Music and identity

This is an introductory lecture about Iranian pop music in diaspora for undergrad students of INTRODUCTION TO POPULAR MUSIC. It is also a workshop to introduce fundamental aspects of Iranian pop music and political dislocation to non-Iranians.

In the present paper, we intend to investigate the musical choices of Brazilian teenagers. We present the theory that support our thinking, that is based in concepts of identity and musical identities. For the purpose of this investigation, 76 teenagers from a Brazilian countryside region, with age varying from 13 to 16 years old and gender difference of approximately 60% male and 40% female young ones, filled out a questionnaire. With a quantitative approach, we analyzed the answers given to the questions "Do you listen to music? Which gender? Where?". Our data showed that all participants declared that they listen to music, and they do it in a variety of places, but with a significant amount of teenagers saying they usually listen to music at their homes - which comprehend all the answers given that surrounded this context, such as family, home and bedroom. As to the type of music they listen to, we perceived that the mainstream music is their usual choice, with genders such as forró, axé, pop music, [brazilian] funk, among others. We also stress out some particularities in the end of the paper and, to conclude our study, we try to outline the musical identity(ies) of the young people from Ceará's.
Key words: music, youth, identity, Ceará, Brasil.

This article aims to give a broader understanding of Lithuanian music’s contribution into the formation and transformation of historical and cultural images of and narratives about European identities after the end of the Cold War. Based on a new post-historical approach to the description of history and culture ‘in many different voices’, it is intended to explore post-communist musical imagination in Lithuania and its international reception through analysis of assembled case studies and musical criticism. In addition, it is aimed to discuss how individual artistic expressions of belonging to or exclusion from the European past and present were included or rejected into artistic discourses and cultural exchange on both sides of the ‘Velvet Curtain’, a metaphor for the post-communist state, that is, an invisible yet palpable divide, which separated “Old Europe” and “New “Europe” in the period of eastern enlargement of the European Union at the turn of the 21st century.

1 The following thesis, “Branding national identity”, authored by Anamaria Georgescu and Andrei Botescu, attempts to develop a multidisciplinary perspective on a particularly new topic raised by marketing and advertising. Several theoreticians in the field discern the matter as a strategy of “fighting globalisation with its own weapons ” (Simon Anholt, 2002). It promises to offer equal opportunities for global back up to countries with a low level of economic development. This is to be done by appealing and emphasizing the cultural and national specific. This controversial set of suggestions requires to be objectively debated using various perspectives. Also, a practical extension of our debate is to consider aspects of the scrutinized theoretical constructions, in a particular example of a developing country: Romania. We brought a new angle to the approaches of nation branding using sociological theories and concepts like “the imagined communities ” of Benedict Anderson, “the

We describe our research on the role of education in the social reconstruction of countries after mass conflict. Our studies focus on the voices of those least heard in the discourse - teachers, students, administrators and parents. We examine schools in four societies that experienced profound violence, ethnic cleansing and genocide during the 1990s - Croatia, the UN-administered province of Kosovo in Serbia-Montenegro, Bosnia and Herzegovina and Rwanda. We question the assumptions that underlie current practice such as a narrow focus on emergency interventions, conflict resolution, peace education and textbook reform. Societal repair must involve a comprehensive set of interventions that recognizes the integrated nature of a society’s institutions. Schools are a unique component of building a long-term future.

Essay from the book "Halka/Haiti 18°48'05"N 72°23'01"W: C.T. Jasper & Joanna Malinowska", the publication accompanying the official Polish representation at the 56th Venice Biennale.
This essay provides conceptual framework to the project "Halka/Haiti..." which involved staging Stanislaw Moniuszko's "Halka" (1858), considered to be Poland’s national opera, in the seemingly unlikely locale of Cazale, Haiti - a village inhabited by the descendants of Polish soldiers who fought for the Haitian Revolution in the early 1800s. The essay draws together the history of Polish engagement in Haiti; the history of reception of the opera "Halka" and its significance for Polish national identity over the last 150 years; and the interpretation of the movie "Fitzcarraldo", seen from the postcolonial perspective, in order to shed light on the project's founding question: Why would one take an opera to the other end of the world?
More info about "Halka/Haiti": http://labiennale.art.pl/en/wystawy/halkahaiti/

Song-writing competitions are only apart of 'chuangzuo' cultural form, in which youths seek after identity construction, and also a settlement for their enthusiasm in their engagement in 'chuangzuo'. It is undeniable that they are keen on the pursuit of music cultivation with the approach in their engagement. On the other hand, they manifest a language of 'transnational culture', which is believed to grow in many parts of the world.

