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Research investigating whether hearing a particular type of ethnic music will influence people to choose food from that same culture has found mixed results. Some studies found that when given a selection of different ethnic foods...
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Research investigating whether hearing a particular type of ethnic music will influence people to choose food from that same culture has found mixed results. Some studies found that when given a selection of different ethnic foods subjects were more likely to choose the food that was typical of the culture whose music was playing. Other studies have found no effect. The present study investigated the effect of instrumental Italian or Spanish music played in a university dining hall on the selection of either an Italian (chicken parmesan) or a Spanish (seafood paella) entre. On two different nights both the Italian and Spanish entre were available and students could select from those two entrees or other food choices. Italian music was played on one night and Spanish on another. The number of people who chose the two entrees was recorded on both nights. In addition, the hedonic ratings of the two entrees were obtained when either congruent or incongruent music was being played during the meal. On both nights more people chose the chicken parmesan than chose the seafood paella. However, there was a significant effect of the music on food choice. A significantly greater proportion of diners selected the paella over the chicken parmesan on the night when the Spanish music was played (34%) than on the night when the Italian music was played (17%). There was no effect of the type of music on liking for the food, possibly because the music was not as loud where diners were eating as where they ordered. (C) 2016 Elsevier Ltd. All rights reserved.
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A sample of 1060 Malaysian children were surveyed in order to examine differences in their motivation to study music in school and to learn a musical instrument outside of school. Adopting the expectancy-value motivation theory, t...
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A sample of 1060 Malaysian children were surveyed in order to examine differences in their motivation to study music in school and to learn a musical instrument outside of school. Adopting the expectancy-value motivation theory, the children were asked questions concerning their perception of music as being important, useful, interesting, enjoyable and easy/difficult. Results show subtle differences according to the five ethnic groups (Malay Muslims, Chinese Buddhists, Chinese Christians, Indian Hindus and Indian Christians), the children's previous musical experiences and also gender. In general, Chinese Christian and Indian Christian children were more motivated to study music than the other groups, and girls reported an overall higher level of motivation than boys. The results help to frame how music is perceived as a school subject within Malaysian society and suggest priorities for advocating music within the Malaysian educational system.
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Looking at the current state of the literature, political scientists and sociologists have neglected the political relevance of ethnic and migrant minorities' popular cultural and artistic productions to concentrate on more conven...
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Looking at the current state of the literature, political scientists and sociologists have neglected the political relevance of ethnic and migrant minorities' popular cultural and artistic productions to concentrate on more conventional forms of political participation. In the first section of this paper, we provide a theoretical framework to this special issue by examining the links between music and politics. We underline several elements related to music which potentially have political significance. We discuss how music can provide/ascribe identities and a sense of place. In the second part of the paper, we attempt to explain why ethnic minorities choose music as a means of political expression. To this end, we present and subsequently critique a typology of political action in popular music developed by the American political scientist Mark Mattern. The paper concludes by stressing the urgent need to develop research on the topic and how this special issue makes its own contribution to this agenda.
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With increasing amounts of music being available in digital form, research in music information retrieval has turned into a dominant field to support organization of and easy access to large collections of music. Yet, most researc...
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With increasing amounts of music being available in digital form, research in music information retrieval has turned into a dominant field to support organization of and easy access to large collections of music. Yet, most research is focussed traditionally on Western music, mostly in the form of mastered studio recordings. This leaves the question whether current music information retrieval approaches can also be applied to collections of non-Western and in particular ethnic music with completely different characteristics and requirements.
In this work we analyze the performance of a range of automatic audio description algorithms on three music databases with distinct characteristics, specifically a Western music collection used previously in research benchmarks, a collection of Latin American music with roots in Latin American culture, but following Western tonality principles, as well as a collection of field recordings of ethnic African music. The study quantitatively shows the advantages and shortcomings of different feature representations extracted from music on the basis of classification tasks, and presents an approach to visualize, access and interact with ethnic music collections in a structured way.
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In the sound archive field, a long-term maintenance of the collective human memory in its original form is not sustainable. All physical carriers are subject to degradation and the information stored on such carriers is bound to v...
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In the sound archive field, a long-term maintenance of the collective human memory in its original form is not sustainable. All physical carriers are subject to degradation and the information stored on such carriers is bound to vanish. Only a re-mediation of the original documents can prevent precious knowledge from being permanently lost. In particular, ethnic music audio documents are often recorded on non-professional carriers by means of amateur recording system, or, more in general, in fieldwork circumstances. Thus, the preservation of the carrier and the restoration of the audio signal are crucial to avoid the permanent loss of the musical heritage, which is already heavily corrupted. This article describes the protocols defined, the processes undertaken, the results ascertained from several audio documents preservation/restoration projects carried out in the ethnic music field, and the techniques used. In particular: (i) a number of recommendations are given for the re-recording process, and (ii) an audio restoration environment (constituted by three audio restoration tools), developed using the VST plug-in architecture and optimized for different audio carriers (cylinders, shellac discs, tapes) is detailed. The experimental results and the perceptual assessment presented show the effectiveness of the restoration environment developed by the author.
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A handful of recent film studies publications have taken as their subject composers' reflexive and analytical accounts of their own practice in creating music for film. This paper aims to take that approach a step further by explo...
