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Article
Publication date: 3 September 2019

Ya-ning Kao

The purpose of this paper is to examine the performance of Zhuang shamanic narrative songs at three festivals to explore how and why a narrative song genre that originated with…

Abstract

Purpose

The purpose of this paper is to examine the performance of Zhuang shamanic narrative songs at three festivals to explore how and why a narrative song genre that originated with Zhuang shamans is separated from shamanic ritual contexts and re-contextualized at festivals under the cultural policies instigated by the People’s Republic of China in the post-socialist era.

Design/methodology/approach

The research is based on a review of publications on Zhuang performance art and fieldwork data collected in southwestern Guangxi, China.

Findings

The de-construction of Zhuang shamanic narrative song melodies dates back to the late nineteenth century, when southwestern Guangxi literati used the melodies to compose popular songs. By the 1950s, the religious elements of these narrative songs had already been obfuscated, leading Chinese scholars to select them as representative of Zhuang performance arts. Since the enactment of China’s Intangible Culture Heritage (ICH) Law in the early twenty-first century, local Zhuang elites have re-constructed and re-introduced shamanic elements to narrative songs as they are performed at festivals as a means to further highlight the ethnic characteristics of the Zhuang people.

Originality/value

The paper provides detailed documentation of three cases of the restoration of shamanic elements to narrative songs sung by the Zhuang people. However, the research is limited to one community, inviting comparison with other cases, both inside and outside China, of how ICH policies impact grass-roots cultural practices.

Details

Asian Education and Development Studies, vol. 9 no. 1
Type: Research Article
ISSN: 2046-3162

Keywords

Article
Publication date: 20 September 2011

David Smith and Kerry Jacobs

This paper aims to present an examination of the characterisation of accounting and accountants in popular music. Some authors have considered the place of accounting in popular…

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Abstract

Purpose

This paper aims to present an examination of the characterisation of accounting and accountants in popular music. Some authors have considered the place of accounting in popular culture and the social perceptions of accounting and accountants. This research aims to advance this work by suggesting that music both offers a powerful insight into social perceptions of accounting, and serves both to reflect and reinforce these perceptions.

Design/methodology/approach

Songs featuring accountants were identified, which was verified by a search of song lyric databases using the search terms “accountant/s”, “accounting” and “accounts” and accounting terms. The lyrics were analysed on the basis of how the accountants or accounting activity were presented, and a taxonomy was established.

Findings

Some songs reflect the image of the accountant as both the facilitator and accoutrement of positions of wealth and privilege. The dark side of the image is the assertion that the accountant will abuse their position of trust. The final, and perhaps most sinister image, is that of accountants as the perpetrators of fraud and deception. It is concluded that these images of accountants and accounting illustrate that the accounting profession is facing a significant challenge in terms of its image and relationship to the public.

Originality/value

This study is the first to consider the characterisation of accountants/accounting in popular music. Recent representations have tended to characterise accounting and accountants in a particularly negative light. Accountants are presented as agents in the destruction of the environment, exploiters of the poor, accessories and agents of the wealthy and constructors of a truth” that benefits the rich. Overall, the representation of accounting in music tends to fit the position adopted by many of the most critical accounting authors. A particular aspect of the oppressive role exercised by accountants and accounting in society is as the embodiment of, and advocate for, or even a metaphor for, a particular form of economic reason that progressively suppresses and destroys relationships, the environment and artistic creativity in the interest of financial gain.

Details

Accounting, Auditing & Accountability Journal, vol. 24 no. 7
Type: Research Article
ISSN: 0951-3574

Keywords

Article
Publication date: 2 October 2017

Heather Skinner

The purpose of this paper is to explore aural representation of the countryside and English rurality through the contemporary cultural product of folk song.

Abstract

Purpose

The purpose of this paper is to explore aural representation of the countryside and English rurality through the contemporary cultural product of folk song.

Design/methodology/approach

A textual analysis was undertaken of the sleeve notes and lyrics of Steve Knightley, songwriter and founder member of the folk/roots band Show of Hands.

Findings

The concept of the rural idyll is thoroughly debunked in the majority of these lyrics. Many songs make specific reference to place, and these, in the main, focus on the historical and contemporary hardships of living in rural England, in many cases also making explicit reference to the historical or contemporary social issues deemed by the lyricist to be at the root of the problems faced by people living in English rural communities.