The Oxford Handbook of Global Popular Music offers an authoritative and state-of-the-art survey of current thinking and research in studies of global popular musics from different parts of the world. The essays in this volume are written by leading international figures and music insiders from ethnomusicology, popular music studies, anthropology, and other disciplines studying music to give critical examinations of the progress and direction of debates surrounding global popular music. The essays will not merely constitute summaries of previous research but cover genuinely new ground in this emerging field of enquiry.

In academic and journalistic studies, “popular music” often has its “official” beginnings in the 1950s, and its discourses have been preoccupied with a canonical focus on American and British white and “black” popular music. Discussions of popular music outside the West are predominantly (but not exclusively) the domain of ethnomusicologists and anthropologists, who have since the 1980s began to focus their attention on global popular music due to the dissolution of the holistic concept of culture, the emergence of popular music studies in the 1980s, and the globalizing trends and processes that impacted on the traditional music they were typically studying. Consequently, ethnomusicologists and anthropologists began to incorporate insights from popular music studies and shifted their attention to music cultures created out of diaspora and hybridity, migration, urbanization and mass media, while popular music scholars have in turn widened their attention to popular music outside of Europe and the US (although probably lesser so). Since the 1980s, studies of global popular music have surfaced in academic writings by ethnomusicologists, popular music scholars, and others, notably Peter Manuel’s milestone publication _Popular Musics of the Non-Western World: An Introductory Survey_ (1988), and, later, entire compilations or book series dedicated to world popular music (Routledge Global Popular Music Series, The Bloomsbury Encyclopedia of Popular Music of the World, Continuum Encyclopedia of Popular Music of the World, Equinox Transcultural Music Studies series). The conception of the academic _Journal of World Popular Music_ represents another recent milestone in this area of study. There has also been a trend toward developing academic programmes of study with a focus on global popular music. For example, SOAS University of London has offered an entire BA in Global Popular Music since 2018, while many popular music and ethnomusicology programmes in the US, Europe, and (increasingly) Latin America, Africa, and Asia offer an element of academic study in global popular music. The upsurge of student textbooks with a focus on global popular music is further testament to a growing academic interest in this area of study, while postgraduate research by young people, who are truly the product of the era of globalization, is increasingly likely to focus on popular music expressions in different parts of the world as these are shaped by global hegemonic capitalism. In the commercial sphere, the global popularity of genres like hip hop, J-Pop, K-Pop, electronic dance, and others, along with the global spread and hegemony of the American-European pop-rock aesthetic, are a clear indicator of the likely growth of academic interest in global popular music.

The Oxford Handbook of Global Popular Music captures the vibrant, dynamic, and diverse approaches that characterize popular music across the world. The volume features a diversity of topics and approaches, structured into five conceptual parts: Capitalism; Genres; Migration; Identities; and Technology. The purpose of the organization is to give a comprehensive review of achievements by leading scholars in the field of global popular music to date, and to contribute to an understanding of what global popular music might become in future, charting new areas that are likely to define studies of global popular music in the coming decades. Since the 1990s, and with the emergence of digital technologies and the internet, global popular music is marked by increased stylistic diversification in accordance with trends globally and locally. Along global trends, for instance, diversification is manifested by global electronic music, hip hop, or global Bollywood. Local stylistic trends, meanwhile, rendered the Anglo-American mainstream less relevant to global popular music cultures, instead maintaining their “own” vernacular popular music. In some instances, artists have occasionally produced their own variants of global stylistic patterns and successfully forayed into the global field, such as the teen pop idols of K-Pop and J-Pop in the 1990s and 2000s. International world pop stars, who also became part of the World Music craze in the West, are further examples of local musicians who have entered the international field of popular music with occasional success. All of this development underpins the structure of the volume: The part GLOBAL CAPITALISM serves as a broad placeholder to describe essays that capture the economic contexts in wich global popular music has developed and been shaped. Under GLOBAL GENRES are essays that capture “big” or “global” popular music genres as they have gained global popularity and recognition. MIGRATION features essays that engage with the way that geopolitical movements of migration resonate in the memories of migants and are manifested through popular music. The part on IDENTITY will feature essays of selected global popular music that critically engage with and further our understandings of class, gender, LGBTQ, race/ethnicity, nationalism, disability, health, and religion (Islam). The final part, TECHNOLOGY, will contain essays that focus on people’s engagement with recording, broadcasing and other technologies, and the impact of digital technologies and the internet on the increased stylistic diversification musically.

