Introduction: Somewhere between the signifying and the sublime

Thompson, Marie; Biddle, Ian

doi:10.5040/9781501382871.0006

Cited by 20 publications

(4 citation statements)

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“…I am referring here to Mihály Csikszentmihályi's notion of "flow" as a kind of optimal, quasi-trance state of performance in which musicians are so absorbed in what they are doing that afterward they have no real memory of what happened. For more on sound as a form of affect, see Sound, Music, Affect (Thompson and Biddle 2013) and the following note.…”

Section: Coda Improvisation Cultural Analysis and Collective Actionmentioning

confidence: 99%

Contingent Encounters

2022

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Section: Coda Improvisation Cultural Analysis and Collective Actionmentioning

confidence: 99%

Contingent Encounters

2022

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“…As such, it can play an important role in creating, maintaining or strengthening social movements and thus transforming social conditions through struggles for policy changes on a macro level (Porta 2015). A key political function of music in this context – besides its ability to articulate political discourses – is its affective appeal (Danaher 2010; Street 2003; Thompson and Biddle 2013), and ‘capacity to stimulate bodily sensation and influence emotion, mood and motivation’ (Garratt 2019, p. 18). Indeed, music is known to mobilise emotions and bodies in protest settings, among others.…”

Section: Music and The Popularmentioning

confidence: 99%

The people vs. the power bloc? Popular music and populism

Dunkel¹,

Schiller²

2022

Pop. Mus.

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On 12 November 2017, the Philippine celebrity musician Pilita Corrales was singing the popular song ‘Ikaw’ (‘You’) at a gala event in Manila, attended by some of the world's most powerful politicians at the time, US President Donald Trump and Philippine President Rodrigo Duterte. Suddenly, she noticed a male voice singing along with her, its intonation off, its volume increasing. Aware that the event was being recorded, Corrales at first tried to disregard the intruding voice. Eventually however, she could no longer ignore it and, shielding her eyes from the lights with one hand, she tried to spot the uninvited singer in the audience. ‘Where are you, sir’? she asked. Realising that the singer was on one of the balconies, it dawned on her that he was none other than Duterte himself. After giving Duterte room to sing a section by himself, she then joined the president in the song's finale (BBC News 2017; Guardian News 2017; Rappler 2017).

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“…This because music and other sound add important extra-discursive and affective dimensions (Douglas, 1999) to the well-known colonialist discourses. Listeners were offered an opportunity to encounter "the other" in ways different from verbal discourse (Thompson and Biddle, 2013). Musicologists Ronald Radano and Tejomula Olaniyan describe this well:…”

Section: Between Exoticism and Ethnomusicologymentioning

confidence: 99%

Between Exoticism and Ethnomusicology: Musical Representations of Greenland and India on European Interwar Radio

Michelsen¹

2022

Journal of Radio & Audio Media

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Introduction: Somewhere between the signifying and the sublime

Cited by 20 publications

References 0 publications

Contingent Encounters

Contingent Encounters

The people vs. the power bloc? Popular music and populism

Between Exoticism and Ethnomusicology: Musical Representations of Greenland and India on European Interwar Radio

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