Pub Date : 2021-10-15DOI: 10.5429/2079-3871(2021)v11i1.5en
Melanie Ptatscheck
The COVID-19 crisis places an unprecedented strain on an industry already characterised by poor mental health due to challenging working conditions, including the difficulty of sustaining a living, anti-social working hours, exhaustion, and the inability to plan time and future. This article discusses the current mental health conditions of musicians in dealing with the exceptional situation through a retrospective perspective on those affected. Based on a qualitative interview study conducted with EDM DJs during the first lockdown in Germany, I use three exemplary cases to give insights into their individual experienced living environments and working conditions. I show how the COVID-19 crisis is related to their previous life situation, mental state, and personal self-perceptions as DJs. I further argue that the current crisis may not only have a negative impact on the (already poor) mental health of creative professionals but may also bring health-promoting potential.
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Pub Date : 2021-10-15DOI: 10.5429/2079-3871(2021)v11i1.11en
M. M. Hall
Prompted by the shocking death of George Floyd (who once freestyled with Houston’s legendary Screwed Up Click), this short reflection explores how hip hop’s revolutionary soundscapes and consciousness might serve as a utopian beacon in our dark times. It argues that this artistic movement not only creates new musical and political spaces for cultural creativity, critique, and resistance, but also continues to serve—through its Black prophetic fire—as a transformative horizon of hope that promotes both unrelenting compassion and resistance.
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Pub Date : 2021-10-15DOI: 10.5429/2079-3871(2021)v11i1.10en
Jason Huxtable
The world watched the killing of George Floyd from a position of COVID induced captivation. The succeeding global protests and Black Lives Matter movement justly prompted us all to consider our own complicity with the modes of systemic racism which have normalized anti-Black thought and action. The Wonkhe@Home: Black Lives Matter event (July 2020) sought to share pragmatic advice for ‘taking action to tackle racism across HE’, aware of the responsibility for the Higher Education sector to acknowledge its own role in consecrating racist forms of knowledge. This ‘statement’ translates session outcomes for Popular Music Academics (PMA), provoking the ethical imperative to reflect upon individual situational praxis towards White Allyship action. Through consideration of PMA’s typical fields of agency, I make suggestions towards development of anti-racist learning cultures within Popular Music Higher Education.
全世界都以“新冠肺炎(COVID - 19)”引发的痴迷关注着乔治·弗洛伊德(George Floyd)被杀。随后的全球抗议活动和“黑人的命也重要”(Black Lives Matter)运动正当地促使我们所有人考虑我们自己与系统性种族主义模式的共谋，这种模式使反黑人思想和行动正常化。Wonkhe@Home: Black Lives Matter活动(2020年7月)旨在分享务实的建议，以“采取行动解决高等教育中的种族主义问题”，并意识到高等教育部门有责任承认自己在圣化种族主义知识形式方面的作用。这一“声明”为流行音乐学者(PMA)翻译了会议结果，引发了对个人情境实践对白人盟友行动的道德要求。通过对流行音乐高等教育中反种族主义学习文化的典型代理领域的思考，提出了在流行音乐高等教育中发展反种族主义学习文化的建议。
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Pub Date : 2021-10-15DOI: 10.5429/2079-3871(2021)v11i1.12en
N. Zuberi
Review of the book Popular Music in the Post Digital Age by Ewa Mazierska, Les Gillon & Tony Rigg, Eds.
《后数字时代的流行音乐》一书书评，作者:Ewa Mazierska, Les Gillon & Tony Rigg，编辑。
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Pub Date : 2021-10-15DOI: 10.5429/2079-3871(2021)v11i1.8en
Ioannis Tsioulakis
Professional musicians in Athens are a community notoriously lacking in solidarity and collective campaigning. Even during the so-called ‘Greek Crisis’, that exacerbated circumstances of precarity among performing artists, musicians seemed reluctant to resort to collective struggle and unionisation. However, the wake of the pandemic that resulted in the closure of music venues and cancellation of all face-to-face musical activity overnight had an unprecedented effect on the collectivisation of Greek musicians. The Panhellenic Music Union is rising in visibility and agency and a new grassroots movement called ‘Support Art Workers’ has emerged as a point of solidarity for thousands of creative artists including musicians, actors, dancers, visual artists and technicians. In this audio statement, Ioannis Tsioulakis (author of Musicians in Crisis, Routledge 2020) reflects on these new developments and provides some thoughts on why Covid-19 might be a time that cultivates collective campaigns for musicians and other precarious creative workers.
