Suchergebnisse

Fondé sur des recherches de terrain et la consultation d'archives au Mali et à Cuba, cet article analyse les enjeux politiques et musicaux que révèlent les jeux d'aller-retour et les déplacements transcontinentaux de musiciens maliens et cubains à l'aune des nouveaux échanges culturels amorcés entre Cuba et les pays africains après les indépendances. Prenant pour objet d'étude la présence de l'orchestre Las Maravillas de Mali à Cuba et les tournées de la Orquesta Aragón en Afrique de l'Ouest, plusieurs strates de circulations musicales à travers l'Atlantique sont mises au jour. Cet article aborde le rôle de dynamiques politiques particulières dans l'histoire d'une globalisation musicale transatlantique.

International audience ; The mahragān accomplishes a form of musical modernity in the continuity of the aesthetics of electrification that crosses popular secular and holy festivities (patron saint's day, mouled) where sound saturation, echo and reverb combine in a singular sound image. This music has been emerging for about ten years from the popular Egyptian neighborhoods. It is composed on computer and holds its sound signature from a transformation of voices using the Auto-Tune as an audible effect.In this article, the author describes the aesthetic practices of the creators of mahragān, and re-inserts them in a social and musical genealogy to understand, with some precision, what (from whom) the sound is. Then he discusses the organization of the mahragān system by observing the circulation of music on the surface of the city and in digital spaces. In conclusion, these descriptions allow us to establish the idea that mahragān acts as an alternative culture that disseminates music and attractive dress and behavioural codes from outlying neighbourhoods, despite the recurrent criticisms of its cultural legitimacy, compounded by an urban stigmatization of the neighbourhoods from which it emanates. ; Le mahragān – le pluriel mahragānāt est fréquemment employé, il est souvent présenté par les médias français et internationaux sous l'appellation électro-chaabi – se développe en Égypte depuis la fin des années 2000. Cette forme musicale particulière trouve son origine dans les pratiques des DJs qui officient dans les mariages balādīs (locaux, qui se tiennent le plus souvent dans une portion de rue aménagée pour la cérémonie, le terme connote une idée d'authenticité égyptienne opposée à la citadinité bourgeoise occidentalisée) et peu à peu transforment les simples salutations au public de la noce en véritable morceaux mélodiques, des chansons scandées qui suscitent l'engouement de la jeunesse. Cette performance s'impose progressivement dans les fêtes de mariage (afrāḥ) et les acteurs de ce monde nocturne le désigne tout simplement par le terme « festival », mahragān. Ce texte décrit les pratiques esthétiques et sonores du mahragān, et les réinsére dans une généalogie sociale et musicale pour comprendre, avec un peu de précision, de quoi (de qui) il est le son (1). Puis l'organisation du système mahragān est approchée par l'observation des circulations de la musique à la surface de la ville et dans les espaces numériques (2). Ces descriptions permettront d'asseoir en conclusion l'idée que le mahragān agit dans la société égyptienne comme une culture alternative qui diffuse depuis les quartiers périphériques des musiques et des codes vestimentaires et comportementales attrayants quoique controversés.