Research limitations/implications

This paper analyses data obtained in lyrics of only one songwriter within only one music genre, but the artist is one of the most respected within the contemporary folk genre, and Show of Hands have won a number of prestigious nationally recognised folk awards.

Originality/value

The extant literature contains little concerning aural representations of place identities through song. The contribution this paper makes is therefore in presenting a conceptual framework that shows how folk song, as a contemporary cultural product contributes to the construction and communication of rural place identities.

Details

Arts and the Market, vol. 7 no. 2
Type: Research Article
ISSN: 2056-4945

Keywords

Article
Publication date: 1 November 2014

Tina L. Heafner, Eric Groce and Alicia Finnell

Music elicits emotions and acts as a cultural definer of class values, political beliefs, and economic life. Students are intrinsically drawn to and possess an innate ability for…

Abstract

Music elicits emotions and acts as a cultural definer of class values, political beliefs, and economic life. Students are intrinsically drawn to and possess an innate ability for interpreting music. Music, moreover, activates learning in ways other content sources cannot; yet, it is utilized infrequently in social studies classrooms as a historical inquiry tool. Harnessing its emotive and seductive power, music as a primary source naturally scaffolds understanding of the zeitgeist through sensory engagement and lyrical analyses. Focusing on Born in the U.S.A. (Springsteen, 1984), authors demonstrate how examining music can impart views often absent from mass media portrayal of historical events and eras. A music listening and analysis tool is employed as a heuristic for critically interpreting music to explore the past. The historical thinking processes presented offer an inquiry-oriented curricular model for integrating music and social studies.

Details

Social Studies Research and Practice, vol. 9 no. 3
Type: Research Article
ISSN: 1933-5415

Keywords

Article
Publication date: 17 January 2023

Delancy H.S. Bennett, Geraldo Matos, Nwamaka A. Anaza, Cecilia Ruvalcaba and Mitchell Hamilton

Prior research has indicated that narratives may lead to fantasy which may evoke narrative transportation. Researchers have also established that narrative transportation affects…

Abstract

Purpose

Prior research has indicated that narratives may lead to fantasy which may evoke narrative transportation. Researchers have also established that narrative transportation affects persuasion, changes in attitudes and brand evaluations. To this end, several studies have focused on narrative consumption (i.e. being hooked into a narrative) and the aforementioned consequences of narrative transportation. However, research investigating the role that fantasy plays in consumers’ journey from narrative consumption to narrative transportation is scant. The purpose of this paper is to develop a multidimensional scale for measuring narrative-driven fantasy in order to detail which dimensions of fantasy facilitate narrative transportation. Further, this paper posits that prior research has overlooked the mediating role that fantasy plays within the narrative consumption and narrative transportation process. As the exploration of overlooked mediators is important for theory development, this paper uses the scale developed here to test for fantasy as a mediator.

Design/methodology/approach

This research involves four studies, taking a multi-methodology approach including one-on-one interviews and questionnaires. Exploratory factor analysis and sequential equation modeling are used to develop a valid scale for fantasy.

Findings

This work results in the development of an eight-item scale of narrative-driven fantasy, highlighting two dimensions of fantasy: identification and passport. Further, this work finds that both dimensions of fantasy mediate the relationship between the level of narrative consumption (being hooked into the narrative) and narrative transportation.

Research limitations/implications

The studies were conducted with respondents only from the USA, potentially limiting its generalizability to other countries and cultures. This research has several implications. This paper introduces a model that highlights fantasy’s role within the narrative consumption and narrative transportation fields of study. It also delineates a scale that measures the different dimensions of fantasy. This scale can be used to gain further understanding of the strength and type of fantasy that narratives consumed via various mediums (music, movies, commercials) evoke, the relationship between these measures and narrative transportation, and the subsequent changes in intentions and attitudes. Further, the identification of fantasy as a mediator in the relationship between narrative consumption and narrative transportation allows for further theory development and exploration.

Practical implications

The fantasy scale that is detailed in this paper may be used to indicate which celebrities, music, images, movies, commercials, products, brands and other stimuli best evoke narrative-based fantasy. The scale should apply to all types of fantasizing, enhancing the understanding of what increases levels of fantasy and the effects of such fantasy on persuasion.

Originality/value

This research extends the literature on consumer engagement in narrative consumption and transportation by providing novel and valid scale measures for narrative-based fantasy. The fantasy scale provided is internally consistent and proves accurate across many samples and stimuli. The scale is also short (only eight items) and easy to administer. Additionally, to the best of the authors’ knowledge, this work is the first to generate insights into the mediating role that fantasy plays within the narrative consumption and narrative transportation framework.

