutlaştırmış ve böylelikle insan yaşamını öncesi ve sonrası ile anlamlı kılan bir inançsal fikrin de inşa edilmesini sağlamıştır. Bu çalışma insanın evren-Tanrı algısında zaman içinde yaşanan değişimleri semah-semâ geleneklerinin tarihsel hafızası aracılığıyla tartışmaya gayret edecektir.

Müzik binlerce yıldır, insanın doğayı ve doğaüstünü algılama ve tanıma mücadelesinin en önemli kılavuzlarından biri olmuştur. Müziği ifade gücü bazen insana doğa ile doğrudan iletişim kurma imkânını verirken bazen de ona açıklayamadığı hadiseleri kontrol edebilme umudunu aşılamıştır. İşte "inanç ve müzik" kavramları, doğa ve insan arasındaki böylesi kadim bir ilişkiyi günümüze taşımaktadır. Bu ilişki kapsamında, bir toplumun sesli hafızasının belki de en güçlü kısmını oluşturan müzik örnekleri ile sözlü hafızanın en belirleyici kısımlarını oluşturan inanç sistemleri kesişmektedirler. Öyle ki, inanç sistemlerine ait pek çok simge müziğin gücü ile kuşaklar boyu aktarılabilmekteyken; müzik de ifade gücüne eklenen kutsallık algısı aracılığıyla sosyal değişimlerin etkilerini daha az hissedebilmektedir. Bu çalışma söz konusu ilişkiyi Anadolu coğrafyasının inanç ve müzik gelenekleri kapsamında; semah ve sema kavramlarına odaklanarak gerçekleştirmeyi hedeflemektedir.

In this ethnographic study I examine the significance of music-making in Jamaican society in the light of the increasing interpenetration of law and technology with cultural practices. I center the local institution of the "street dance" as the heart of Jamaicans' musical practices. Grounded in a historical analysis of musicking-the active practice of engaging with music-in Jamaica and in the Jamaican diaspora, this study reveals how Jamaica's colonial past and present shapes musicking's cultural, political and economic significance in Jamaican life. Most specifically, Jamaican music-makers' collaborative and repetitive practices, that draw on and reinforce shared cultural history, contradict current local and international copyright law. Copyright law relies on historically and culturally specific assumptions about the practice of creativity, and requires specific institutional context in order to function. But what relation do those assumptions and institutions have to the interests and traditions of music-makers? And how does that relationship change in the context of increasingly globalized copyright law that is increasingly and intimately enforced through globally networked technology? Through social history and ethnographic data generated by interviews, participantobservation, musical analysis, I reveal how Jamaican musicking practices are creative, productive, and rewarding for individual Jamaicans as well as for communities. I focus especially on the Jamaican poor who dominate Jamaican musical authorship, and who rely on alternate normative systems that shape both their creative practices and their understandings of ownership, control, and the distribution of money deriving from music. I map Jamaican music-makers' engagement, resistance, and reinterpretation of copyright law concepts, and provide an analysis of music-making that reveals how copyright is informed by colonial assumptions that Jamaican practices can sometimes resist and subvert. Drawing on the impressive cultural contributions of Jamaican music-makers to Jamaican and global music culture, which derives from their specific practices (including those that contradict copyright), I offer a critique of copyright informed by a concern for substantive equality, centered on the needs of the Jamaican poor who dominate musicmaking and offer a corrective theoretical framework for analyzing policy and musicmaking in the digital era. i Contents Introduction : Jamaican Roots at the Faultlines of Copyright 1 Literature Review and Theoretical Framework 2 A History of Jamaican Musicking 3 The Street Dance: At the Center of Musicking 4 Answers, Riddims and Musical Conversation 5 Reports from the Jamaican Diaspora: Musicking in Toronto and London 6 Conclusion Bibliography Appendix: Methods Mann, Introduction: Jamaican Roots at the Faultlines of Copyright ii Acknowledgements I am deeply indebted to the faculty at JSP and my fellow students for providing a stimulating intellectual environment, and to Margo Rodriguez for her patience and good humor with my many logistical questions. I thank former JSPer Mark Massoud for his support and his inspirational work, as well as Joseph Hall at the School of Information. I am deeply grateful to Kendra Salois for her insights and support as part of a many-year, many-city writing group. I could not have done anything like the fieldwork I was privileged to do without the wisdom and skill of Andrea Lewis in Jamaica. My greatest thanks go to my mother, Esther Kingston-Mann who has provided years of intellectual inspiration through her work on land rights and peasant culture, and her meticulous and ethical approach to historical research, and who spent incalculable energy helping me through this process, including reviewing and commenting on more drafts of more chapters than I care to count. Lastly, I wish to thank my committee, especially my Chair, Professor Luker, for the patience and guidance I have benefited from while bringing this project to completion.