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A handful of recent film studies publications have taken as their subject composers' reflexive and analytical accounts of their own practice in creating music for film. This paper aims to take that approach a step further by exploring both the collaborative creative processes behind the composition of my score for the 2007 South African/Danish film, My Black Little Heart, and the cross-cultural representational issues raised by it. It is often unacknowledged by composers how much a director, producer or music editor informs the final score, and I examine the often very subtle decision-making processes, the constant adjustments and readjustments, that occurred between the film maker (in this case, the director) and myself, the composer, in the creation of the film's music. An unusual consequence of the high level of creative reciprocity on this project was the powerful influence the music had on the structure of the film. This paper adds to a growing body of recent scholarship that sees a consideration of the production process as fundamental to an understanding of music's active role in the creation of meaning in a film; the antithesis of seeing the score as simply music tacked on to a virtually complete film. This paper also examines the way the film uses a number of diegetic music cues associated with specific characters as a shorthand delineation of their racial, religious and sub-cultural identities. I look at the representational value of these cues and how they relate to stereotypes, myths and metaphors used to describe post-apartheid society, as well as how this relates to the film's representation of South African realities. The article ends with a brief analysis and interpretation of the music, its meaning and effects, but rather unusually, this is done from the perspective of the composer, something that is still relatively rare in film music studies.
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Throughout its history as a nation, Panama has emphasised its Spanish roots. Having become a postcolonial state, Panama now exploits its multiculturalism for the purpose of attracting tourists. In this context, Afro-Antilleans in ...
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Throughout its history as a nation, Panama has emphasised its Spanish roots. Having become a postcolonial state, Panama now exploits its multiculturalism for the purpose of attracting tourists. In this context, Afro-Antilleans in the Archipelago of Bocas del Toro - historically marginalised and considered temporary migrants -are developing gendered and racialised identities for tourist consumption, in response to the state's tourism promotion and in pursuit of a complex cultural politics. Tourism provides an occasion for Afro-Antilleans to reposition themselves within the Panamanian nation, vis-a-vis the state and other ethnic groups. 'Panamanian' Afro-Antillean identities are also transnational, African and Caribbean; these constructions of difference in the touristic context are inevitably contradictory, at once national and diasporic. This paper explores these complexities and their complex origins: nationalism, regional and trans-Atlantic migration, and tourism. It concludes that so-called globalisation, in this setting, results in a proliferation of conflicting differences rather than in homogenisation.
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Minority groups have increasingly begun to promote and use their traditional ethnic cultures for economic benefit by attracting more tourists. Indeed, the notion of tourism commodification has raised concerns over the impact on as...
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Minority groups have increasingly begun to promote and use their traditional ethnic cultures for economic benefit by attracting more tourists. Indeed, the notion of tourism commodification has raised concerns over the impact on aspects of local culture, such as ethnic music. Existing studies, however, neglect changes in music and the social role of such changes in the context of tourism. To this end, this study explores the influence of ethnic tourism on music and music-related social life by studying the case of Xiaohuang village in China. Semi-structured interviews, participant observation and second-hand documentation were used to collect data. This study found that the style of ethnic music has been commercialized, as evidenced by Mandarin version of songs. Indeed, the role of Dong music has become diversified in different tourism contexts. In addition, tourism has directly impacted on work opportunities and had an indirect impact on music transmission. A discussion is provided about the authenticity of ethnic music, the commodification of tourism, and the inheritance of culture.
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As a Lebanese-origin native of the Colombian Caribbean, singer/songwriter Shakira's self-description as a combination of “quibbe crudo and pltano frito” (“raw quibbe and fried plantain”) neatly reflects the trans-cultural aest...
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As a Lebanese-origin native of the Colombian Caribbean, singer/songwriter Shakira's self-description as a combination of “quibbe crudo and pltano frito” (“raw quibbe and fried plantain”) neatly reflects the trans-cultural aesthetic recipe upon which her artistic identity and media persona are based.1 Emphasizing the role of sexuality and movement in Shakira's recordings, music videos, and press coverage, I assert that Shakira's personal history, artistic production and media star text are of significance to the ongoing “worlding” of American and area studies. Grounded in the overarching concerns of feminist, media, and music criticism, this cross-media analysis questions the “commonsense” of ethno-racial identity, gender and sexuality in music video. In turn, I address the methodological and thematic gaps in existing scholarly approaches to gender, race, and sexuality in the genre, and ultimately argue for a more nuanced meta-disciplinary engagement with the location and politics of transnational studies within the Academy.
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Language and music are intertwined: music training can facilitate language abilities, and language experiences can also help with some music tasks. Possible language-music transfer effects are explored in two experiments in this s...
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Language and music are intertwined: music training can facilitate language abilities, and language experiences can also help with some music tasks. Possible language-music transfer effects are explored in two experiments in this study. In Experiment 1, we tested native Mandarin, Korean, and English speakers on a pitch discrimination task with two types of sounds: speech sounds and fundamental frequency (F0) patterns derived from speech sounds. To control for factors that might influence participants' performance, we included cognitive ability tasks testing memory and intelligence. In addition, two music skill tasks were used to examine general transfer effects from language to music. Prior studies showing that tone language speakers have an advantage on pitch tasks have been taken as support for three alternative hypotheses: specific transfer effects, general transfer effects, and an ethnicity effect. In Experiment 1, musicians outperformed non-musicians on both speech and F0 sounds, suggesting a music-to-language transfer effect. Korean and Mandarin speakers performed similarly, and they both outperformed English speakers, providing some evidence for an ethnicity effect. Alternatively, this could be due to population selection bias. In Experiment 2, we recruited Chinese Americans approximating the native English speakers' language background to further test the ethnicity effect. Chinese Americans, regardless of their tone language experiences, performed similarly to their non-Asian American counterparts in all tasks. Therefore, although this study provides additional evidence of transfer effects across music and language, it casts doubt on the contribution of ethnicity to differences observed in pitch perception and general music abilities.
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