Music - Journal Articles
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Item Thailand (ประเทศไทย)(Intellect, 2023-12-20) Ng, Jason; Horizon 2020Thailand’s hip hop culture has developed at a very different pace to other prominent early adopters in the Asia-Pacific. Given its late adoption of hip hop in the 1990s through popular music labels (Kita Music, GMM Grammy, Bakery Music, RS Promotion), local DJs, MCs, aerosol artists and breakers negotiated hip hop in a relatively short period – pressurized under local market conditions and influenced by multidirectional flows of hip hop that extended across the region and beyond. Hip hop in Thailand now draws on local traditional cultural influences while also being inspired by an immense flow of expat workers, tourists and transient visitors annually. It is not surprising that immanently polycultural music cultures like hip hop manifest in a number of ways in the Thai context, stratified by degrees of appreciation of international aesthetics and reverence for local Thai cultural history and customs. While hip hop exists across the country, with prominent communities in Chiang Mai, Chon Buri and Udon Thani, it is most notably diverse and concentrated in Bangkok – the place it began and where many pioneers have created their legacy.Item La culture musicale traditionelle des Garifuna(Ateliers d'ethnomusicologie, 2000-01-01) Penedo, Ismael; D'Amico, LeonardoThe Garifuna are the descendants of Caribe Rojos Indians who occupied certain islands of the Lesser Antilles before the arrival of Christopher Columbus, as well as runaway and shipwrecked African slaves. Also known as Black Caribbeans, they represent one of the most unique fusions between African groups and indigenous cultures of Latin America. Music plays a fundamental role in Garifuna culture. The traditional musical system bears witness to this dual African and Amerindian heritage, the product of a cultural recreation resulting from a tortuous historical process and ethnic and cultural hybridization. Despite the pressures of numerous forced exoduses and the insidious process of modernization and emigration which threatens the bases of their culture and their ethnic identity, the Garifuna have managed to keep their music and their religion alive within a political reality and often unstable economy. Through them it is still possible to collect the most "authentic" part of their culture.Item Com Defeito de Fabricação e a "Estética do Plágio" de Tom Zé: um "Manifesto Antropófago" pós-moderno/pós-colonialista(Taylor & Francis Group, 39259) Rollefson, J. GriffithEm seu CD lançado em 1998, Com Defeito de Fabricação, o cantor e compositor Tom Zé articula os discursos da pós-modernidade e do pós-colonialismo. Mais do que simplesmente tocar em vários aspectos “pós”’, Zé elabora a partir deles um manifesto atualizado, tomando como premissa o “Manifesto Antropófago” de Oswald de Andrade, de 1928. O ex-músico da Tropicália propõe uma “Estética do Plágio” como forma de apropriação e posterior reformulação dos produtos do tecnocapitalismo ocidental. Nesta discussão, defenderei que o compositor reconfigura os tropos modernista e colonialista do primitivismo e da antropofagia de maneira pós-moderna e pós-colonialista subversivamente “tecnofílica” – uma contestação encarnada na figura do “andróide defeituoso” do disco.Item Sounding the Bromance: The Chopstick Brothers' 'Little Apple' music video, genre, gender and the search for meaning in Chinese popular music(Equinox, 2016-01) Stock, Jonathan P. J.This article analyses the music video of ‘Little Apple’ by Wang Taili and Xiao Yang, also known as the Chopstick Brothers, one of China’s most successful productions in 2014, and one that exemplifies certain emerging trends in Chinese popular music more generally. The music video draws on K-pop models but also on Western inspirations (biblical, historical and contemporary) and has proven hard to reduce to a single, definitive narrative or interpretation. The analysis proceeds by introducing the song and its video, in the context of the Chopstick Brothers’ wider work. Its musical structure is presented, leading to questions as to its particular retro aesthetic. This leads to a study of the emergent genre of shenqu (divine song), which is based on notions of virality, epic craziness and the earworm effect, and to which ‘Little Apple’ contributes. The final sections of the article look at the production of gendered positions within the music video— noting that it is a love song sung by one man to another—and examine the public square dance setting where this song has been so widely picked up. Finally, I suggest why it may be that ‘Little Apple’ particularly can open out a space temporarily in which participants can experience a warm sense of human collaboration.