Research on the relationship between categorical unconventionality and popularity has produced mixed results. While many accounts suggest that unconventionality is penalized, much sociological theorizing indicates that success comes from a delicate balancing act between conventional and unconventional offerings. Using data on the genre selfclassifications of over 2 million musicians and bands across the United States, the authors find broad support for this balancing act. Yet the shape it takes is also conditioned on local contexts, across both high-order complexes of musical genres and geographic space. The authors highlight the local metropolitan area characteristics that shift the relationship between unconventionality and popularity. They also create a typology of cities based on how their unconventional offerings are rewarded and punished. An online visualization tool enables further investigation of these relationships. The authors close by proposing an agenda for how to study local heterogeneity in the relationship between unconventionality and popularity.

This article examines the diversity in music with a "sociological/social" centered perspective. Based on the fact that music has a social basis independent of all other musical components, the article asserts that different societies have different kinds of music at both the national and international scale. In other words, the differentiation of societies also differs the music they produce and consume. This approach theoretically carries the subject over to the grounds of ethnomusicology which is a musical discipline that leans against anthropology. The article first examines the relationship between music-society providing examples regarding the fact that there is a differentiation in music just as societies are separated into different layers. Afterwards, the relationships of Turkish Art Music and Turkish Folk Music with different social layers at different geographies are taken into consideration. Secondly, the article also carries out evaluations on the differentiation of Turkish Art Music and Turkish Folk Music on a social basis as two different musical traditions of Turkey. It has been put forth through various examples in the article that Turkish Art Music is a music type that has developed under the auspices of the ruling class. Whereas Turkish Folk Music has not received sufficient attention from the ruling class even if it has been supported from time to time. In addition, it has been argued that Turkish Folk Music is a type of music that contains different cultures and local traces instead of being the only type of music adopted by the public. The cultural context of music has been examined in the final section of the article thereby making evaluations by way of concepts such as public culture, learned culture and hybrid culture.

We introduce the special issue on the question 'Isn't all art performed?' We believe the affirmative answer is obvious, but the way the issue is often addressed in the philosophical literature presents a tension worth exploring. Perhaps some misunderstanding regarding what is considered an artwork has led to some misunderstanding regarding what performances are and how important they are ontologically. The working intuition in most contributions to this issue is that an artwork does not exist unless it is performed.

