Popular Music Studies Research Papers (original) (raw)

2025, Muzikologija - Musicology

This study presents research on Roma music in Serbia, as well as the
socio-historical contexts that have shaped it. Texts by Tihomir Đorđević,
Andrijana Gojković, Tatomir Vukanović, Vesna Acković, Dimitrije
Golemović, Svanibor Pettan, Ivana Ljubinković, Alexander Marković,
Ana Banić Grubišić, and other researchers who have contributed to this
field from the beginning of the twentieth century to the present day are
analyzed. Chronologically arranged thematic and disciplinary nodes are
also highlighted – from ethnological descriptions, classifications and the
first discussions on representations of Roma identity, through (musical)
folkloristics, non-Roma ethnomusicological analytical engagement with
understandable text (i.e., instrumental music), to the shifting of the
Serbian and American anthropologists’ focus toward socially engaged
interpretations.

2025, International Journal of Cognitive Research in Science Engineering and Education

At the end of the school year, the music schools organize the annual instrumental exam to evaluate the student's achievements. The study investigates complex patterns of performance anxiety in music school students during annual exams, focusing on how gender, age, instrument type, and family musical tradition interact, revealing inconsistencies with prior research and illustrating the importance of tailored pedagogical interventions. The study was conducted on a sample of 143 third-to sixth-grade students, using a 14-item Likert-scale questionnaire. Results show high levels of pre-exam stress, especially among girls and piano students, while younger students reported more positive emotions before the exam and older students were calmer afterward. Family music tradition had limited influence. These findings underscore the need to rethink evaluation approaches in music education with an emphasis on students' emotional well-being. Teachers and parents must create a supportive and positive environment before and during the exam, particularly for girls. The study also has practical implications: it emphasizes that there must be psychological preparation for exams, emotional intelligence development, and consideration of alternative assessment methods that reduce stress.

2025, A vueltas con el Flamenco: los caminos de un patrimonio heredado y vivo IPCE 27-40

En las estanterías de nuestras bibliotecas (particulares, Biblioteca Nacional de España, Universidad Complutense de Madrid y otras universidades), así como en librerías de la ciudad, encontramos numerosas historias del flamenco escritas... more

2025, Japanese Journal of Sign Language Studies

2025, American Studies

More than a decade after his tragic death, the sonic innovations of Roger Troutman-known simply as Roger and leader of the group called Zappcontinue to influence pop music. Contemporary artists such as Kanye, Akon, and T-Pain owe a tremendous debt to Roger's brand of electronic funk. Though reigning supreme during the 1980s, his sound built on the commingling of technology and futuristic representations in film and television decades earlier. Beyond television and movie screens, African American musical artists created accessible avenues for futuristic representation through musical art. Lyrics, concepts, costumes, and album cover art, from a range of musical styles, evoked futuristic imagery set in outer space or imaginary places to frame commentaries on love, human possibility, politics, and racial conflict. Musical illustrations of the future were often textured by new technologies of sound used in scores for postwar science fiction film and television. Tonal companions to the American Aquarian age were wrought with technological enthusiasm and anxieties-most notably expressed in numerous guitar effects (popularized by Jimi Hendrix) and the synthesizer, which, in keeping with its namesake, created analogues to traditional sounds and synthesized altogether new ones. Roger Troutman is most known for expanding the range and melodic possibilities of the talk box or voice box-a device that allows an artist to fuse vocal patterns with the sound emitted by electronic instruments and mimic speech. After more than twenty years as a regional midwestern act, Roger and his broth-