International audience ; The mahragān accomplishes a form of musical modernity in the continuity of the aesthetics of electrification that crosses popular secular and holy festivities (patron saint's day, mouled) where sound saturation, echo and reverb combine in a singular sound image. This music has been emerging for about ten years from the popular Egyptian neighborhoods. It is composed on computer and holds its sound signature from a transformation of voices using the Auto-Tune as an audible effect.In this article, the author describes the aesthetic practices of the creators of mahragān, and re-inserts them in a social and musical genealogy to understand, with some precision, what (from whom) the sound is. Then he discusses the organization of the mahragān system by observing the circulation of music on the surface of the city and in digital spaces. In conclusion, these descriptions allow us to establish the idea that mahragān acts as an alternative culture that disseminates music and attractive dress and behavioural codes from outlying neighbourhoods, despite the recurrent criticisms of its cultural legitimacy, compounded by an urban stigmatization of the neighbourhoods from which it emanates. ; Le mahragān – le pluriel mahragānāt est fréquemment employé, il est souvent présenté par les médias français et internationaux sous l'appellation électro-chaabi – se développe en Égypte depuis la fin des années 2000. Cette forme musicale particulière trouve son origine dans les pratiques des DJs qui officient dans les mariages balādīs (locaux, qui se tiennent le plus souvent dans une portion de rue aménagée pour la cérémonie, le terme connote une idée d'authenticité égyptienne opposée à la citadinité bourgeoise occidentalisée) et peu à peu transforment les simples salutations au public de la noce en véritable morceaux mélodiques, des chansons scandées qui suscitent l'engouement de la jeunesse. Cette performance s'impose progressivement dans les fêtes de mariage (afrāḥ) et les acteurs de ce monde nocturne le désigne tout simplement par le terme « festival », mahragān. Ce texte décrit les pratiques esthétiques et sonores du mahragān, et les réinsére dans une généalogie sociale et musicale pour comprendre, avec un peu de précision, de quoi (de qui) il est le son (1). Puis l'organisation du système mahragān est approchée par l'observation des circulations de la musique à la surface de la ville et dans les espaces numériques (2). Ces descriptions permettront d'asseoir en conclusion l'idée que le mahragān agit dans la société égyptienne comme une culture alternative qui diffuse depuis les quartiers périphériques des musiques et des codes vestimentaires et comportementales attrayants quoique controversés.

This dissertation historicizes and theorizes how musical cultures shaped queer identity in the US in the 20th Century. By examining a broad range of neglected texts (including cinematic musical shorts, sheet music, gay slang dictionaries and records of gay men's choruses), I argue that gay men and lesbians used popular song both to foster sociality in private spaces such as homes and clubs and to conceal subcultural practices in public spaces such as the street, the office, concert halls and department stores. While scholarship on the musical tends to focus on its generic features, my project instead emphasizes the relation of musical culture to daily life and public visibility in the 20th Century. To highlight how associations with music remained vital in shaping queer visibility across the 20th century, my project tracks developments in the uses of musical culture by queers from the 1920s through the 2010s. By bringing histories and theories of sexuality to bear on media and vice versa, this project develops historiographic methods relevant to the study of difference in modern and contemporary society more broadly.The first half of my dissertation argues that consumption of popular music helped queers create networks that enabled them to circulate (undetected) to and through locations where overt homosexual identity would be punished, in the US (Chapter 1) and abroad during WWII (Chapter 2). Focusing on collections of sheet music, Vitaphone musical shorts, army musicals, home magazines, gay travel guides and diaries, these chapters show how popular song acted as an affective interface for queers that disguised subcultural practices across heteronormative settings (as varied as the church, the park and the wartime canteen), and enabled fantasies of social and spatial circulation.The second half of my dissertation demonstrates how the musical engendered queer systems of meaning from midcentury onward. Focusing on the period just before gay liberation, Chapter 3 argues that material musical culture in the form of pianos, sheet music, radios, phonographs and records fostered the development of coded, camp language in private spaces. I contend that these terms (from gay slang dictionaries) appeared innocuous to those who observed them, whether fellow consumers of music or police officers, but nonetheless contributed to popular stereotypes associating queers with musical entertainment. I go on to analyze the linguistic bind confronted by queers in the post-Stonewall 1970s and 1980s, during which they gained greater visibility by conforming to popular stereotypes about homosexual consumption and musicality. I explore this struggle in popular and academic discourse with case studies including the growth of gay men's choruses and the contradictory rhetoric of early gay ethnomusicology. In Chapter 5 I turn to the 2010s and the viral video "Telephone Remake" (a remake of Lady Gaga's "Telephone" by US soldiers in Afghanistan) to theorize the political potential of the musical now that digital media offer new paradigms for the production and circulation of sexual identity.