Similmente ai suoi sodali e interlocutori dell’Istituto per la ricerca sociale di Francoforte, in particolare Theodor W. Adorno, Marcuse (1969, 1972, 1978) interpreta l’arte, in specie la musica, come segno sociale. Ben inteso non – secondo uno pseudo-marxismo rozzo (Orlando, 2003) – come pedissequo rispecchiamento sul piano contenutistico, ideologico, per cui ciò che l’arte tratta o afferma esplicitamente corrisponde alla sua posizione sul piano sociale. No, è il modo in cui essa è costituita sul piano delle forme e pragmatico, quindi implicitamente, che ci rivela – mediante una decifrazione che comunque è tutta da compiere da parte del critico – la sua presa di posizione sociale. E per Marcuse l’arte può essere liberazione: può partecipare alla da lui sempre auspicata rivoluzione, che è rivoluzione insieme economica e psico-sociale, cioè inerente alla marxiana struttura ma anche alla non meno importante sovrastruttura, per cui la rivoluzione è compiuta quando tutti sono non solo adeguatamente retribuiti ma anche felici, cioè perfino dispiegano le proprie risorse affettive e creative. L’arte, sul piano sociale, è liberazione, non quando propugna la liberazione (sociale) ma quando realizza liberamente la propria forma, quando cioè si fa esempio di libertà sul proprio piano, in autonomia. Sappiamo che Marcuse fu antifascista in senso stretto (antinazista), ma fu anche antifascista in senso lato, o antitotalitarista, poiché per tutta la vita ha continuato a combattere contro quell’establishement che, con mezzi meno violenti dei fascismi ma non meno pervasivi, comunque conculcava la piena realizzazione delle persone, la loro felicità. Stabilitosi negli Stati Uniti nel 1934, Marcuse poté lì assistere alla nascita della musica popolare di produzione industriale, in specie afroamericana. Riconobbe il potenziale di liberazione insito nel nuovo genere musicale, ribelle all’establishment per la maniera di esprimere l’umano, nonché di creare bellezza, mediante forme però non sublimate, non mistificanti.

The article explores the ontic discourse of the historical “music genre” category in the context of art music composition and theoretical epistemology of the late twentieth through the twenty-first century. The author’s intention to cover the most important theoretical interpretations
of the tradition of typology and taxonomy of art music has transformed into an authorial theoretical model of the music genotype, which is
exhibited in this research through the most important aspects. ! The principal position of the author is the methodological approach of the
General Systems Theory (GST) theoretical paradigm, which contributed to the substantiation of both the conception of the music genotype
(the author’s concept) itself and the state of the “chromatic” intersystemic change in the (macro)systems of music genotypes.
Key words: music genre, music genotype, General Systems Theory (GST), self-organization, system, (macro)system.

Хорова творчість 1930-х років має значну історичну і мистецьку цінність. Притаманна їй ідеологічність посилює зацікавленість у її вивченні як з огляду на формування як фактологічно-статистичної бази щодо цього періоду, так і підходів до цілісного погляду на неї як на феномен, що розгортався у специфічному-з огляду на державотворчі аспекти-просторі. Метою дослідження є крок до заповнення істотної прогалини у мистецтвознавстві шляхом виявлення контекстуальних зумовлень і впливів, незаангажованості стильового аналізу та створення основи для панорамного осмислення хорової творчості 1930-х років як вагомого компоненту тогочасної масової культури на основі систематизації даних про концептуальні, жанрові та стилістичні особливості хорових опусів вказаного періоду. Наукова новизна пропонованої розвідки (за врахування факторів виховного, системоутворюючого і мистецького впливу колективного музикування на індивідуальну та масову свідомість) визначена осмисленням аналогій та відмінностей між відмінними з суспільно-політичного огляду ареалами творчості, виявлення в цій важливій сфері типових патернів і концептів. Методологія спирається на фіксацію своєрідної трансгресії, що спрямована на подолання уявлень

Циљ овог истраживања је испитивање односа између музичких преференција и криминалног понашања. Истраживање је обухватило 216 испитаника мушког пола, узраста од 18 до 30 година (просечне старости 24,59), подељених у две групе: студенти (115) и затвореници (101) на издржавању казне због кривичних дела крађе. Подаци су прикупљени у анонимној ситуацији, посебним упитником намењеним истраживању музичких жанрова. Тај упитник садржи седам питања о томе које су музичке жанрове испитаници слушали током одрастања, као и у разли-1