2025, Journal of Popular Music Studies

With the introduction of digital technologies and the internet, the music industry has become increasingly dependent on copyright law to extract profit from music. At the same time, the last few years have seen growing interests from the industry to harmonize copyright regulations across countries via international treaties and institutions such as the World Intellectual Property Organization. This article explores how these changes have affected the music economy in Equatorial Guinea, a Central African micro-state. While recent research points to the transformation of African music economies through the interaction of digital technologies and transnational copyright law, the Equatoguinean case offers a contrasting case. It suggests that copyright is not just contingent, but an impossibility in contemporary Equatorial Guinea. The music economy in the country is not governed by a capitalist mode of exchange but by well-rooted patronage relations that impede the development of copyright. In this context, unlicensed praise songs are a medium through which, on the one hand, the elite accumulates prestige and, on the other, musicians try to encourage the redistribution of oil riches. The article contends that musical patronage in Equatorial Guinea is antithetical to some of the basic principles of copyright law, including liberal understandings of musical ownership and music’s commodity-form. It explores how the confluence of an oil boom and the digitalization of music have contributed to a situation in which musicians generally remain uninterested in, or are incapable of finding the means to enter, the realm of musical capitalism and the global music industry.

2025, History: Reviews of New Books

2025, Revista de Historia Social y de las Mentalidades

Este artículo estudia parte de la historia de Illapu en el exilio, indagando en la transformación estilística y la producción de discursos que toman forma a través de la experiencia transnacional. En particular, interroga las estrategias que Illapu toma para actualizar el lugar de “lo andino” en su música, en la búsqueda de una propuesta de alcance global. Por una parte, se aborda la exploración de sonoridades pop y afrolatinas, a través de la incorporación del bajo eléctrico y de nuevos ritmos. Por otra parte, se examina la producción de discursos de autopromoción en giras internacionales, observando la relativización del componente político y una revigorización de lo andino ante diversos públicos, donde la reinvención de lo local se vuelve crucial

2025

The following written dialogue began as an intergenerational conversation, hosted by the lesbian feminist literary journal Sinister Wisdom, about Mairead Sullivan's book Lesbian Death: Desire and Danger between Feminist and Queer, and... more

2025, Journal of Popular Music Studies

This special issue presents ethnographic perspectives on the interplay of music, international law, and national policy relating to intellectual property (IP) in contexts of digital transformation in the Global South. Bringing together five studies—of Argentina, Cuba, India, Equatorial Guinea, and Kenya—the issue reveals how processes of IP harmonization and implementation in the Global South, or on the contrary the absence of effective IP legal frameworks, engender hybrid or ambiguous regimes of ownership and commodification, often characterized by “porous legalities” and competing or conflicting ontologies...

2025, Bulletin of Hispanic Studies

La etnomusicóloga, periodista y activista escocesa, Jan Fairley, desarrolló un extenso trabajo de investigación y de campo sobre los conjuntos folclóricos del movimiento de la Nueva Canción Chilena, en especial Karaxú (exiliados en Francia y vinculados al Movimiento de Izquierda Revolucionaria, MIR). Estas investigaciones generaron un enorme archivo (actualmente conservado en Santiago de Chile), que incluye cartas, entrevistas, grabaciones de campo, documentos internos y fotografías, entre otros materiales. Este artículo trata de comprender el proceso de investigación desarrollado por Jan Fairley acerca de un tipo particular de música popular: el folclor político. Destacan sus preocupaciones disciplinares (como el papel de la performance y la puesta en escena de las emociones, y el papel del trabajo etnográfico en la producción de documentos de archivo histórico), y sus actividades personales como agente promotora de la solidaridad británica con Chile.

2025, Nuestro sistema político: Miedo a lo social e ilegitimad

2025

is one of the most respected living Chinese composers, whose innovative compositions hold a place of prominence in contemporary Chinese music. Zhao, a pianist himself, naturally has written a number of works for solo piano which can be divided into three major compositional periods. During the 1970's, he concentrated mostly on arranging the works of other composers. In the 1980's, Zhao began to explore the combination of contemporary Western idioms with more traditional Chinese music. Since the 1990's, he has focused his activities on creating a new kind of Chinese musical expression-a sort of Chinese-style serialism called the Tai Chi (or Taiji) System of Composition. Over the course of Zhao Xiao-sheng's compositional lifetime, his life experiences and his education have led him to this more personalized compositional style. The Tai Chi System of Composition represents the full maturity of the composer's creative thinking and the solo piano works are excellent examples of his compositional output under this system. This document will examine Zhao's innovative fusion of Chinese and Western musical influences in his solo piano works from the Tai Chi system and its place within the future of world music.