This research concerns the international development of musical tours between 1850 and 1930, a period characterized by the affirmation of the intermediation function and by an increasingly commercial approach to concerts. By adopting the perspective of the intermediaries who have brought about this evolution, we propose to study how the change in scale of those cultural and economic exchanges that musical tours are has caused profound changes. In particular, the transatlantic dimension that the music trade acquired from 1850 onwards had decisive consequences for the concert. Indeed, not only the structure of the exchanges had to be adapted to this new scale, but the repercussions were also sensitive on the artistic objects and on the social practices which surround the musical activity. Treating the concert as a show, the American impresarios promoted a resolutely commercial approach which, a priori, was opposed to European artistic conceptions. However, through transnational competition and cooperation, the innovations brought by American intermediaries transformed the music trade as a whole. In particular, they led to the emergence, by reaction but also by reappropriation, of modern concert directions based on traditional European music publishing houses. Moreover, because musical works are also symbolically, socially and nationally connoted objects, their trade reflects the tensions between democratization and distinction on the one hand, and between national issues and universalist temptation on the other. ; Cette recherche porte sur le développement international des tournées musicales entre 1850 et 1930, période caractérisée par l'affirmation de la fonction d'intermédiation et par une approche commerciale de plus en plus assumée du concert. En adoptant la perspective des intermédiaires qui ont porté cette évolution, nous nous proposons d'étudier comment le changement d'échelle de ces échanges culturels et économiques que constituent les tournées musicales a provoqué de profondes mutations. En particulier, la dimension transatlantique qu'acquiert le commerce musical à partir de 1850 a des conséquences décisives sur le concert. En effet, non seulement la structure des échanges doit être adaptée à cette nouvelle échelle, mais les répercussions sont sensibles également sur les objets artistiques et sur les pratiques sociales qui entourent l'activité musicale. Traitant le concert comme un spectacle, les imprésarios américains promeuvent une approche résolument commerciale qui, a priori, s'oppose aux conceptions artistiques européennes. Cependant, par le jeu des concurrences et des coopérations transnationales, les innovations apportées par les intermédiaires américains transforment le commerce musical dans son ensemble. Elles suscitent notamment l'émergence, par réaction mais aussi par réappropriation, de directions de concerts modernes à partir des traditionnelles maisons d'édition musicale européennes. En outre, parce que les œuvres musicales sont aussi des objets symboliquement connotés, socialement et nationalement, leur commerce reflète les tensions entre démocratisation et distinction d'une part, et entre enjeux nationaux et tentation universaliste d'autre part.

This research concerns the international development of musical tours between 1850 and 1930, a period characterized by the affirmation of the intermediation function and by an increasingly commercial approach to concerts. By adopting the perspective of the intermediaries who have brought about this evolution, we propose to study how the change in scale of those cultural and economic exchanges that musical tours are has caused profound changes. In particular, the transatlantic dimension that the music trade acquired from 1850 onwards had decisive consequences for the concert. Indeed, not only the structure of the exchanges had to be adapted to this new scale, but the repercussions were also sensitive on the artistic objects and on the social practices which surround the musical activity. Treating the concert as a show, the American impresarios promoted a resolutely commercial approach which, a priori, was opposed to European artistic conceptions. However, through transnational competition and cooperation, the innovations brought by American intermediaries transformed the music trade as a whole. In particular, they led to the emergence, by reaction but also by reappropriation, of modern concert directions based on traditional European music publishing houses. Moreover, because musical works are also symbolically, socially and nationally connoted objects, their trade reflects the tensions between democratization and distinction on the one hand, and between national issues and universalist temptation on the other. ; Cette recherche porte sur le développement international des tournées musicales entre 1850 et 1930, période caractérisée par l'affirmation de la fonction d'intermédiation et par une approche commerciale de plus en plus assumée du concert. En adoptant la perspective des intermédiaires qui ont porté cette évolution, nous nous proposons d'étudier comment le changement d'échelle de ces échanges culturels et économiques que constituent les tournées musicales a provoqué de profondes mutations. En particulier, ...