Resumen
El flamenco ocupó un lugar prominente en los discursos culturales y políticos de la España
del tardofranquismo y los primeros años de la Transición a la democracia. El presente artículo
examina, a través del vaciado hemerográfico, la presencia del flamenco en cuatro revistas
españolas de música popular urbana durante este periodo histórico, analizando la posición de
aquel como género en disputa en su conceptualización como folklore musical, como canción
protesta y folk, y como música popular urbana. En una primera sección, se presentan referencias
de prensa que muestran el flamenco como una tradición musical folklórica “inmutable” a
través del estudio de sus palos o estilos. En la segunda, se aborda la vinculación del flamenco
“protesta” de cantaores como Gerena, Morente o Menese con el folk y la canción de protesta
social. La tercera sección explora referencias hemerográficas sobre figuras relevantes de la
guitarra flamenca, como Paco de Lucía y Manolo Sanlúcar, que son presentadas mediante
estrategias de popularización habituales en las músicas populares urbanas. En el epílogo se
reflexiona, por último, acerca de cómo la dimensión del flamenco como género musical en
disputa articula discursos de autenticidad que conectan con el contexto cultural y político del
tardofranquismo y la Transición.
Palabras clave: flamenco; música popular urbana; folk; prensa musical; géneros musicales;
tardofranquismo; Transición.

Abstract
Flamenco was essential to cultural and political discourses in Spain during Late-Francoism
and the first years of the Transition to Democracy. Based on hemerographic sources, this
paper examines the presence of flamenco in four popular music magazines of that period, analyzing its position as a negotiated music genre since it was understood as traditional
music, political song or protest folk, and also as popular music. The first section explores
several press references about palos -music styles in flamenco- that show an idea of flamenco
as an “immutable” music tradition. After that, the relationship between protest flamenco by
Gerena, Morente, or Menese with folk music and the idea of the social protest song is studied.
In a third step, it considers how some relevant figures of flamenco guitar, such as Paco de
Lucía and Manolo Sanlúcar, are represented by popularization strategies related to popular
music narratives. In the epilogue, I argue how this dimension of flamenco as a music genre
in constant negotiation articulates several discourses of authenticity related to culture and
politics during Late Francoism and the Transition to Democracy.
Keywords: Flamenco; Popular music; Folk music; Musical press; Music Genres; Late Francoism;
Transition to Democracy.

This article scrutinizes the Finnish religious insults and the related legal practice during the 21st century. It examines how the Office of the Prosecutor General, the courts, as well as the defendants construct the category of religion – i.e. that, which is a target of a special protection – and how the discourses on ethnicity and race play a part in that process. It is found, that ways in which the defendants construct the targeted groups with terms considered to be about religion, ethnicity or race affects the ways the officials construct these groups. This includes the practical abolishment of the formal category of religion, found in the letter of law, in favour of the popular one.  Furthermore, it is argued, that while being part of the established religion discourse improves the chances for benefitting from the religious insult legislation, the said law, applied quite inconsistently, is found to be relatively ineffective avenue for groups seeking justice amid speech or actio...

Voidgaze is a “phantom genre”: people often listen to this kind of music without even knowing what it is. If you google it, you will find more pages asking for a definition than providing one. Being located at the crossroads between blackgaze, post-black metal, atmospheric black metal, doom metal and neofolk, this genre seems to lack an actual community and is most likely the product of genre classifications operated by streaming services to guide the algorithm’s recommendation work. In this paper I investigate the origins and family tree of this genre by crossing the results of research done using several online tools for the analysis of Spotify playlists metadata – Organize Your Music, All Noise at Once and SpotiGeM. Thus, I use voidgaze as a case study to describe new ways in which genres are born in the age of streaming, highlighting analogies and differences with “old style” genres and their respective functions. The real absence described in this paper, then, is not that implied in the name of voidgaze; it is that of a hypothetical loss of centrality of the concept of “genre” on streaming platforms. But are genres really bound to become just tags and labels in an all-fluid listening experience, or should we broad the old definition of “music genre” to accommodate new “phantom” forms of classification?

This paper deals with a detailed description of the "Figures Voice", that is, selected organs of the vocal tract, whose control and management are part of the vocal method "Estill Voice Training" (EVT) and its first stage of study. The author is an opera singer and voice pedagogue, Jo Estill, who based on scientific research, has built an independent and modern system of teaching singing, which can be used in the interpretation of the vocal repertoire from classical as well as non-classical styles of music.