2025, Ensambles en sociedad, política y cultura

RESUMEN: El objetivo de este escrito es examinar la coexistencia entre
las prácticas de distribución de los medios convencionales y las nuevas
prácticas de las plataformas digitales, en lo que a narcocorridos del
Movimiento Alterado se refiere, durante el periodo de restructuración
del modelo de negocio de la industria musical. La hipótesis es que el
Movimiento Alterado, en sus albores, catalizó lo que a la postre serían las
nuevas prácticas de distribución y consumo, donde los intereses comerciales son cruciales en la configuración y dirección del flujo de contenido. Lo anterior se logra a partir de entrevistas formales e informales realizadas a agentes de producción musical del Movimiento Alterado, como productores, programadores de venta, programadores de radio y managers.
Revisar el tránsito de una música popular a un entorno digital, devela la
complementariedad de distribución entre las plataformas, así como el
vínculo entre artistas, industria y fans.
Palabras Clave: Movimiento Alterado; Narcocorridos; Plataformas
digitales.
ABSTRACT: The

2025, Jornadas interdisciplinarias de investigación (9ª : 2012 : Buenos Aires)

entre 1931 y 1945: consideraciones sobre los registros sonoros y el contexto de las performances musicales en sus trabajos de campo

2025, Jornadas Interdisciplinarias de Investigación : Investigación, creación, re-creación y performance (10ª : 2013 : Buenos Aires)

En esta comunicación nos proponemos mostrar las diferencias entre el carnaval "antiguo" y el carnavalito "moderno" recopilado por Carlos Vega en sus trabajos de campo en Jujuy para luego compararlas con las versiones que fueron re-creadas en espectáculos teatrales y en ámbitos educativos en los que el musicólogo intervino activamente. La finalidad es revelar los cambios de sentido que afectaron el repertorio recopilado in situ como resultado de la proyección folklórica y de las mediaciones operadas en el proceso de nacionalización de las músicas regionales, en la primera mitad del siglo XX en Argentina. Analizamos el aspecto formal y estructural (rítmico, fraseológico y sonoro) de algunos ejemplos documentados en su contexto originario como carnaval "antiguo", "rueda" o ronda colectiva, para distinguirlo de las versiones del carnavalito "moderno" que fueron difundidas y recreadas con fines artísticos o didácticos por instituciones de enseñanza (oficiales y extraoficiales) y otros organismos culturales dependientes del estado. Estas versiones modernas, mediatizadas y mediadas, adaptadas al gusto urbano, serían legitimadas como parte del repertorio "folklórico nacional", oficiando de modelo para la creación de los nuevos carnavalitos que trascenderían las fronteras nacionales y continentales, dejando en el olvido a las expresiones más tradicionales de la Puna y la Quebrada de Humahuaca, -la rueda o carnaval "antiguo"-, vinculadas con ancestrales prácticas tales como los ritos agrarios y las ceremonias de la Pachamama entre los andinos y con el Areteguazú en las comunidades indígenas del Chaco salteño.

2025, Trans Revista Transcultural De Musica

¡Error! No se ha suministrado níngún nombre de propiedad.Los artículos publicados en TRANS--Revista Transcultural de Música están (si no se indica lo contrario) bajo una licencia Reconocimiento--NoComercial--SinObraDerivada 2.5 España de Creative Commons. Puede copiarlos, distribuirlos y comunicarlos públicamente siempre que cite su autor y mencione en un lugar visible que ha sido tomado de TRANS agregando la dirección URL y/o un enlace a este sitio: www.sibetrans.com/trans. No utilice los contenidos de esta revista para fines comerciales y no haga con ellos obra derivada. La licencia completa se puede consultar en All the materials in TRANS--Transcultural Music Review are published under a Creative Commons licence (Attribution--NonCommercial--NoDerivs 2.5) You can copy, distribute, and transmit the work, provided that you mention the author and the source of the material, either

