Sounds of Articulating Identity: Tradition and Transition in the Music of Palau, Micronesia
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However, several brass bands have existed in Palau over the years. Hildegard Thiem received a donation of brass instruments, which she brought to Palau. When Fey left Palau two years later, the brass band ceased to exist. As the instruments were no longer used, they were handed over to Palau High School, where music classes were held at that time.
Here, too, the music classes were taken from the curriculum after a while for want of teachers with an expertise in that area. The plane carried 22 passengers and after taking off from Yap, it …. It is interesting to note that this anthem is now used by the Federated States of Micronesia. While on the island the Navy musicians worked with the Micronesian and American boys in the high school band.
The parade featured ten floats, groups of local school children, and the Navy and high school bands. Admiral Bird delivered the principal address. Fellowship recipient. Hundreds of children from fourteen schools in the Palau District took part in 30 track and field Micronesian Olympics events, organized by Palau High School teacher Donald R. At p. Birgit Abels describes  the resurfacing of the brass band in , under the direction of missionary Richard Jones. The band grew to 14 members within its first year, and performed at various events, the band stopped again in , when missionary Jones left the island.
I wonder if the brass band will make another comeback in Palau? You are commenting using your WordPress. Magical Musical Tour is the first sustained and focused survey to engage the intersection of the two on both an aesthetic and industrial level. The chapters are historically-inspired reviews, discussing many films and musicians, while others will be more concentrated and detailed case studies of single films. From the Fairlight CMI through MIDI to the digital audio workstations at the turn of the millennium, Modern Records, Maverick Methods examines a critical period in commercial popular music record production: the transformative digital age from the late s until Drawing on a discography of more than recordings across pop, rock, hip hop, dance and alternative musics from artists such as the Beastie Boys, Madonna, U2 and Fatboy Slim, and extensive and exclusive ethnographic work with many world-renowned recordists, Modern Records presents a fresh and insightful new perspective on one of the most significant eras in commercial music record production.
The book traces the development of significant music technologies through the s and s, revealing how changing attitudes and innovative techniques of recording personnel reimagined recording processes and, finally, exemplifies the impact of these technologies and techniques via six comprehensive tech-processual analyses. Picture yourself in a darkened movie theater, or soothed by the pleasing glow of a television screen. You are watching as a history of the moving image unfolds onscreen, but this history will not take note of D.
As the images flicker past - of four ebullient Britishmen turning cartwheels in an open field, a man tap-dancing on an urban sidewalk, a wedding party in a rainstorm, a tragedy in a school classroom - they wax more familiar, the theme growing more coherent, more stable.
They keep coming, though, quickly, relentlessly, constantly changing form, changing style, shapeshifting. The parade of images appears to possess a logic of its own, a guiding hand to steer its ship. Finally, as the last picture fills the screen - it happens to be of a shooting on a Brooklyn street - a light bulb goes off: these are all images from music videos, the short films that once ruled the airwaves, and still possess a significant hold on the generations raised by MTV. The music video is a medium that appears to have run its course, or at least hit a substantial rut in its evolution.
MTV and VH1 have morphed into lifestyle channels, the musical component of their programming reduced to a mere blip on their schedule. BET, CMT, and other music channels still maintain their dedication to showing music videos regularly, but their narrower audiences render them distinctly niche channels. Austerlitz sees the music video as a fascinating oddity, capable of packing great wit, emotion, and insight into its brief span.
A compelling marker of cultural history, the video emerged onto television screens nationwide and shone gloriously for a brief moment before disappearing into the remembrance of television past. Informed, opinionated, and always entertaining, Money for Nothing goes a long way toward retrieving the memory of this fleeting, evanescent art-form. The Pageant of His Bleeding Heart. Morrissey is arguably the greatest disturbance popular music has ever known.
In his brilliant book, Gavin Hopps examines the work of this compelling performer, whose intelligence, humour, suffering and awkwardness have fascinated audiences around the world for the last 25 years. Popular Music and the Awareness of Death.
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The evidence of death and dying has been removed from the everyday lives of most Westerners. Yet we constantly live with the awareness of our vulnerability as mortals. Drawing on a range of genres, bands and artists, Mortality and Music examines the ways in which popular music has responded to our awareness of the inevitability of death and the anxiety it can evoke. Essays on the interplay of music and the popular culture of the American road. Brian Wilson and The Beach Boys, Bob Dylan, Bruce Springsteen, and Paul Simon—these familiar figures have written road music for half a century and continue to remain highly-regarded artists.
But there is so much more to say about road music. This book fills a glaring hole in scholarship about the road and music. We communicate multimodally. Everyday communication involves not only words, but gestures, images, videos, sounds and of course, music. Music has traditionally been viewed as a separate object that we can isolate, discuss, perform and listen to. It is not just lyrics which lend songs their meaning, but images and musical sounds as well.
This book considers musical sound as multimodal communication, examining the interacting meaning potential of sonic aspects such as rhythm, instrumentation, pitch, tonality, melody and their interrelationships with text, image and other modes, drawing upon, and extending the conceptual territory of social semiotics.