Music is a powerful cultural medium. The volume explores the varied roles that music plays in human culture and society, and its unique symbolic and communicative properties. Contributors discuss Richard Wagner, Bob Dylan, John Cage, Eric Burdon, and Igor Stravinsky. From electronic and inner-city DIY to world music and rock concerts, the book looks at music’s part in creating the human sense of place, space, transcendence and identity. Philosophers, cultural thinkers, and sociologists collaborate to explain the exhilaration and fascination that human beings experience when they listen to music.

Table of Contents

Volume Foreword vii
Chapter One Introduction: Philosophical and Cultural Theories
of Music
Eduardo De La Fuente and Peter Murphy

Chapter Two Modern Hermeneutics and the Presentation
of Opera
Agnes Heller

Chapter Three Algo-Rhythm and Mello-dy: A Consideration of
the Relationship Between Technology and the Embodied
Performance of Music
Daniel Black

Chapter Four Bob Dylan Ain’t Talking: One Man’s Vast Comic
Adventure in American Music, Dramaturgy, and Mysticism
Peter Murphy

Chapter Five Music and Religion: Reflections on Cultural
Secularization
David Roberts

Chapter Six Prophet and Priest, Ascetic and Mystic: Towards
a Cultural Sociology of the Twentieth Century Composer
Eduardo De La Fuente

Chapter Seven Collective Effervescence, Numinous Experience or
Proto-Religious Phenomena? Moshing with Durkheim,
Schleiermacher and Otto
Mark Jennings

Chapter Eight Music as a Space of Possibilities 129
John Rundell

Chapter Nine Some Suggestions for a Phenomenology
of Rhythm
Stuart Grant

Chapter Ten The Paradox of “Do-it-Yourself” in
Unpopular Music
Joseph Borlagdan

Chapter Eleven Musical Culturespeak and Cosmopolitan
Identities in Australian Multiculturalism
Graeme Smith

Chapter Twelve The Piano and Cultural Modernity in
East Asia
Alison Tokita

Chapter Thirteen Popular Music, Cultural Memory and
Everyday Aesthetics
Andy Bennett

Chapter Fourteen Everything is Dirt: Reevaluating the Place
of Cultural Status in Producing Aesthetic Attachment
Claudio E. Benzecry

Chapter Fifteen Musical Listening and Boundary-Work
Michael Walsh

Il caso di Gavino Gabriel (1881-1980) offre l’occasione per riconsiderare uno dei nodi più problematici ma anche più fecondi del primo Novecento musicale italiano, legato al difficile rapporto di convivenza tra la retorica del nazionalismo e una rinnovata coscienza dei valori culturali locali. Apprezzato cantore e interprete delle musiche tradizionali della sua terra d’origine, la Sardegna, Gabriel fu anche un compositore, un etnografo ante litteram e un pionieristico promotore delle tecnologie di riproduzione del suono per la documentazione scientifica e per la didattica dell’educazione musicale.
Dopo un’assidua frequentazione dei cenacoli artistici e intellettuali legati alla rivista «La Voce», Gabriel avviò rapporti di collaborazione con Giuseppe Prezzolini, Gabriele d’Annunzio, Ildebrando Pizzetti, Umberto Giordano e Giovanni Gentile; partecipò al dibattito sulla costruzione dell’identità nazionale rivendicando la centralità della musica e dei patrimoni culturali, e nel 1932 divenne il primo direttore della Discoteca di Stato. Nella sua opera di teatro musicale, La Jura, sperimentò una prassi compositiva dettata da un’originalissima poetica “ecologica” ispirata dall’ambiente geografico e dalle pratiche di vita comunitaria della sua isola.
Con il contributo di studiosi attivi in ambiti disciplinari diversi, e attraverso l’esame di un ampio corpus di fonti inedite, il volume presenta un quadro organico dell’esperienza di Gabriel e approfondisce le implicazioni più attuali della sua eredità di pensiero, ripercorrendo alcuni momenti decisivi del rapporto tra musica e identità nella storia del Novecento italiano.