2025

posee la autorización del autor para su divulgación en línea. Sánchez, Nancy M. El carnavalito jujeño : análisis y transcripción musical de los ejemplos documentados por Carlos

2025, Ensambles

El anuncio de la muerte de la cantante Raffaella Carrà, el 5 de julio del año 2021, provocó un gran acontecimiento mediático y un impacto en la sensibilidad colectiva. Los días posteriores se manifestaron diversos y numerosos recordatorios de la artista en las redes sociales y las marcas personales que dejó en las experiencias de vida de los públicos, sobre todo a mediados de los años setenta y ochenta. En Argentina, se publicaron tres artículos periodísticos sentidos y autobiográficos, que coincidían en homenajear a su figura asociándola a las configuraciones identitarias de varones gays en los cuales la recepción musical se constituye como un punto de fuga del discurso heteropatriarcal. Dicha situación hace pensar en los significados de género que se producen entre determinadas artistas musicales y los públicos, que articulan una identidad de género diferente en el contexto cultural y comunicacional en el que predomina el discurso patriarcal. A partir de los tres relatos mencionados, este trabajo indaga en la trayectoria artística de Raffaella Carrà y su recepción en Argentina con el objetivo de analizar y destacar el rol cultural de las divas pop.

2025, Naveen Kharwal

Here's my theory, laid out in an engaging and presentable manner: Naveen Kharwal's "The Three Stages of Human Evolution: A Cosmic Journey" presents a captivating theory about humanity's past, present, and future, intricately tied to Earth's destiny and our ultimate survival. It even offers a fresh perspective on the enduring mystery of "aliens.

2025, Cuadernos De Documentacion Multimedia

2025, Openwork

This creative response is an attempt to understand our long-standing obsession with moments that feel like they shouldn't be in song recordings but somehow remain. Written over the course of a few months, our dialogue responds to a desire to understand whether there is any meaning to these obsessions, whether they can teach us about sounds, the musicians that produce them, and the audience that receives them. We want to call attention to what is usually discarded, what happens before, after, in-between, or on top of-moments in excess of the track that break the performative bargain and reveal the multiple possibilities always contained within performance. This is accompanied by a sound piece combining the recorded moments mentioned in the piece, looping over and against each other.

2025

My memories of Alasdair MacIntyre

2025

En esta entrevista desvelo los secretos de mi último libro, La Huesca desconocida, publicado por la editorial Círculo Rojo.

2025

INTRODUCTION The emergence and proliferation of social media platforms have profoundly transformed the global music industry, reshaping the ways audiences' access, consume, and interact with music and artists. Platforms such as Twitter (Matikainen, 2018), YouTube (Hayat et al., 2019), Instagram, and SoundCloud have disrupted traditional music distribution channels, enabling artists to directly engage with listeners and bypass conventional industry gatekeepers (Negus, 2019). This phenomenon is particularly pronounced within the context of Hong Kong's popular music scene, notably the Cantonese pop ("Cantopop") genre, which has historically been a significant cultural export and identity marker for the city (Chu, 2017). Over the past decade, Hong Kong's music industry has encountered unprecedented challenges, including shifting consumer preferences (Ho, 2003), intensifying competition from international markets (Chu & Leung, 2013), and economic constraints exacerbated by the city's socio-political developments. Concurrently, the rise of social media has introduced new dynamics in audience engagement, artist promotion, and music consumption patterns (Matikainen, 2018). This study specifically addresses this critical intersection by exploring how social media platforms have reshaped audience preferences and competitive strategies within the Hong Kong popular music industry, with a particular focus on emerging artists and independent labels. Drawing upon secondary data analysis and theoretical frameworks from media and cultural studies (Fung & Chan, 2017; Matikainen, 2018), this research aims to provide an in-depth exploration of how social media influences musical tastes, artist visibility, and fan interaction within Hong Kong's evolving digital landscape. Recognizing the gap in existing literature regarding Hong Kong's unique cultural and economic context (Chu, 2017), this study contributes to broader discourses on digital disruption in creative industries. While primary data collection through direct interviews or surveys is beyond the scope of this paper, the analysis synthesizes existing scholarly insights, industry reports, and relevant case studies to construct a comprehensive understanding of the phenomenon (Hayat et al., 2019). The paper begins with a historical overview of Hong Kong's popular music industry, highlighting the critical transformations leading up to the social media era (Ho, 2003). Subsequently, it examines how social media platforms have shaped audience preferences, facilitated the rise of influencer culture, and enabled user-generated content (UGC) to significantly impact music promotion and consumption (Abidin, 2016; Hayat et al., 2019). Additionally, the research investigates the competitive landscape, contrasting local versus international artists and independent versus major labels, to elucidate the complexities and opportunities presented by digital media (Negus, 2019). Finally, the study provides strategic recommendations for industry stakeholders to navigate this rapidly evolving environment, emphasizing sustainable practices that leverage social media's potential while mitigating associated challenges (Matikainen, 2018).