Choral art of the 1930s is of considerable historical and artistic value. His ideology reinforces interest in research in view of the development of a factual and statistical base in relation to that period and approaches to a holistic view of it as a phenomenon unfolding in a very specific space. The aim of the study is to take a step towards filling the knowledge gap by identifying contextual predetermining and influences, binding style analysis, and providing a basis for panoramic understanding of choral art in the 1930s as a significant component of the then mass culture of both Ukrainian areas on the basis of the systematization of data on conceptual, genre-related peculiarities and stylistics of choral opuses of the given period.The scientific novelty (taking into account the factors of educational, system-forming and artistic influence of collective music on individual and mass consciousness) is determined by the comprehension of analogies and differences between political parties and different areas of creativity, as well as identifying typical patterns in this important area.The methodology is based on fixing a peculiar transgression aimed at overcoming the idea of an impassable ideological boundary between the choral arts of Western and Soviet Ukraine. This methodological “shift” is necessary for the field of study of academic choral music and mass choral song, as well as for the formation of objective and weighted “cultural history”.Conclusions. Choral art as an art form in this complex decade demon-strates a rather flexible genre-style system. Its verbal and musical concepts legitimately identify contextual and societal patterns. These concepts contrib-uted to the transformation of abstractions into the universals of mass con-sciousness, revealing signs of the association of genres with certain ideological content, while leaving the rest wide field for their identification with various phenomena. The potential of creative search beyond strict censorship remains high, encouraging further study of choral creativity of that time.

Este artículo parte de un discurso presente en una relación de prensa de 1836 sobre exámenes estudiantiles de una escuela pública de primeras letras denominada el Colegio Chico en Durango. Con él, se examinan los procesos de inserción de la música a través de la educación en el ámbito civil desde el final de la tradición musical de la catedral, y las implicaciones políticas de la orquesta de niños del mencionado colegio. A través del análisis del discurso de las autoridades asistentes a los eventos, el artículo interpreta el sentimiento de historicidad manifestado dentro de la élite civil y religiosa. El presente trabajo aporta explicaciones inéditas, desde punto de vista cultural, sobre los procesos de secularización de la música de Durango en la primera mitad del siglo xix, y abona nuevos elementos a la historiografía mexicana sobre el mismo tema.

This  article  is  based  on  a  speech  from  an  1836  press  report  regarding  student  examinations  at  a  public  elementary  school called ‘Colegio Chico’, in Durango. With it, I examine the insertion processes of  music  through  education  in  the  civil sphere since the end of cathedral musical
tradition,  and  the  political  implications  of  the  school’s  children  orchestra.  By  analyzing the discourse of the authorities attending  the  events,  the  article  interprets  the  expressed  feeling  of  historicity within  the  civil  and  religious  elite.  This  paper  provides  unprecedented  explanations, from a cultural point of view, of the secularization  processes  of Durango’s music in the first half of the 19th century, and  offers  new  elements  to  the  Mexican historiography on the subject.

This article explores the relationship between age cohorts and music taste. Drawing on quantitative data about the contemporary distribution of French music tastes, we note that a large majority of individuals are eclectic. Although social class remains a significant structuring variable, age appears as another critical factor in the distribution of individuals' taste for certain genres and artists. Deploying a regression analysis including a comparative "average partial effect" coefficient, we show the effect of age in the distribution of music taste. Specifically, we analyse data about how age cohorts express different levels of appreciation for music artists, which enables us to identify the relationship between individuals and music that has emerged and developed at a certain time. We argue that music taste is acquired in relation to two intertwined principles: individuals' age and the cultural times that mediate the presence of music genres and their encounters with them.