This dissertation, based upon two years research in Tbilisi, Georgia, questions how popular music travels from the performer to the audience and how it circulates among audience members. After the disintegration of the Soviet Union in the early 1990s, the state-run music industry collapsed, taking the infrastructure for music distribution with it. In the years since, a music industry has not been rebuilt due to uncertain economic realities and a shaky political situation. Because of this, performers have difficulty spreading their music through the mass media or by selling it, and alternative methods have developed. The concept of distribution, often associated with the activities of the music industry, is replaced with circulation, expressing music's de-centralized movement and the role individuals play in making music move. This dissertation establishes two spheres through which music circulates: the first is characterized by a higher level of control by the government and by businesses, and musicians have limited access to it; the second involves a lower level of control, and therefore musicians and audience members can more easily utilize it. Certain musical styles, such as estrada and ethno-music (a combination of popular and traditional styles) are favored in the first, while other styles circulate almost exclusively in the second. After describing the musical genres found in Georgian popular music and the various channels through which music circulates, the dissertation analyzes how musicians gain access to the more controlled sphere of circulation through the patronage of media professionals and of political figures. Using a framework developed from actor-network theory, the dissertation then analyzes the kinds of technological configurations in play as music circulates by tracing the movement of digital files on radio and television, the Internet, and on mobile phones. The final section explores the role that music circulation plays in building social capital. Displaying a familiarity and fondness for certain genres and styles can convey a high social status, while others are associated with lower status. Modified theories of the circulation of material culture are used to examine how music can function as a gift, thereby building communities based on shared tastes.

The diplomacy of exoticism : Brazilian accounts of the global South / Rosario Hubert -- Hearing geography in motion : processes of the musical imagination in diaspora / Kay Kaufman Shelemay -- A Chinese fan in Sri Lanka and the transport of writing / Xiaofei Tian -- The portability of art : a prologomena to art and architecture on the move / Alina Payne -- Genealogies of whitewash : "Muhammedan churches," reformation polemics, and the aesthetics of modernism / Finbarr Barry Flood -- Mobility and material culture : a case study / Diana Sorensen -- World literature and the health humanities : translingual encounters with brain disorders / Karen Thornber -- In but not of Europe? The precarious rights of Roma in the European Union / Jacqueline Bhabha -- From world history to world art : reflections on new geographies of feminist art / Shu-mei Shih -- Technologies of uncertainty in the search for Flight MH370 / Lindsay Bremner

"In a time when music streaming has become the dominant mode of consuming music recordings, this book interrogates how users go about listening to music in their everyday lives in a context where streaming services are focused on not only the circulation of music for users but also the circulation of user data and attention. Drawing insights directly from interviews with users, music streaming is explained as never merely a neutral technology but rather one that seeks to actively shape user engagement. Users respond to streaming platforms with some relishing these aspects that provide music to be drawn into daily activities while others show signs of resistance. It is this tension that this book explores. This unique and accessible study will be ideal reading for both scholars and students of popular music studies, communication studies, sociology, media and cultural studies"--

Sébastien Lagrave prend la direction du festival Africolor en 2012. Créé en 1989 par Philippe Conrath, Africolor est un festival atypique de création musicale dédié aux musiques africaines. Dans cet entretien, il définit cette expression polymorphe de « musiques africaines ». Il revient aussi sur la dimension politique inhérente à ces musiques, notamment au travers des artistes, chanteurs et musiciens, femmes et hommes, contraints à des parcours migratoires, parfois difficiles, ou pris dans des logiques de circulations transnationales. Enfin, il explique en quoi le positionnement du festival Africolor entre proposition artistique et médiation culturelle permet de sortir d'une « verticalité de la culture » aujourd'hui dépassée.