2025, Arte e Investigación

El trabajo propone reconsiderar los vínculos entre música y política y su valor para la producción actual de la historia musical, a partir del análisis de casos paradigmáticos del musicar y la musicología que revelan una dimensión... more

2025, Clang; no. 10

Como ejercicio de poder sobre un espacio social, la territorialidad fue un factor fundamental para que las naciones latinoamericanas impusieran comunidades nacionales imaginarias mediante el recorte arbitrario de la heteroglosia... more

2025, Jugend - Musik - Bewegung. Formierung und Mobilisierung im 20. Jahrhundert

Für das 20. Jahrhundert, das Jahrhundert der Jugend, umspannen die Begriffe ›Jugend – Musik – Bewegung‹ ein Feld, aus dem eine Fülle von Fragestellungen zur Beschreibung und Erklärung nicht nur musikalischer, sondern auch gesellschaftlicher Entwicklungen erwächst. Diese werden hier als Formierung und Mobilisierung gefasst. Dabei spielte die Musik für unterschiedliche Bewegungen stets eine wesentliche, nicht nur kultur-, sondern auch ideen- und politikhistorische Rolle. Die Entwicklungen in großer Bandbreite und über die Zäsuren des 20. Jahrhunderts hinweg abzustecken, ist das Ziel des vorliegenden Bandes. Der Zugriff ist dabei transdisziplinär: Die Beitragenden kommen aus der Geschichts-, Politik- und Musikwissenschaft, den Sound und Popular Music Studies sowie aus der Pädagogik.

2025

Organiste, musicologue, journaliste et professeur de piano australien, qui a enregistré cinq CD de musique d'orgue-dont de nombreuses premières mondiales-et dont la biographie de César Franck a été publiée en 2012 par Scarecrow Press,... more

2025, 대한인간공학회 학술대회논문집

This study is concerned with a correlation between the image of shop made by the collaboration of shop space and BGM, and a customer's relaxation. The environment which a customer can relax is demanded in a shop like a beauty parlor. Song selection of BGM and a space design are important for it. Then, in order to measure correlation between the image of a shop and a customer's relaxation in an experiment, the set which imitated the beauty parlor was considered. It projects the image of a beauty parlor on the screen of three directions, and also sounds music from the speaker installed in the ceiling. In the experiment, five genres of music (Classic, Jazz, Bossa Nova, Hip Hop and Rock) and four kinds of space (Fresh image, Warm image, Noisy image and Simple image) were prepared. The subjects experienced five genres of music, four kinds of space, and 20 kinds of combination at random, and the subject's impression was written down in the evaluation paper. As a result, music had influenced the customer's relaxation. At the shop which offers a relaxation to customers, music of Jazz or Bossa Nova and a warm space are effective. Simultaneously, music of a Rock and a noisy space checked that it was not effective, either. Furthermore, when making the space design of the shop the simple space, it has checked that an impression and a customer's relaxation was also changeable only by song selection of music. Finally, when designing the shop which provides a relaxation to customers, comfortable, become composed, and peace of mind are important elements.