Every language has its own culture and identity. With the growing importance of science and technology, commerce and management, economics and administration, research and development the world is forced to voice in one language. Keeping this in view my paper focuses on English language and how it affects the individual identity and aims at elevating the challenges encountered by the English teachers in the creation of neutral culture and understanding. Also there is special focus on important observations regarding how cultural differences could create textual differences in interpretation.

The idea that a ‘musicianship of listening’ might exist alongside the more conventional notion of musicianship based on composition, improvisation, and performance forms the starting point of our analysis of the importance and function of musical preferences in adolescence. We consider adolescents’ musical preferences, a key part of their social identities, in the context of broader lifespan changes in musical preference, looking in particular at the explanatory power of the notion of ‘open-earedness’. We consider the main psychological theories of adolescent musical preference, distinguishing between those based on social identity theory and those which adopt different sociocultural approaches. There can be no doubt that musical preferences form a central part of the identities of many adolescents, and that the notion of a musicianship of listening can help explain why these preferences are integral to their social relationships and wellbeing.

This essay examines “Jewish jazz” – attempts to combine “Jewish music” and jazz into a new genre – from the perspective of Jewish ethnic identity.  The movement began with two albums in the early 1960s and then re-emerged in a second wave in the 1990s.  I analyze these musical forays as attempts to explore and expand modern American Jewish identity.  Jewish jazz began tentatively, reflecting the assimilationist leanings of American Jews in the post-World War II era.  As multiculturalism emerged in the late twentieth century, Jewish jazz became brasher in proclaiming its Jewishness. These performances sought to expand Jewish identity to fit a multicultural society, and sometimes black musicians stretched their identities as well by expanding into Jewish music.  At its best, Jewish jazz reaffirmed Jewishness while revealing connections with African Americans, with whom Jews have shared a diasporic, urban American culture.  Such assertion and expansion of identity encountered fierce resistance in a society that is still attached to rigid ethnic categories.

Introduces a special issue in English devoted to current polices and practices related to multiculturalism and music education, particularly within Europe. Offers a definition and overview of issues and concepts in multicultural music education as well as discussion of various critiques of the field and normative positions regarding the role that cultural 'authenticity' should play in music instruction. Introduces articles by contributors who discuss music education among various ethnic minorities in Europe.

Defining Filipinoness has been problematic throughout history. Previous studies have focused on the persistent impact of the colonial experience on Filipinos (Bernad, 1971; Constantino, 1977; Enriquez, 1992; Yacat, 2005). Some scholars have framed their understanding vis-a-vis the search for a national consciousness resulting in a unif ied Filipino identity (Anderson, 1983; Constantino, 1969). But in the age of globalization, statehood and nationhood have become questionable concepts (Adamson & Demetriou, 2007; Ahmad & Eijaz, 2011; Guehenno, 1995; Omae, 1995). Who has the Filipino become amid a modern-day diaspora? I propose an analysis of history not as archival and disconnected from the present but as part of an ongoing story of identity formation. Recognition is given to kapwa, a view of self-and-other as one. This indigenous ontology offers a postmodern lens to understand the complexities of being Filipino through time and space. For contemporary Filipinos, identity formation ma...

Objective Body integrity dysphoria (BID) is an intense need/desire to live in a disabled body, particularly due to a limb amputation or paraplegia. The investigators observed that significantly more people affected by BID wish to change their gender compared with the average population. The aim of this study was to find out whether gender identity (ie, typical male or female behavior) was less pronounced in a group of participants with BID than in a parallel control group of non-BID participants. The central hypothesis was that individuals in the BID group have a weak identification with their innate gender compared with the non-BID group and act more gender-neutral or contrary to their innate gender. Methods Study participants included 25 female and 25 male individuals with BID in the BID group and 25 female and 25 male individuals in a parallel control group. Results Compared with the control group, in the Minnesota Multiphasic Personality Inventory test, males with BID leaned mor...