Bu araştırmanın amacı, lise öğrencilerinin demografik özellikleri ile dinledikleri müzik türleri arasındaki ilişkiyi saptamaktır. Araştırmanın evrenini Ankara'daki Milli Eğitim Bakanlığı.'na(M.E.B.) bağlı liseler, örneklemini ise her bir lise türünden random yöntemi ile farklı ilçelerden seçilen 7 liseden 634 öğrenci oluşturmaktadır. Hazırlanan ankette ilk olarak Kolmogorov-Smirnovtesti ile verilerin normal dağılıma uyup uymadığı incelenmiştir. Maddeler normal dağılıma sahip olduğundan iki grubun karşılaştırılmasında Independent Sample t testi, ikiden fazla grubun karşılaştırılmasında ise One-Way ANOVA kullanılmıştır. Grupların birbirinden farklı olduğunun tespit edilmesi için Scheffetesti uygulanmış, grupların karşılaştırılmasına ilişkin testler varyans homojenliği varsayımı Levene testi ile incelenmiştir. Çalışmada yer alan analizler için IBM SPSS 20.0 paket programı kullanılmıştır. Araştırma sonucunda; lise öğrencilerinin dinlemeyi en çok tercih ettikleri müzik türünün Pop müzik olduğu belirlenmiştir. Farklı demografik özellikteki öğrencilerin, dinledikleri müzik türü arasında belirgin farklar olduğu görülmüştür. Müzik türlerini tercih düzeylerinin; yaşa, cinsiyete, okudukları okula, enstrüman çalmalarına ve liseye başlamadan önce kaldıkları en uzun yerleşim yerine göre karşılaştırıldığında anlamlı farklar olduğu saptanmıştır.

Cultural and religious heritage, which has been important in understanding social relations throughout human history, appears with its differentiating profiiles in today's modern world. After long years of woodworking, Tahtacıs have settled down and gained a new life look with their cultural characteristics. There are few studies in the literature about the profiles of Tahtacıs, who made a living by woodworking in the past, in direct proportion to processes such as modernization and urbanization. Within the scope of the study, the current lifestyles, traditions, and cultures of Tahtacıs, together with their problems and expectations will be examined through the data obtained from the regions where they live. Based on this, Elmalı Akçaeniş Village and Manavgat Gültepe Neighborhood, both of which have Tahtacı population in Antalya province, have been determined as field of study. The study was designed with a qualitative research design and the data were obtained using interview a...

The Caribbean has long been considered a melting pot of Old and New Worlds. Writer, director, and cultural researcher Julian Henriques looks at the Jamaican reggae dancehall sound system to explore how this street technology has found creolizing ways to prevail in the neocolonial power struggle between popular culture and Jamaica’s ruling elite

This Fieldwork Playlist emerges from a conference of the same name at Goldsmiths back in 2013. The idea was a simple one: “For our fieldwork playlist, each contributor will pick one song and recount the story of how that song came to hold significance in relation to their research encounters and experience” (Fieldwork Playlist Call For Papers 2013). Each of the papers here explores the evocative nature of music in relation to the experience of social science fieldwork.  Each author has selected a song as a starting point to consider their experience in the field. Music is woven into the fabric of the social world of the field, our location in it, our collection and interpretation of data and the writing up process. This edited collection brings together diverse experiences and reflections through the evocative medium of particular songs.

Through the prism of the song You'll Never Find a Love Like Mine by soul artist Lou Rawls, this paper explores the intersections of personal life, fieldwork and the centrality of music to social reproduction across generations in South Africa.

Özet
Bu araştırmanın amacı, lise öğrencilerinin demografik özellikleri ile dinledikleri müzik türleri arasındaki ilişkiyi saptamaktır. Araştırmanın evrenini Ankara’daki Milli Eğitim Bakanlığı.’na(M.E.B.) bağlı liseler, örneklemini ise her bir lise türünden random yöntemi ile farklı ilçelerden seçilen 7 liseden 634 öğrenci oluşturmaktadır. Hazırlanan ankette ilk olarak Kolmogorov-Smirnovtesti ile verilerin normal dağılıma uyup uymadığı incelenmiştir. Maddeler normal dağılıma sahip olduğundan iki grubun karşılaştırılmasında Independent Sample t testi, ikiden fazla grubun karşılaştırılmasında ise One-Way ANOVA kullanılmıştır. Grupların birbirinden farklı olduğunun tespit edilmesi için Scheffetesti uygulanmış, grupların karşılaştırılmasına ilişkin testler varyans homojenliği varsayımı Levene testi ile incelenmiştir. Çalışmada yer alan analizler için IBM SPSS 20.0 paket programı kullanılmıştır.
Araştırma sonucunda; lise öğrencilerinin dinlemeyi en çok tercih ettikleri müzik türünün Pop müzik olduğu belirlenmiştir. Farklı demografik özellikteki öğrencilerin, dinledikleri müzik türü arasında belirgin farklar olduğu görülmüştür. Müzik türlerini tercih düzeylerinin; yaşa, cinsiyete, okudukları okula, enstrüman çalmalarına ve liseye başlamadan önce kaldıkları en uzun yerleşim yerine göre karşılaştırıldığında anlamlı farklar olduğu saptanmıştır.

