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Articles 1 - 5 of 5
Full-Text Articles in Ethnomusicology
Folk Music In A Digital Age: The Importance Of Face-To-Face Community Values In Filk Music, Sally Childs-Helton
Folk Music In A Digital Age: The Importance Of Face-To-Face Community Values In Filk Music, Sally Childs-Helton
Scholarship and Professional Work
Filk is broadly defined as the traditional folk-based music and related community created by and for a sub-community of science fiction and fantasy fans. Born in the 1950s, filk today includes international participants of various experience levels and musical styles. Social context and music are equally important in this tradition; prominent values include self-expression, play and building a face-to-face co-creative, collaborative group experience. This article, founded on Textual Poachers (1992), assumes that filk remains a folk music in many ways, and that filkers still prefer face-to-face musical and personal interaction in spite of a lively, diverse online filk community. I …
The Creation Of Fear Through Censorship: Repression Of Artistic Freedom In The Music Of The Syrian Revolution, Rebecca Aliah Ajamoughli
The Creation Of Fear Through Censorship: Repression Of Artistic Freedom In The Music Of The Syrian Revolution, Rebecca Aliah Ajamoughli
Undergraduate Honors Thesis Collection
"God, Syria, freedom, and that is all." These four words embody the goals of the Syrian Revolution. Yet, there is one key element of this chant that raises questions surrounding its meaning: freedom. For decades, the people of Syria have been subjected to restricted freedom by the Assad regime-especialIy musicalIy. The regime has artfulIy used music to legitimize its claim to the country. This utilization varies from early-learned pro-Baath chants to the monitoring of all performances held in the country. As Lisa Wedeen says in her work Ambiguities of Domination, "[this control of culture] isolates Syrians from one another, and …
Folk Songs, Youth, And Propaganda: Music Of The Third Reich, Patrick Scott Peterson
Folk Songs, Youth, And Propaganda: Music Of The Third Reich, Patrick Scott Peterson
Undergraduate Honors Thesis Collection
As the world watched the rise of a new political power in Central Europe, the German youth perceived a new, exciting movement sweep through their backyard. The Third Reich gained control over Germany through the planning and organization of Hitler and his Nazis. Hitler sought to construct his pure society, accomplished through the orzanization of the sovernment and the National Socialist German Workers' Party b . b (NSDAP). While their nation made drastic shifts politically, the rich history of German art music and folk music played into the changes during the rise of the Nazi party. German culture was formed …
Bulgarian Chalga: Forming A Post-Communist Identity Through Music, Megan Drevits
Bulgarian Chalga: Forming A Post-Communist Identity Through Music, Megan Drevits
Undergraduate Honors Thesis Collection
During the mid-1990s, against the background of a dizzyingly unstable economy and a corrupt and transitional political climate, a new genre of popular music rose to prominence in Bulgaria and came to be viewed by many as a complex symbol of this new, post-communist society. Although it has been given several names in its short history, this genre is most commonly known today as chalga, a designation that has a variety of connotations, both purely musical and purely derogatory. At its core, chalga is a fusion music genre that combines elements of Bulgarian folk music, Roma and Turkish music, …
Scottish And Irish Elements Of Appalachian Fiddle Music, Matthew S. Emmick
Scottish And Irish Elements Of Appalachian Fiddle Music, Matthew S. Emmick
Undergraduate Honors Thesis Collection
This paper is designed to serve as a general introduction to the topic and is not meant to be a definitive resource. The ideas presented here deal with general characteristics which serve as a basis for comparison of the three fiddle styles. A more in-depth study which examines stylistic traits peculiar to small geographic regions within Scotland, Ireland, and Appalachia is needed to give a more complete picture of the Celtic influence on the fiddle traditions of the Southern mountains.