المعرفة

موسيقى شائعة

For the musical genre, see Pop music. For the 2004 film, see Popular Music (film).
"Popular song" تحوّل إلى هنا. لمطالعة استخدامات أخرى، انظر Popular Song (disambiguation).

قالب:Popular music

الموسيقى الشائعة Popular music هي جميع أنواع الموسيقى التي تتقبلها شرائح كبيرة من الناس وتنشرها وسائل الإعلام وغالباً ما تعد تجارية. وهي الأنواع التي تعتبر الاتجاه السائد (mainstream) في الوقت الراهن والتي ترافق الحداثة بدرجة أكبر من التقاليد. وتختلف عن الموسيقى الفنونية والموسيقى التقليدية.

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

المنظور العالمي

الشرق الأوسط

 
فرقة الروك الإيرانية Kiosk, live in 2007

Modernization of music in the Arab world involved borrowing inspiration from Turkish music and Western musical styles.[1] The late Egyptian singer, Umm Kulthum, stated,

"We must respect ourselves and our art. The Indians have set a good example for us - they show great respect for themselves and their arts. Wherever they are, they wear their native dress and their music is known throughout the world. This is the right way."

She discussed this to explain why Egypt and the Arab world needed to take pride in the popular music styles originating in their culture so the styles were not lost in the modernization.[1] Local musicians learned Western instrumental styles to create their own popular styles including their native languages and indigenous musical features.[1] Communities in throughout the Arab world place high value on their indigenous musical identities while assimilating to new musical styles from neighboring countries or mass media.[1] Through the 1980s and 1990s, popular music has been seen as a problem for the Iranian government because of the non-religious meanings within the music and the bodily movements of dancing or headbanging.[2] During this time period, metal became a popular underground subculture through the Middle East. Just like their Western counterparts, Middle Eastern metal followers expressed their feelings of alienation. But their thoughts came from war and social restrictions on youth.[3]

In interviews of Iranian teenagers between 1990 and 2004, the youth overall preferred Western popular music, even though it was banned by the government.[2] Iranian underground rock bands are composed of members who are young, urban-minded, educated, relatively well-off, and global beings. Iranian rock is described by the traits that these band members possess.[2] The youth who take part in underground music in the Middle East are aware of the social constraints of their countries, but they are not optimistic about social change.[3] Iranian rock bands have taken up an internationalist position to express their rebellion from the discourses in their national governments.[2]

انظر أيضاً

المراجع

  1. ^ أ ب ت ث Danielson, Virginia (1988). "The Arab Middle East". In Manuel, Peter Lamarche (ed.). Popular Musics of the Non-Western World. New York: Oxford University Press. pp. 151, 156–158. ISBN 978-0195053425.
  2. ^ أ ب ت ث Nooshin, Laudan (2005-09-01). "Underground, overground: Rock music and youth discourses in Iran" (PDF). Iranian Studies. 38 (3): 463–494. doi:10.1080/00210860500300820. ISSN 0021-0862. S2CID 162667672. Archived (PDF) from the original on 2018-07-20. Retrieved 2018-11-22.
  3. ^ أ ب Wagg, Stephen (2014). "'How Many Divisions Does Ozzy Osbourne Have?' Some Thoughts on Politics, Heavy Metal Music, and the 'Clash of Civilizations'". In Lashua, Brett (ed.). Sounds and the City: Popular Music, Place and Globalization. Basingstoke: Palgrave Macmillan. pp. 136, 141. ISBN 9781137283108.

للاستزادة

  • T.W. Adorno with G. Simpson: 'On Popular Music', Studies in Philosophy and Social Science, ix (1941), 17–48
  • D. Brackett: Interpreting Popular Music (Cambridge, 1995)
  • Brøvig-Hanssen, Ragnhild & Danielsen, Anne (2016). Digital Signatures: The Impact of Digitization on Popular Music Sound. MIT Press. ISBN 9780262034142
  • Larry Freeman: The Melody Lingers on: 50 Years of Popular Song (Watkins Glen, N.Y.: Century House, 1951). 212 p. N.B.: Includes a chronology, "50 Years of Song Hits", on p. 193-215.
  • P. Gammond: The Oxford Companion to Popular Music (Oxford, 1991)
  • Haddix, Chuck. Rags to Be-bop: the Sounds of Kansas City Music, 1890-1945. [Text by] Chuck Haddix (Kansas City, Mo.: University of Missouri at Kansas City, University Libraries, Marr Sound Archives, 1991). Without ISBN
  • P. Hardy and D. Laing: The Faber Companion to 20th-Century Popular Music (London, 1990/R)
  • R. Iwaschkin: Popular Music: a Reference Guide (New York, 1986)
  • J. Kotarba, B. Merrill, J. P. Williams, & P. Vannini Understanding Society through Popular Music. NY:Routledge, 2013 (second ed.) ISBN 9780415 641951
  • Larkin, Colin. The Encyclopedia of Popular Music. Oxford University Press, 2006 ISBN 9780195313734 (10 volumes)
  • R. Middleton: Studying Popular Music (Milton Keynes, 1990)
  • Moore, Allan F., ed. Analyzing popular music. Cambridge University Press, 2003.
  • M. Sorce Keller: "Continuing Opera with Other Means: Opera, Neapolitan song, and popular music among Italian immigrants overseas", Forum Italicum, Vol. XLIX(2015), No 3, 1- 20.

وصلات خارجية

 
Scholia has a topic profile for موسيقى شائعة.
تمّ الاسترجاع من "https://www.marefa.org/w/index.php?title=موسيقى_شائعة&oldid=2536967"