Abstract
The aim of this study is to determine the correlation between high school students’ demographical qualifications and music genres that they listen. The universe of the study is the high schools in Ankara which are connected to National Education Ministry, the sample is 634 students from 7 high schools from various districts which are randomly chosen from each genres of high school. At the prepared questionary firstly dataset was researched whether it answered for mormal dispersion with Kolmogorov-Smirnovtesti. Therefore elements have normal dispersion, for comparing two groups Independent Sample Test had been used, for comparing more than two groups One-Way ANOVA had been used. For determining whether groups are different from each other Scheffe Test was applied, tests for comparing groups had been searched with Levene Test, variance homogeneity assumption. For the analysis in the study, IBM SPSS 20.0 package programme had been used.
In accordance with the result of the study, when general grades of musical genres were analysed, it is seen that the most favourite music genre is pop music. It is seen that there are differences on musical choices of students who have different demographical qualifications. When choice grade of music genres are compared with age, sex, the high school that they study, ability playing any musical instruments and the residential they stay to longest duration before they start to go to high school , it was determined that there were significant differences.

A fusion of the Caribbean, African American and Zimbabwean music genres into the infamous glocalized Zimdancehall music has dulled the significance of other traditionalist Zimbabwean music genres. Dancehall culture has caused much controversy in Zimbabwean society, being blamed for the country's increase in crime, violence and believed to encourage misogynistic attitudes among Zimbabwean youths through its negative themes. Using appraisal and dramatism theories the article shows the existential crisis the youth in Zimbabwe face due to economic as well as other social forces and thus align themselves to rather destructive misogynistic behaviours which somehow characterises contemporary Zimbabwe. Established in the article is the extent to which language used in Zimdancehall music is socially charged as well as globalized thus influencing youth feelings, emotions and behaviors. The article analyses lyrics of selected songs as well as makes references to selected musical videos from Zimdancehall artistes such as Soul Jah Love, Winky D, Lady Bee and Killer T as prominent artists revealing what has come to be considered contemporary 'ghetto culture' within popular culture in Zimbabwe. It is further argued that Zimdancehall has come to shape, inform behaviors, perceptions and aspirations of the Zimbabwean youth largely due to its nature of production as well as dissemination.

Dikkate değer entelektüel ilgi alanı ve geniĢ sosyal yaygınlığına rağmen, din, çağ-daĢ geliĢim psikologları tarafından ihmal edilmiĢ durumdadır. Fakat son yıllarda, çocukların belli bazı evrensel dini fikirlere iliĢkin kavrayıĢlarını araĢtıran, yeni ortaya çıkan bir yığın araĢtırma gün yüzüne çıkmıĢ durumdadır. Bazı yeni bulgular, dini inancın iki kurucu nitelikteki bakıĢ açılarının-ilahi aracılara/faktörlere inanç ve ruh beden düalizmine inanç-küçük çocuklara doğal bir Ģekilde geldiğini iddia etmektedirler. Bu araĢtırmada bunlar kısaca gözden geçirilip bunlara iliĢkin geleceğe yönelik öneriler tartıĢılmaktadır.