Since the emergence of the sikuri movement in the 1970s, musicians participating in the scenes of several Latin American cities have interpreted index musical styles of various villages and regions in the Central Andes. From the sikumorene of the city of Puno to the jack'a sikuri in Ilabaya, what is the choice of these estimates, what is the link with migration flows or the requirements of the recording industry, and what does it reveal about the sikuri movement as a platform for alternative forms of knowledge? What's more, what about the different cohorts of musicians that make up it? This article explores some of the rations that sikuris take into account when choosing musical styles and repertoires. He argues that his choices reveal aesthetic preferences, wishes for differentiation, the willingness to maintain family, regional or national ties, and even his own agendas. He concluded that, despite the frequent celebration of the alleged intercultural nature of the sikuri movement, the cosmopolite cultural formation of those who convey these musical practices and knowledge of indigenous origin shows the contrary. ; A partir de la emergencia del movimiento sikuri en la década de 1970, los músicos que participan en las escenas de varias ciudades latinoamericanas han interpretado estilos musicales indexales de diversos pueblos y regiones en los Andes centrales. Desde el sikumoreno de la ciudad de Puno hasta el jach'a sikuri de Ilabaya, ¿qué supone la elección de estos estilos?, ¿qué relación guarda con los flujos migratorios o las exigencias de la industria discográfica?, ¿qué revela acerca del movimiento sikuri en tanto plataforma por la que circulan formas alternativas de conocimiento? Más aún, ¿qué dice acerca de las distintas cohortes de músicos que lo conforman? Este artículo explora algunas de las conside- raciones que los sikuris tienen en cuenta al escoger estilos musicales y repertorios. Argumenta que sus elecciones revelan preferencias estéticas, deseos de diferenciación, la voluntad de mantener lazos ...

The purpose of the research is to analyse the role and place of Ukrainian political emigrants, Naddnipryanska Ukraine (Dnieper Ukraine) natives, in the musical culture development on Volyn Voivodeship territory based on the archival sources and the interwar periodicals (1921 – 1939). The methodology of the research is based on the science, historicism, verification principles. In the course of study the historical science methods have been used such as search, identification and systematization of the historical material, obtained from the archival documents and the press sources and with the further criticism of the other methods have been applied the historical-comparative, the historical-typological, the historical-chronological, the historical-geographical and other research methods. The scientific novelty of the article is based on the introduction into the scientific circulation the Sectoral State Archives of the Foreign Intelligence Service of Ukraine deciphered archival documents, archival-criminal cases from the Sectoral State Archives of the Security Service of Ukraine, Rivne region State Archive, other archival materials, the interwar periodical, which helped to depict Naddnipryanskykh political emigrants influences on the musical culture development of the interwar Volyn, in some places to trace their fate. It is proved that, despite the everyday difficulties, the emigrants stood out from the rest in social and socio-cultural activities, their musical activity was not only a way of earning money, but also an opportunity for creative self-realization, which helped them in adaptation to the new conditions. Conclusions. The Ukrainian Revolution figures of the 1917 – 1921, who were forced to emigrate to Poland and settled down in Volyn Voivodeship, intensified the musical life in the region. They were the folk choirs founders, moreover, they organized tours, worked as church choirs conductors, founded artistic societies, joined the search campaign for the musical and ethnographic materials for the purpose of their artistic elaboration by amateur choirs and theaters, scientific publications. At this time, the following musicians developed their talent: Mykhailo Telezhinskyi, Oleksa Kolisnichenko, Sozont Kalmutskyi, Serhiy Kozytskyi, Anna Bilohub. The Polish authorities control was manifested in censoring the repertoire, interfering with the conductors and singers, trying to use the artistic sphere in order to spread the pro-government policy. The choral art development, the concerts and competitions organizations, the ethnographic song material collection, enriched the cultural life of the region.