2025

Je tiens tout d'abord à remercier sincèrement et profondément Geneviève Mathon qui, en tant que Directrice de thèse, s'est montrée à l'écoute, disponible et toujours réactive tout au long de la réalisation de ce mémoire. Ses précieux conseils, son soutien indéfectible et ses encouragements constants ont largement contribué à la réussite de ce projet. Mes remerciements s'adressent également aux membres du jury : Bruno Giner qui, par son intérêt pour le sujet et par ses conseils judicieux, a particulièrement nourri mes recherches et mes réflexions ; Martin Laliberté pour les questionnements pertinents qu'il a soulevés et qui m'ont permis d'approfondir certains aspects de mon travail ; Pascal Huynh pour le temps qu'il a bien voulu me consacrer ; Annette Wieviorka dont la qualité des travaux guide mes recherches depuis plusieurs années. Je tiens à exprimer ma gratitude à des chercheurs ou musicologues qui ont, dès le début de ce travail, prodigué conseils et encouragements : Philip Bohlman, ethnomusicologue à l'Université de Chicago ; Erik Levi, auteur d'ouvrages sur les politiques musicales sous le III e Reich ; Guido Fackler et Milan Kuna, dont les publications sur le système musical concentrationnaire sont incontournables ; Matthias Tischer, musicologue spécialiste des politiques musicales en RDA ; Bret Werb, Directeur des expositions consacrées à la musique au United States Holocaust Memorial Museum de Washington, DC. Mes recherches ont été rendues possibles et facilitées par les bibliothécaires des divers centres que j'ai visités. Je tiens ici à remercier particulièrement David Kelly de la Library of Congress pour m'avoir aidée dans mes recherches, ainsi qu'Agathe Bischoff-Morales, en charge du « fonds nazi » de la Bibliothèque de Strasbourg, qui m'a permis l'accès à tous les ouvrages de ce fonds patrimonial inaccessible. L'avis expert d'Otti Bocquet, professeur d'Allemand, qui a accepté de relire mes traductions ainsi que celui des divers relecteurs, Kristell, Gwénola, Aude, Éphéméride et Bertrand, a été extrêmement précieux. Enfin, j'adresse mes plus sincères remerciements à ma famille, mes proches et amis qui m'ont encouragée ou hébergée au gré des voyages consacrés à mes recherches, et à Nicolas sans qui ce projet n'aurait pu voir le jour ni être mené à bien. sujet, le mène vers le projet de recherche de toute une vie ; il s'entoure de nombreux collaborateurs et travaille sur son futur Handbuch deutsche Musiker 1933-1945 (« Manuel des musiciens allemands de 1933 à 1945 »). Il paraît en 2005 sous la forme d'une oeuvre colossale de près de dix mille pages, rassemblée sur un CD-Rom. Source d'informations extrêmement précieuse, elle met au jour, sans objectif inquisiteur, les liens oubliés de nombreux compositeurs avec le régime.

2025, Caminhos - Goiania

O artigo pretende interpretar duas canções de Antonio Carlos Jobim, “Garota de Ipanema” (em parceria com Vinicius de Moraes) e "Sabiá" (em parceria com Chico Buarque), em diálogo com a teopoética de Rubem Alves. Aspectos melódicos, harmônicos, históricos e estético-poéticos da canção são, nesse sentido, interpretados e discutidos sob inspiração das noções alvesianas de beleza, saudade e sonho.