It has been repeatedly shown that sad music induces mainly pleasant or mixed emotions, and is particularly relevant for self-regulation goals. However, this is not entirely compatible with the view that sadness is one of the basic emotions experienced in the face of an unpleasant event or a loss. Also, a distinction between grief and sadness is often drawn, which seemingly does not have relevance in relation to musical experiences. The discrepancy between the positive accounts of emotions associated with sad music and those present in ordinary sadness may be related to the previously unacknowledged spectrum of affects associated with music-related sadness. The present study aims to expose the underlying affective experiences of music-related sadness. To examine this, a large qualitative data, consisting of open-ended answers from 363 participants, was subjected to thematic content analysis. The analysis revealed a range of emotions experienced which were classified into three themes...

Prior research from the field of music psychology has suggested that there are factors common to music preference beyond individual genres. Specifically, research has shown that self-reported ratings of preference for individual musical genres can be reduced to 4 or 5 dimensions, which in turn have been shown to correlate to relevant psychological constructs, such as personality. However, the number of dimensions emerging from multiple studies has varied despite the care taken in conducting such research. Data-driven approaches offer opportunities to further this line of research with actual listening data, at a scale and scope surpassing that of traditional psychological studies. Although listening data can be considered more direct and comprehensive evidence of listening preference, transforming this data into meaningful measurements is non-trivial. In the current paper, we report on investigations seeking to find interpretable underlying dimensions of music taste, using implicit large-scale listening data. Offering a critical reflection on potential researchers' degrees of freedom, we adopt an explicit systematic approach, investigating the impact of varying different parameters, analysis, and normalization techniques. More precisely, we consider various ways to extract listening preference information from two large, openly available datasets of music listening behavior, making use of principal component analysis and variational autoencoders to extract potential underlying dimensions. Results and implications are discussed in light of prior psychological theory, and the potential of user listening data to further research on music preference.

This presentation classifies, enumerates and itemizes the five elements of polyrhythm, which constitutes the theoretical framework for the polyrhythmic analysis of the traditional genres of Puerto Rico –from the micro to the macrostructure.
The polyrhythmic analysis of the traditional genres of Puerto Rico is based on the tresillo (3+3+2), whose rhythmic cells conforms the phrases, which at the same time conforms the musical forms that are molded by the variation techniques.

Music preference is being influenced by various sociological factors. This study was undertaken to investigate music preferences across five different socioeconomic classes in selected urban and suburban areas of Sri Lanka. Ten music tracks representing the correspondent musical genres were selected. The single most preferred and the weighted hedonic mean score for the genres in each class were obtained as upper class: jazz, upper middle class: nature music, middle class: popular instrumental, working class: popular instrumental and poor class: rock. The interaction between socioeconomic classes and genres was significant (p<0.05). Compelling associations for folk, jazz, and popular instrumental genres were found with the upper-middle class while the upper class has shown a significant association for popular instrumental music. Despite the socioeconomic status, the highest preference and the highest weighted hedonic mean score were recorded with popular instrumental. Thus, understanding music preference behaviour is vital for music education and research.

A fusion of the Caribbean, African American and Zimbabwean music genres into the infamous glocalized Zimdancehall music has dulled the significance of other traditionalist Zimbabwean music genres. Dancehall culture has caused much controversy in Zimbabwean society, being blamed for the country's increase in crime, violence and believed to encourage misogynistic attitudes among Zimbabwean youths through its negative themes. Using appraisal and dramatism theories the article shows the existential crisis the youth in Zimbabwe face due to economic as well as other social forces and thus align themselves to rather destructive misogynistic behaviours which somehow characterises contemporary Zimbabwe. Established in the article is the extent to which language used in Zimdancehall music is socially charged as well as globalized thus influencing youth feelings, emotions and behaviors. The article analyses lyrics of selected songs as well as makes references to selected musical videos from Zimdancehall artistes such as Soul Jah Love, Winky D, Lady Bee and Killer T as prominent artists revealing what has come to be considered contemporary 'ghetto culture' within popular culture in Zimbabwe. It is further argued that Zimdancehall has come to shape, inform behaviors, perceptions and aspirations of the Zimbabwean youth largely due to its nature of production as well as dissemination.