Rhythm and Role Recruitment in Manitoban Aboriginal Music

Dueck, Byron

doi:10.1093/acprof:oso/9780199811328.003.0007

Cited by 4 publications

(3 citation statements)

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“…The shared expectation that a dance tune will be repeated a certain number of times is useful, even essential, in coordinating some kinds of social dance: the musical structure built, we suggest, on top of a neurophysiological mechanism, this facilitates a broader form of joint action (see review section Background and Operational Definitions) and therefore has a social utility. As Dueck (2013) points out, however, music's metrical structure recruits hearers to interact in particular ways; examples of music that appear to defy expectations of regular metrical structure may sometimes be viewed as an embodiment of resistance. Who is in charge, then, is a broader issue than ''which individual is the leader?''…”

Section: Ime and Culturally Shared Knowledgementioning

confidence: 99%

Interpersonal Entrainment in Music Performance

et al. 2020

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Interpersonal musical entrainment—temporal synchronization and coordination between individuals in musical contexts—is a ubiquitous phenomenon related to music’s social functions of promoting group bonding and cohesion. Mechanisms other than sensorimotor synchronization are rarely discussed, while little is known about cultural variability or about how and why entrainment has social effects. In order to close these gaps, we propose a new model that distinguishes between different components of interpersonal entrainment: sensorimotor synchronization—a largely automatic process manifested especially with rhythms based on periodicities in the 100–2000 ms timescale—and coordination, extending over longer timescales and more accessible to conscious control. We review the state of the art in measuring these processes, mostly from the perspective of action production, and in so doing present the first cross-cultural comparisons between interpersonal entrainment in natural musical performances, with an exploratory analysis that identifies factors that may influence interpersonal synchronization in music. Building on this analysis we advance hypotheses regarding the relationship of these features to neurophysiological, social, and cultural processes. We propose a model encompassing both synchronization and coordination processes and the relationship between them, the role of culturally shared knowledge, and of connections between entrainment and social processes.

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Section: Ime and Culturally Shared Knowledgementioning

confidence: 99%

Interpersonal Entrainment in Music Performance

et al. 2020

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“…The idea that music articulates relationships also resonates with the concept of indexicality in the metapragmatics of Michael Silverstein (see Silverstein 1993Silverstein , 1997Silverstein , 2004 for work in music studies, see Monson 1996;Wilf 2012;Dueck 2013aDueck , 2013b. 6 The term "indexicality" is most frequently associated with the semiotics of Charles Sanders Peirce, where it designates a sign that co-occurs with its referent (e.g., the sound of a violin is an index of someone drawing a bow over its strings).…”

Section: Relationships Network Alliances Deixismentioning

confidence: 90%

Authority, Deference, and Disregard in Catholic Liturgical Music in Central Cameroon

Dueck

2022

Ethnomusicology

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This article examines Catholic liturgical music in indigenous idioms in central Cameroon, focusing on a Sanctus by composer Jean André Yebnoun Ngann. We consider how musicians enact deference and authority through the sounding materials of music, discussions of music, and social interactions that allow music-making to occur, proposing that all of these might usefully be analyzed with the help of the linguistic concept of deixis. Study of four different performances of the Sanctus reveals how contemporary music-making elaborates forms of deference shaped not only by colonialism and Catholicism but also by older ways of leading and following.

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“…Music could aid in the evolution of human society by facilitating coordinated activity and serving as a more effective medium for achieving social consensus among some social groups. In addition to providing entertainment for existing groups, musical performances are crucial in enhancing their public image [3]. In social movements, the desire to coordinate activities is accompanied by the impulse to coordinate people's emotions and ideologies, which typically enhances people's emotional ties, shapes their ideology, and aids in completing or altering their ideas and opinions about an event.…”

Section: Introductionmentioning

confidence: 99%

Women's Power Reflected in Beyoncé's Song “Run the World (Girls)”

Guo¹

2023

Proceedings of the 2nd International Conference on Education, Language and Art (ICELA 2022)

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By analyzing the song 'Run the World (Girls)' by American singer Beyoncé, this paper explores the singer's musical expression of female empowerment and her call for female empowerment, using costumes, dance moves, and props with a morale boosting rhythmic layers and melodic layers that shout out the lyrics of women leading the world, inspiring and the music serves as a medium for public reflection. Music is a medium that brings together the public to think about the power of women. Power is often referred to as a masculine trait, but Beyoncé breaks the stereotypes that society has long formed about women by supporting the idea that women can realize their worth, that women can build nations and that power can be a social identity for women.

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Rhythm and Role Recruitment in Manitoban Aboriginal Music

Cited by 4 publications

References 0 publications

Interpersonal Entrainment in Music Performance

Interpersonal Entrainment in Music Performance

Authority, Deference, and Disregard in Catholic Liturgical Music in Central Cameroon

Women's Power Reflected in Beyoncé's Song “Run the World (Girls)”

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