This is the intro to a special issue that I edited for Poetics (Volume 30 / Issues 1-2). It featured contributed articles by Jon Cruz; Tia DeNora; Timothy J. Dowd & Maureen Blyler; Timothy. J. Dowd, Kathleen Liddle, Kim Lupo & Anne Borden;  Mary Ann Glynn; Keith Negus & Patria Román-Velázquez; and Marco Santoro.

Keywords: Maori music / Brass bands / Ratana bands / Juji Nakada

Genre: Original cross-national historical research.

Discusses: "some musical implications of the historical relations between Maori prophet Tahupotiki Wiremu Ratana (1873-1939) and Japanese Rev. Juji Nakada (1870-1939), as reflected in contemporary brass bands and liturgical practices."

Despite a rich musical history and reputation as the “Land of Song,” Wales, with its array of musical traditions, remains largely absent from scholarly musical study. Research regarding Welsh traditional music is relatively limited, particularly in comparison with research regarding traditional music of other areas of the British Isles, and outdated, as few studies have been conducted recently enough to comment on the contemporary revitalization of Welsh language and culture and its effect on Welsh music. Seeking to bridge this gap in Celtic music research, I have studied Welsh traditional instrumental performance repertoire and practice through the medium of Welsh traditional music sessions in and around Cardiff. My findings suggest that, though several elements distinguish the Welsh session from other types of Celtic sessions, the texture of the Welsh session, which incorporates a significant homophonic element, an aspect that is absent from the majority of group instrumental traditions in the British Isles, contributes the most significantly to imbuing Welsh musicians with a sense of continuity with the past. Using Hobsbawm’s concept of invented tradition, I explore a continuum of musical traditions from the medieval bardic order in Wales to the modern Welsh session, identifying trends in the texture of sacred and secular music throughout history, their connection to current trends in Welsh traditional music texture, and the significance of those trends to the musicians of modern Welsh traditional music.

Christ Apostolic Church (CAC) is an African Initiated Church that was established in Dublin sixteen years ago by Yorùbá Christians migrating from Nigeria. In this article I will explore the role of the talking drum in CAC Dublin with reference to two features of music in migration – cultural cohesiveness and adaptability. Firstly, I will examine how the drum points back to the homeland, reinforces ethnic identity, builds community and plays a therapeutic role. Secondly, I will look at the migration of the drum itself - from outside to inside the church - and the negotiation of drum messages as it is adapted to the church’s ideology. Thirdly, I will consider how the second generation feel about the talking drum and explore some of the issues that might affect its future use within this community. In many ways the drum plays a retrospective and cohesive role for the first generation, yet at the same time it remains subject to continued negotiation and adaptation. The second generation cannot understand the messages ‘spoken’ by the drum and do not dance to it in the way their parents do, but it remains important to them as a symbol of their cultural roots.

One of the most controversial debate topics throughout the history of philosophy, psychology, cultural anthropology, and sociology has to do with the concept of identity. In addition to literary works, where the written word plays a crucial role in decoding characters (especially their emotions and other psychological aspects), the art of cinema gives us the space to fathom even more the phenomenon of identity by means of the expressive and evocative potentials of audiovisual media. Pedro Almodóvar, one of the most esteemed contemporary directors in the world of cinema, has incorporated several concepts of identity in his 22 feature films (so far), trying to create, reconstruct and modify them, and to give them a new shape through the different components of the film. This article aims at presenting the reconstruction of personal identity through the music and the cinematic image in the “Almodrama” All about My Mother (1999). It is intended to defend the hypothesis that film music is capable of rebuilding and representing the self of a character with fragile and misplaced identity, a type of identity that can be frequently found in the Almodovarian universe.

"Popular music has always been a dynamic mediator of gender and sexuality, and a productive site of rebellion, oddity and queerness. The transformative Capacity of music-making, performance and consumption helps us to make sense of identity and allows us to glimpse otherworldliness, arousing the political imagination. With an activist voice that is impassioned yet adherent to scholarly rigour, Playing it Queer provides an original and compelling ethnographic account of the relationship between popular music, queer self-fashioning and (sub)cultural world-making.