In so doing, this book brings together research from scholars to explore questions around how we communicate through musical discourse, and in the discourses of music. Methods in this collection are drawn from Critical Discourse Analysis, Social Semiotics and Music Studies to expose both the function and semiotic potential of the various modes used in songs and other musical texts.
These analyses reveal how each mode works in various contexts from around the world often articulating counter-hegemonic and subversive discourses of identity and belonging. Building Communities, Mediating Genres. Why is music so important to radio? This anthology explores the ways in which musical life and radio interact, overlap and have influenced each other for nearly a century. Music radio also helps identify and develop musical genres in collaboration with listeners and the music industry by mediating and by gatekeeping.follow
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Focusing on music from around the world, Music Radio discusses what music radio is and why or for what purposes it is produced. Each essay illuminates the intricate cultural processes associated with music and radio and suggests ways of working with such complexities. Histories, Aesthetics, Media. This book is a lively, comprehensive and timely reader on the music video, capitalising on cross-disciplinary research expertise, which represents a substantial academic engagement with the music video, a mediated form and practice that still remains relatively under-explored in a 21st century context.
The music video has remained suspended between two distinct poles. On the one hand, the music video as the visual sheen of late capitalism, at the intersection of celebrity studies and postmodernism. On the other hand, the music video as art, looking to a prehistory of avant-garde film-making while perpetually pushing forward the digital frontier with a taste for anarchy, controversy, and the integration of special effects into a form designed to be disseminated across digital platforms.
In this way, the music video virally re-engenders debates about high art and low culture. This collection presents a comprehensive account of the music video from a contemporary 21st century perspective.
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Artists, Business, History. Yet, in comparison with contemporaries such as Rough Trade or Stiff, its legacy remains under-explored. Drawing from disciplines such as popular music studies, musicology, and fan studies, it takes a distinctive, artist-led approach, outlining the history of the label by focusing each chapter on one of its acts.
The book covers key moments in the company's evolution, from the first releases by The Normal and Fad Gadget to recent work by Arca and Dirty Electronics. Mute Records examines the business and aesthetics of independence through the lens of the label's artists. This is the first extensive scholarly study of drone metal music and its religious associations, drawing on five years of ethnographic participant observation from more than performances and 74 interviews, plus surveys, analyses of sound recordings, artwork and extensive online discourse about music.
Owen Coggins shows that while many drone metal listeners identify as non-religious, their ways of engaging with and talking about drone metal are richly informed by mysticism, ritual and religion. He explores why language relating to mysticism and spiritual experience is so prevalent in drone metal culture and in discussion of musical experiences and practices of the genre.
The author develops the work of Michel de Certeau to provide an empirically grounded theory of mysticism in popular culture. Is there such a thing today as music that's meaningfully new? Coded into our daily conversations about popular music, newness as an artistic and cultural value is too often taken for granted.
Utilizing an interdisciplinary approach that combines music criticism, philosophy, and the literary essay, Robert Loss follows the stories of a diverse cast of musicians who seek the new by wrestling with the past, navigating the market, and speaking politically. The pop spectacle of Katy Perry's Super Bowl halftime show. Protest songs against the war in Iraq. Provocative and engaging, Nothing Has Been Done Before challenges nothing less than how we hear and think about popular music—its power and its potential.
Exploring Repetition in Popular Music. From the Tin Pan Alley bar form, through the cyclical forms of modal jazz, to the more recent accumulation of digital layers, beats, and breaks in Electronic Dance Music, repetition as both an aesthetic disposition and a formal musicological property has stimulated a diverse range of genres and techniques.
After decades of riffs, loops, vamps, reiterated rhythmic patterns, pervasive harmonic formulae and recurring structural units in standardised song forms, the time came to give these notions the recognition they deserve in the study of popular music. Whether addressed from the angle of musicology, psychology, sociology or science and technology, Over and Over reassesses the complexity connected to notions of repetition in a variety of musical genres.
This book will be the first edited volume on repetition in 20th- and 21st- century popular music. As such, it offers a multi-faceted view of the subject.
The wide-ranging forms and use of repetition — from large repetitive structures to micro repetitions, and even to drones — are explored in relation to both specific and large-scale issues and contexts. Over and Over brings together a selection of original texts by leading authors in a field which is, as yet, little explored. Aimed at both specialists and neophytes, it aims to shed important new light on one of the fundamental phenomena of music of our times.
The Life and Afterlife of Sarah Records. Its rare releases command hundreds of dollars, devotees around the world hungrily seek out any information they can find about its poorly documented history, and young musicians—some of them not yet born when Sarah shut down—claim its bands such as Blueboy, the Field Mice, Heavenly, and the Wake as major influences.
Featuring dozens of exclusive interviews with the music-makers, producers, writers and assorted eyewitnesses who played a part in Sarah's eight-year odyssey, Popkiss: The Life and Afterlife of Sarah Records is the first authorised biography of an unlikely cult legend.