2025, Revista Prometeica

Este artículo comparte el desarrollo y la organización de una cronología del rock santafesino-paranaense, surgido de una experiencia de construcción colectiva en el marco de una adscripción en la cátedra de Historia de la Música Popular del Instituto Superior de Música. Dicha cronología parte de la detección de una zona en vacancia acerca de bibliografía, investigaciones o sitios recopilatorios del rock en estas ciudades. Es por ello que el objetivo de la misma fue construir un espacio virtual que albergue producciones musicales de distintas bandas y épocas de estas ciudades.
Así mismo, la intención de este escrito es permitir el acceso a la escucha desde los ejemplos recopilados. De esta manera, el trabajo expone el proceso de construcción e investigación realizado junto a estudiantes de la cátedra y que contextualiza inicialmente una referencia al género rock; luego refiere al repertorio recopilado –que abarca el período 1970-2023– para, posteriormente, intercalar fragmentos de entrevistas (realizadas por la autora) a músicos e integrantes de distintas bandas. Finalmente, dejamos algunas resonancias sobre estas historias sonoras que aportan a la escucha, al conocimiento y al estudio del género en estas ciudades

2025, Imago Crítica. Revista de Antropología, Comunicación y Estudios Culturales

Resumen: El grupo de música palentino El Naán hace suya la célebre frase pronunciada por el compositor postromántico Gustav Mahler “La tradición es la transmisión del fuego, no la adoración de las cenizas”. A través de su música se... more

2025, VENTURA

La historia de cómo el blues migró desde los campos de algodón del Sur de Estados Unidos hacia las ciudades industriales del Norte. Un viaje acompañado por buena música.

2025, VENTURA

Artículo de divulgación que repasa la historia y la evolución del género musical de la canción protesta. Artículo incluido en el libro 'VENTURA: 100 artículos seleccionados'.

2025, Volume ! Research on Popular Music

What remains of music-hall in culture, and what are its avatars? This issue of Volume, which inaugurates a new series now published by the Presses universitaires de Rennes, sets out to study contemporary shows - and the very notion of the spectacular - by placing them in perspective with the formulas or formats of music-hall as it flourished in Paris between the Belle Époque and the Second World War: revues, attractions, song recitals, operettas, variétés, nude acts... From history to aesthetics, the various contributions thus share, in an interdisciplinary perspective, the tension between shows that have faded away, for the most part irretrievably, and an undeniable continuity in the renewed formulas that constituted or claim their heritage.

2025

RESUMO: O presente trabalho tem como objetivo discutir como as canções de Violeta Parra ajudam a construir uma representação rica e complexa da identidade cultural latinoamericana. A fundamentação teórica desta investigação consiste nas contribuições dos pensadores dos estudos culturais, principalmente no que diz respeito aos movimentos da construção da identidade na modernidade. Entre os autores citados estão Stuart Hall, Néstor García Canclini e Anthony Giddens, que auxiliam no entendimento e na análise das canções de Violeta Parra. Como resultado, pode-se observar o caráter híbrido da obra de Violeta, sua força afirmativa e de resistência cultural, a denúncia da desigualdade das relações de poder estabelecida na sociedade. Além disso, as canções de Violeta Parra trazem em si mesmas um caráter educativo muito forte, enquanto propõem uma leitura crítica da história e da vida social de seu país.

2025, De Festívola al Preludi d'El Pessebre. Una aproximació al catàleg d'obra musical de Pau Casals a partir de les seves sardanes

Pau Casals va ser un intèrpret i director reconegut internacionalment. També es va dedicar a la composició, tot i que aquesta faceta no va ser prioritària al llarg de la seva carrera artística. En els últims anys, la Fundació Pau Casals,... more

2025, Historia y Sociedad

Resumen: el artículo reconsidera críticamente los estudios sobre músicas afroamericanas que sostienen que sus rasgos de africanidad oficiaron, durante la esclavitud africana en América Latina durante los siglos XVII y XVIII, como elemento... more

2025

My research within philosophies of becoming and transformation also encompass an interest in contemporary spiritualities and furthermore how these might intersect with contemporary performance art. Specifically I am interested in practices that utilise technology to bring ancient belief systems into the context of the present in an effort speculate on alternative futures. In this essay I will focus specifically on Shamanism as a contemporary spirituality that in the context of the present digital age has the potential to re-enchant, mobilise change and open portals for healing.