This book begins with a comprehensive survey and critical evaluation of relevant literatures on queer identity and political debates as well as popular music, identity and (sub)cultural style. Contextualised within a detailed history of queer sensibilities and creative practices, including camp, drag, genderfuck, queercore, feminist music and club cultures, the author's rich empirical studies of local performers and translocal scenes intimately capture the meaning and value of popular musics and (sub)cultural style in everyday queer lives.

Endorsements

Taylor’s revised conception of music scenes and thought-provoking case studies provide new insights into the ways music contributes to the production and maintenance of queer social relations. This groundbreaking interdisciplinary book is an essential read for scholars interested in popular music and queerness.

Sheila Whiteley, Professor Emeritus and author of Women and Popular Music

Jodie Taylor makes us sit up and pay attention to the wild experimentations in culture, subculture and community that can be heard in queer clubs and music venues … Taylor's intricate and detailed ethnography makes an important contribution to recent scholarship on queer music cultures. Claiming that music-making conjures new possibilities for politics and pleasure, Taylor lets us believe in queer rhythm and hear the beat of an exciting elsewhere. Tune in or miss out!

Jack Halberstam, author of The Queer Art of Failure"

Identity is an integral part of human existence and as a cognitive phenomenon it is regarded as a basis for self-realisation and actualisation. Popular culture is an important conduit through which identity can be formulated and expressed. Music on the other hand as an expressive art is a major appendage of popular culture and a fertile ground for identity negotiation and formulation, in this instance through language use. This paper investigates the music-Hip hop, the language-Yoruba and examines how the artiste-Ruggedman employs the use of the mother-tongue while exploiting the general acceptability of the Yoruba language to popularise hip hop music in Nigeria .The research argues that, through the artiste " s Yoruba linguistic affiliation he is able to formulate a national identity with a language not his own in a country where there is an overt subscription to ethnic loyalty rather that national. INTRODUCTION Nigeria has a dynamic popular music scene which has in many ways projected her cultural richness. Through her musical output the country has earned international recognition in the popular music arena, and with the strength of the country " s population of over 150 million, most artists tend to look inward as the local market seems large enough to ensure their commercial success. In this vein emphasis is often laid towards the satisfaction of domestic needs through the use of regional languages while creating musical hybrids through appropriating elements from hitherto existing traditional and folk musical styles. Popular music genres that are visibly represented in Nigeria include: jùjú, afrobeat, fújì, gospel, reggae and hip hop among others,

This article examines the change and transformation of one of the twelve hizmets (services) of the Alevi cem ritual, that of the zakir (music performer), in the context of ritual and musical performance and identity. As a part of the institutionalization and standardization efforts of Alevism that began in the 2000s, zakirs became more visible within and outside of the ritual compared with the other hizmets. The cemevi-based institutionalization process of Alevism in the same period influenced the dynamics of this visibility. In 2010, UNESCO added the Alevi-Bektaşi semah ritual to the “Representatives of Intangible Human Cultural Heritage” list and recognized Dertli Divani as a “Living Human Treasure” in the area of zakir. The formal recognition of the semah and zakirs represents an essential development in the name of the Alevi identity, musical performance, and the cem ritual. Exploring the changes in the institution of the zakir provides important clues towards understanding the change of Alevism during the last two decades.

Chuangzuo has emerged as a music trend through a music movement, and as a popular culture for youth in Malaysia, but the music of chuangzuo have not been described to the general public that is probably not aware of the identity in chuangzuo, the social aspects of chuangzuo as in a gongzuofang, and also how the music has sustained so far.

The primary objective of this study is to determine the identity and the sustainability of chuangzuo activities in Malaysia. The specific objectives are to produce a description on the settings of gongzuofang in Penang, an analysis of musical materials of chuangzuo, and a clarification of the identity and sustainability of chuangzuo based on the former two specific objectives.

Observation through fieldwork is rendered for this ethnographic research. The primary setting is gongzuofang in Penang, namely the Wanderers and CZMusic which have been actively involved in chuangzuo activities. Observation, interviews and video recordings of important rehearsals and actual performance were rendered. The secondary setting of the fieldwork is based on related song-writing competitions, concerts and music camp, which were held in Penang and Kuala Lumpur.