雅典的专业音乐家是一个众所周知的缺乏团结和集体运动的群体。即使在所谓的“希腊危机”期间，表演艺术家的不稳定状况也加剧了，音乐家们似乎不愿诉诸集体斗争和工会。然而，大流行导致音乐场所关闭，一夜之间取消了所有面对面的音乐活动，这对希腊音乐家的集体化产生了前所未有的影响。泛希腊音乐联盟(Panhellenic Music Union)的知名度和影响力正在上升，一场名为“支持艺术工作者”(Support Art Workers)的新草根运动已经出现，成为数千名有创造力的艺术家(包括音乐家、演员、舞者、视觉艺术家和技术人员)的团结点。在这段音频声明中，Ioannis Tsioulakis(《危机中的音乐家》作者，Routledge 2020)反思了这些新发展，并提出了一些想法，说明为什么2019冠状病毒病可能是培养音乐家和其他不稳定创意工作者集体运动的时代。
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Pub Date : 2021-10-15DOI: 10.5429/2079-3871(2021)v11i1.9en
M. Lücke
The Corona pandemic is still ongoing and has changed almost all areas of economic, social and cultural life—perhaps even lastingly, it is not yet possible to say. The music sector, in all its diversity, also suffers from the current restrictions. In this statement dealing with cultural policy in Germany, I discuss the need to distribute public funding for culture differently. In the last few months, it has become clear that it is above all the non-publicly financed free popular culture scene that suffers most from the restrictive effects (for example, bans on appearances). The publicly funded (music-)cultural sector, on the other hand, can continue to plan the future—without any guarantee as to how it will run. The Corona pandemic should have been a time to bring institutional and independent scenes closer together in order to create something new both artistically and organizationally.
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Pub Date : 2021-10-15DOI: 10.5429/2079-3871(2021)v11i1.2en
Jan Herbst, Michael Ahlers
{"title":"Introduction to the Special Issue on Crises at Work: Potentials for Change?","authors":"Jan Herbst, Michael Ahlers","doi":"10.5429/2079-3871(2021)v11i1.2en","DOIUrl":"https://doi.org/10.5429/2079-3871(2021)v11i1.2en","url":null,"abstract":"","PeriodicalId":36498,"journal":{"name":"IASPM Journal","volume":"7 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-10-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82175715","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-12-11DOI: 10.5429/2079-3871(2020)v10i2.3en
Luiz Costa Lima Neto
This article explores the “Som da Aura”, a term created by the Brazilian composer and multi-instrumentalist Hermeto Pascoal to designate musical compositions based on the notion that the spoken voice is a non-conventional melody. I show how the “Sound of the Aura” derived from Hermeto’s intuitive childhood experimentations with the sounds of his environment, later developed into the musical use of unconventional sound patterns, such as human speech, discerned by Hermeto with his accurate hearing. I analyze the antecedents, the context and the music of the first “Sound of the Aura” to be recorded, the piece “Tiruliruli” (1984), originally a narration done by the sports announcer Osmar Santos about a goal by the soccer player, “Doutor” Socrates. The article discusses the dichotomy between the “natural” and the “conventional”, used by the composer in order to structure the “Sound of the Aura”, addressing musical, psychological, sociocultural, economic and spiritual aspects.
这篇文章探讨了“Som da Aura”，这是一个由巴西作曲家和多乐器演奏家Hermeto Pascoal创造的术语，用于指定基于语音是非传统旋律的概念的音乐作品。我展示了“光环之声”是如何从赫尔墨托童年时对环境声音的直觉实验中衍生出来的，后来发展成对非常规声音模式的音乐使用，比如赫尔墨托用他准确的听觉辨别出的人类语言。我分析了要录制的第一首《光环之声》(Sound of the Aura)的前词、背景和音乐，这首名为《Tiruliruli》(1984)的歌曲最初是体育播音员奥斯马尔·桑托斯(Osmar Santos)对足球运动员“杜特尔”苏格拉底(Doutor Socrates)进球的解说。本文从音乐、心理、社会文化、经济和精神等方面论述了作曲家在创作《光环之声》时所采用的“自然”与“传统”的二分法。
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Pub Date : 2019-10-12DOI: 10.5429/2079-3871(2019)v9i1.5en
Stian Vestby
The published work is protected by a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License. https://creativecommons.org/licenses/by-nc-sa/3.0/
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