2025, CRIA Working Papers

On September 18, 2006, a group of young DJs and producers from the outskirts of Lisbon released DJ’s do Guetto Vol. 1, a compilation of 37 tracks blending the musical legacies of kuduro, tarraxo, and funaná with global Black and Afrodiasporic sounds, primarily from house and techno. Created by DJs Marfox, Pausas, N.K., Jesse, Fofuxo, and Firmeza, the album synchronized a set of historical, cultural, and urban coordinates, synthesizing the desire to create a sound that reflected their own experiences, imaginaries, and social worlds. This text argues that, by embracing the idea that anyone can produce music, these producers subverted the prevailing rules of the music field, which had been based on a professional monopoly legitimized by virtuosity. It further contends that this gesture expanded music’s role as a space of cultural and political affirmation for young Afro-descendant and Black Portuguese generations, opening horizons of expectation that had been systemically constrained. Such an opening generated a musical repertoire that disrupted lusotropicalist narratives embedded in contemporary Portuguese culture, asserting music as a powerful medium of self-representation for the Black community in Portugal. This is a revised version of a presentation delivered at the “Second IN2PAST Field Trip” on December 12, 2024 — a listening session dedicated to music as an object of research. On that occasion, I proposed a collective listening of “Drift Furioso” by DJ Marfox, one of the tracks featured on DJ’s do Guetto Vol. 1, which served as the starting point for this reflection.

2025

This chapter explores the 2020 music video by the North Ossetian hip-hop duo Miyagi & Andy Panda feat. TumaniYO-Brooklyn. Shot in Tbilisi, Georgia, by the visual artist Igor Klepnev, Brooklyn overflows with visual, sonic, and lyrical references to U.S. hip-hop. Its sonic aesthetics blends old-school boom bap with raggamuffin, while the visuals feature gritty post-Soviet urban landscapes mixed with classic hip-hop tropes. Brooklyn provides a curious window into the emergent Russian hip-hop avant-garde scene in its engagement with discourses of hip-hop authenticity, translocality, and valorization of the aesthetics of post-Soviet ruins. Drawing on the interview with Igor Klepnev, I perform a close reading of Brooklyn, exploring the themes of multiple nostalgias (analog, hip-hop, and nostalgia for post-Soviet childhood), imaginary, heterotopia, analog aesthetics, haunting, and immortality. The heterotopic space of imaginary Brooklyn created in the video offers an intimate reflection on post-Soviet hip-hop fandom and links between media, memory, and nostalgia. Although appearing as a "reverent stylization" and homage to old-school hip-hop, Brooklyn promotes an ambitious vision of hip-hop revival on post-Soviet ruins. Finally, as Brooklyn, under the rubric of "Russian rap," circulates transnationally through the genre of YouTube reaction videos, the U.S. Black YouTube content creators engage with the video and appreciate the homages to the 90s hip-hop. I explore the implications of the affective sociality of YouTube hip-hop reaction videos when Brooklyn circulates from Russia to the U.S. and back again.

2025

Una palabra equivale a mil imágenes. Polisemia, grandeza y miserias de las representaciones visuales. pág. 14. Matthew Fuller, Algunas repeticiones sobre la naturaleza de la copia.

2025, Contextos Revista De Humanidades Y Ciencias Sociales

La ponencia aborda las diferentes maneras con que Violeta Parra musicalizó su poesía en el formato de la canción; la importancia y proyección de su etapa como recopiladora y difusora del folclor musical chileno -lo que será la base para sus composiciones poéticomusicales-; sus experiencias artísticas en Europa y en algunos países latinoamericanos. El paso de una expresión musical local, a un reconocimiento universal de la obra de Violeta Parra, se ilustra con fragmentos de cinco canciones cuya temática es el amor, con un breve análisis como orientación.