The general phenomenon of chuangzuo depicts a scene where youth perform their own music compositions with guitars or light instruments. Chuangzuo is a music activity for the youth in Malaysia, as the music, mainly performed in Chinese, often depicts the youth’s life-cycle events. The music is commonly composed in the sentimental style or of a ballad that usually adopts a major key and the common simple quadruple time. Instrumentation is usually simple, and Chinese texts with rhymes are used. Though mixed language and vocables are included sometimes, the texts are commonly written in the discursive style.

A gongzuofang is the basic unit of chuangzuo that accommodates youth’s music activities. It exists as an important space for music practice, music learning, idea sharing, planning, music presentation, socialisation, and also life-cycle events. The studied gongzuofang represents a typical organisation that provides its members with abundant opportunities in music compositions, as members learn to compose, perform, compete in music contests and produce music concerts or music recording.

Chuangzuo is an opportunity for youth to engage with music. They usually adopt elements of cultural fusion in their compositions, and they show amateurish characteristics in their music. This has formed the musical identity of chuangzuo. The social identity of chuangzuo is built through identity construction, individuality, communion formation and aspiration. Nevertheless, the need to survive changes for the long term has triggered the implementation of sustainability in the handling of chuangzuo. The sustainable ways, as observed, are organisation, commercialisation, hegemony and exclusion of certain music genres.

This study examines the process by which second generation Laz migrants have re-appropriated Laz identity through music and dance performances held in the major metropolitan cities of twenty first century Turkey.
The relevant cultural performances are interpreted as a response to repercussions of Turkey’s ‘modernization project’ and its related cultural policies. Conceptualizing the performances, particularly through language, music and dance, this thesis tries to understand how the Laz experience respond to this ‘modernization’.
Another significant concern of this study is to analyze how Lazness is defined and constructed within mainstream discourses. As a part of this, the crucial role of the Laz middle class position is discussed. In addition, the recent wave of ‘multiculturalist discourse’ provides a convenient conceptual framework for positioning the Laz as the “good citizens” of contemporary Turkey. Finally, the so-called ‘oppositional stance’ of both the performances and the constructed Laz identity are criticized with consideration given to their marketability and political moderation.

This dissertation examines the various dialogues that have shaped the evolution of contemporary tango variants in Paris since the late 1970s. I focus primarily on the work of a number of Argentine composers who went into political exile in the late 1970s and who continue to live abroad. Drawing on the ideas of Russian linguist Mikhail Bakhtin (concepts of dialogic relationships and polyvocality), I explore the creative mechanisms that allowed these and other artists to engage with a multiplicity of seemingly irreconcilable idioms within the framing concept of tango in order to accommodate their own musical needs and inquietudes. In addition, based on fieldwork conducted in Basel, Berlin, Buenos Aires, Gerona, Paris, and Rotterdam, I examine the mechanism through which musicians (some experienced tango players with longstanding ties with the genre, others young performers who have only recently fully embraced tango) engage with these new forms in order to revisit, create or reconstruct a sense of personal or communal identity through their performances and compositions. I argue that these novel expressions are recognized as tango not because of their melodies, harmonies or rhythmic patterns, but because of the ways these features are “musicalized” by the performers. I also argue that it is due to both the musical heterogeneity that shaped early tango expressions in Argentina and the primacy of performance practices in shaping the genre’s sound that contemporary artists have been able to approach tango as a vehicle capable of accommodating the new musical identities resulting from their socially diverse and diasporic realities.

In Mongolia, shamans have only a few musical instruments among their most important paraphernalia. Those are the single-headed frame drum that is only used by shamans in Mongolia, as well as the jaw harp that they play to initiate their séances. Shamans use these instruments in order to enter a trance state absolutely necessary for their shamanistic practice. In this context, the instruments are often described as riding animals which are needed for their spiritual journeys. Only with their help an ontological transition to different states of being or heavens can take place. This is necessary in order to make contact during the invocation with the ghosts present in a place, and to get information needed from those ghosts. The musical instruments mentioned above have specific characteristics among the members of each ethnic group.
Occasionally, these instrumental characteristics also show various innovations. Special rituals are not only required for their construction and animation. Also, if the instruments are damaged or if the shamans owning them have died. The results presented are based on my own fieldwork, carried out in a small secluded geographical area, right after the democratic transition period and in a more recent field work period. The findings show the fundamental change of the social system and its influence on the subject discussed here.

