This page has been optimized for computer screen. Thank you for your understanding.
This page has been optimized for computer screen. Thank you for your understanding.
The author reflects the construction of national music while the arise of the nation State in Guatemala. This development begins formally while the first decades of the nineteenth century and has not finished yet. For the myth of the Nation state and those who use it for their project of domination it is crucial that national music can be distinguished externally from musics generated by other nations while it can be applied internally for the aim of national homogenisation. Since the middle of the nineteenth century the music is used in Guatemala for the dissemination of ideologies that help to construct this myth. The vernacular music of the Maya people does not follow this logic. Hence it is considered inferior or «incorrect». For the myth of the nation State only the totality of «the people» as an abstract concept can understand and appreciate the national music, but not the concrete or individual group. Assuming this the music is converted into an important tool of a repressive mechanism and deculturation.
América Latina Hoy
Music sociology has addressed the history of the musical canon, taste and social exclusion. It has also addressed issues of musical value and the perceptual politics of musical reputation. More recently, it has developed perspectives that highlight music's ‘active’ properties in relation to social action, emotion and cognition. Such a perspective dispenses with the old ‘music and society’ paradigm (one in which music was typically read as distanced from and ‘reflecting’ social structure) and points to core concerns in sociology writ large and to educational concerns with music's role as a socialising medium in the broadest sense of that term.
British Journal of Music Education
In three experimentswe examined whether songs that are widely used in times of crisis (crisis songs, CS) could resume their unifying effect when they are played offcontext. In the first experiment, two conflictual groups, religious and secular Jews, were exposed t o CS, t o love songs (LS), or t o no songs and were then asked t o express their attitudes towards their outgroups. It was found that CS positively affected respondents' attitudes: stigmas and prejudice were lessened. In a second experiment, the CS effect was examined under more restrictive conditions. Instead of listening t o CS, participantswere asked t o recall them from memory. In addition, attitudes towards ingroups and outgroups were collected more systematically. Results showed again that CS reduced intergroup bias. In a third experiment we tried t o understand the mechanism underlying the CS effect by examining the thoughts and associations that people had while listening t o CS. Analysis of the associations showed that unifying themes such as "nationalism," "sorrow and grief," and "unity" were most prominent when religious and secular respondents listened t o CS. The CS effect and its underlying mechanism are explained in light of the "common ingroup identity model." CS had the power to bring into awareness that the conflicting groups belong t o one superordinate social group which, in turn, reduced stigmas, prejudice, and intergroupbias. Possibleimplications of these findings are discussed.
Musicae Scientiae
Ethnomusicology
Throughout the world, community arts-based processes have become an essential component of peacebuilding work in societies experiencing severe conflicts. Both during a conflict and in post-conflict peacebuilding efforts, community based arts processes can be an especially effective tool to bring together identity groups through sharing common cultural experiences, raising awareness about past suffering, and engaging communities in creative projects. In this research project, the author spent fourteen months in Bosnia-Herzegovina researching the use of community arts-based peacebuilding efforts both during the war and in the post-conflict stage. This paper provides an overview of the research and offers several conclusions on the role of arts in peacebuilding within Bosnia-Herzegovina with the hope that these findings have relevance for other regions and the field in general.
Peace and Conflict Studies
This article explores political, cultural and musical issues surrounding the dispute between Palestinians and Israelis, particularly over Jerusalem, which each party uses to symbolise and promote their own perception of the conflict. Specifically, I examine selected popular musical landmarks that capture the essence of the struggle from the ultra-nationalistic tones of the 1960s and 1970s to the more reconciliatory ones in the 1990s advocating peace. Special attention is given to musical cooperation between Israeli and Palestinian singers who played a strong role in the promotion of peace within a utopian dream of coexistence between Arabs and Jews.
Popular Music
Ethnic groups use music to promote in-group favoritism and values, but also to enhance intergroup closeness and understanding. The current study examined whether national music, often used for emphasizing intergroup separateness, can also reduce prejudice and promote theory of mind among two groups in conflict, Jews and Arabs in Israel. More specifically, the study examined whether removing a national song from its conflictual context, and introducing it in a manner which emphasizes out-group familiarity, enhances mentalization and positive attitudes between groups. Arab/Jewish women (N = 254) were randomly divided into four groups and exposed to one of two types of national Israeli songs, a Holocaust Day song (HDS), which is not associated with the IsraeliArab conflict, or a Memorial Day song (MDS), which is aired only on days of remembrance for Israel’s fallen soldiers, sung by either a Jewish or an Arab singer. The results demonstrated that exposure to a HDS enhanced theory of mind when it is sung by an Arab singer. Moreover, Arabs who heard the HDS demonstrated reduced prejudice against Jews, when compared with the MDS. The results demonstrate that national songs, which may be the epitome of in-group favoritism, can be used for promoting theory of mind even among adversarial groups.
Psychology of Music
The present study explored how media, specifically violent rap music, may influence Blacks’ and Whites’ attribution of Blacks through stereotype priming. When compared to controls and participants exposed to nonviolent Black musicians, those exposed to violent Black musicians reported attributions of a target Black male’s violent behavior that was particularly dispositional relative to attributions of a White male’s violent behavior or to any other condition. The findings also indicated that the impact of exposure to violent rap music generalized to judgments involving other stereotype-related traits (i.e., intelligence) but not to judgments of nonstereotypical traits (i.e., spatial skills)
Journal of Experimental Social Psychology
https://www.taylorfrancis.com/books/edit/10.4324/9781315090894/music-medicine-peregrine-horden
In the last decades Norway has seen substantial immigration into the country, largely from South Asia. In the capital (Oslo) one out of every four school children have foreign roots. This development poses a great challenge to educational policy, and begs for efforts that foster interracial harmony and prevent ethnic conflict. The Norwegian Department of Culture and the Culture Fund in the years 1989‐1992 supported a school research project run by the State agency for music promotion — NorConcert. Eighteen schools with varying percentages of immigrants and of various location and size were selected to test the effectiveness of an art program rooted in the cultural heritage of the countries of origin. Music, dance and theatre from Asia, Africa and Latin‐America were presented by renowned artists from the countries represented, supported by immigrant teachers and culture workers. The results of the study revealed significant improvement in the social milieu of participating classes and schools, with a lessening of conflict and harassment. The program was also seen to foster self‐esteem and the development of individuality among immigrant children. As a result of the project a Norwegian Multicultural Music Centre was established in 1992, and the programming of State supported school concerts was extended in an intercultural direction.
European Journal of Intercultural studies
History of European Ideas