Otgonbayar Chuluunbaatar, Video 1: https://www.youtube.com/watch?v=x84-NKf-ngg ; Otgonbayar Chuluunbaatar, Video 2: https://www.youtube.com/watch?v=cOqX-xMgTQo

This article takes a diachronic look at the use of the word "identity" in ethnomusicology and related disciplines, synthesizing disparate uses and definitions to suggest an all-encompassing yet concise definition. Expanding from a critical piece by Timothy Rice (2007) on the topic, the literature review for the present study included not only articles in major ethnomusicology journals with the word "identity" in the title—as Rice did—but also monographs, anthologies, and academic encyclopedias in the realms of ethnomusicology, musicology, psychology, cultural studies, and anthropology where "identity" was a principal theme. The interdisciplinary and chronological approach shows writing about "identity" to be disjointed in ethnomusicology and in related disciplines, but not entirely devoid of heuristic value. A broad but highly portable definition is suggested before taking stock of the remaining work needed to achieve a uniquely musical take on identity.

José Duarte é um dos mais importantes divulgadores de jazz dos últimos sessenta anos, em Portugal. O acervo que depositou na Universidade de Aveiro (2004), e que integra o Centro de Estudos de Jazz (CEJ-UA), foi o mote para esta tese. Através da abordagem da etnomusicologia do indivíduo pretende-se compreender qual o verdadeiro papel do jazz na identidade de José Duarte e quais os discursos de José Duarte associados ao jazz que influenciaram o gosto pelo jazz em Portugal como consequência do seu papel como divulgador. O estudo centrou-se na história de vida de José Duarte, a partir da escrita biográfica e das práticas de investigação partilhada. As emoções foram analisadas a partir da sua autonarrativa com o objetivo de compreender o impacte dos eventos-experiência narrados na relação que José Duarte estabeleceu com o jazz. Os seus acervos de jazz – o que se encontra no CEJ-UA e o que ainda se encontra na sua residência, em Lisboa – constituem unidades de análise central para fundamentar o conceito de arquivo/coleção como extensão identitária do colecionador. Para este efeito a história de vida, a análise dos acervos e os discursos produzidos sobre eles e através deles, foram analisados de forma dialógica. A biografia de José Duarte foi redigida em parceria com ele, com base na opção pelo uso de práticas de investigação partilhada (Sardo 2018), numa lógica também inspirada no conceito de ecologia dos saberes (Santos 2007).

A sublevação de 18 de Julho de 1936 em Espanha, que se transformou numa guerra civil, desencadeou paixões e acções arrebatadas, gerou violências e injustiças, forjou ódios e apelou a heroísmos individuais e colectivos, mobilizou intelectuais, escritores, poetas, artistas, homens e mulheres de todo o mundo na luta contra o fascismo. A dimensão política, social e humana do conflito originou uma inesgotável bibliografia historiográfica, literária e poética publicada por europeus e norte americanos. Escritores como George Orwell, Ernest Heminguay e André Malraux, e poetas como Pablo Neruda, Frederico Garcia Lorca e António Machado perpetuaram uma visão romântica da guerra, entretecendo a luta contra o fascismo com a coragem, a dignidade humana e a esperança num mundo mais justo e igualitário. Neste contexto a música teve um papel fulcral, como veículo ideológico e de propaganda política que não serviu apenas para a mobilização em torno de um ideal, mas para construir fortes vínculos identitários entre diferentes grupos. As canções dos vencidos debateram-se durante décadas entre a memória e o esquecimento, circunscritas à transmissão oral no espaço privado até à reconquista do espaço público. Parte deste repertório foi gravado em Espanha e fora de Espanha, reinterpretado, transmitido oralmente e novamente registado e reutilizado sobre novos suportes e contextos, num processo de permanente resignificação. Algumas canções, pelas suas características textuais e estilísticas ou pelo seu posterior devir histórico em diferentes conflitos, continuam a circular pela sociedade globalizada como símbolo de resistência política. Nesta comunicação não pretendo enumerar a diversidade deste amplo repertório, mas destacar a forma como estas canções foram transformadas e apropriadas por diferentes grupos, para reforçar os laços entre um passado identitário e um presente significante.