Details

Journal of Consumer Marketing, vol. 40 no. 3
Type: Research Article
ISSN: 0736-3761

Keywords

Article
Publication date: 10 June 2014

Penny Dade

60

Abstract

Details

Reference Reviews, vol. 28 no. 5
Type: Research Article
ISSN: 0950-4125

Keywords

Book part
Publication date: 21 December 2010

Steven Kahl, Young-Kyu Kim and Damon J. Phillips

We explore how the long-run success of cultural products is affected by the identities of the product's originators and early adopters. Using U.S. jazz recordings from 1920 to…

Abstract

We explore how the long-run success of cultural products is affected by the identities of the product's originators and early adopters. Using U.S. jazz recordings from 1920 to 1929, we found that songs were more likely to be later covered from 1944 to 2004 if they followed a pattern of having black originators and white early adopters. Moreover, we provide evidence that this pattern is independent of a song's commercial success, resources available to a song's originators, and group-level indicators such as size and experience. We conclude that late adopters (musicians after World War II (WWII)) were attracted to songs that followed a narrative of both “lowbrow” origins and early adoption by those considered “highbrow” with respect to jazz. The findings also support a new means for considering the role of identities as the building blocks of genres, in particular, and categories more generally.

Details

Categories in Markets: Origins and Evolution
Type: Book
ISBN: 978-0-85724-594-6

Article
Publication date: 22 November 2023

Emery Petchauer, Tia Harvey and Rolando Ybarra

This paper aims to explore sonic play in close proximity to a music, literacy and songwriting for social change community-based initiative. The authors leverage ideas about time…

Abstract

Purpose

This paper aims to explore sonic play in close proximity to a music, literacy and songwriting for social change community-based initiative. The authors leverage ideas about time, space and narrative under the concept of sonic flux to understand youth’s sonic and aural play on digital beatmaking technologies. In doing so, the authors break from a fixation on the written and spoken word and address sound, aurality and Blacktronika creative technologies that are often present but muted in literacies and songwriting scholarship.

Design/methodology/approach

The authors’ team consisted of three community-based teaching artists who situated this inquiry around their own practice with youth. The authors conducted this inquiry through a qualitative, participatory and community-engaged research approach. As such, the authors codeveloped and carried out research questions and sense-making protocols that balance the power of interpretation and epistemologies among us.

Findings

The findings address how the joy, laughter and play of one young musician, Malik, moved across different conceptions of time while learning to make beats in proximity to peers writing lyrics for songs. Specifically, the authors unpack how Malik’s play with mobile sound-making technologies moved across linear and nonlinear time that characterize sonic space and sound art, not music and lyric writing. In doing so, the loops and durations of his sonic play were sometimes unbound by narrative structures that often code literacy and songwriting initiatives.

Originality/value

The authors’ inquiry speaks into literacy and songwriting initiatives that privilege spoken, written and performed word over sound. The authors ask what kind of participating structures, collaborations, ontologies and youth epistemologies open up if we think of youth in these spaces not only as performers but as programmers tinkering with time in the machine. In addition, the authors ask what literacy and songwriting spaces might look like when the duration, loops and drones of sonic space and not music are the structuring codes over narratives and linearity.

Details

English Teaching: Practice & Critique, vol. 22 no. 4
Type: Research Article
ISSN: 1175-8708

Keywords

Article
Publication date: 11 February 2020

Fernando Rey Castillo-Villar, Judith Cavazos-Arroyo and Nicolas Kervyn

The purpose of this study is to focus on analyzing the role of music subcultures in the communication and promotion of conspicuous consumption practices. The object of study is…

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Abstract

Purpose

The purpose of this study is to focus on analyzing the role of music subcultures in the communication and promotion of conspicuous consumption practices. The object of study is the “altered movement” as the music style of the drug subculture in Mexico.

Design/methodology/approach

A qualitative content analysis of 78 lyrics and music videos of “altered movement” was carried out between August and December 2018.

Findings

The analysis of lyrics and music videos leads to the identification of four narratives (from poor to rich, power through violence, lavish lifestyle and power over women) and diverse symbolic markers (luxury brands mainly) that together, display messages aimed at promoting conspicuous consumption practices.

Originality/value

The current research expands the body of literature of music subcultures in the consumer research area by contesting the common conception of this phenomenon as a healthy source of self-identity formation and deepening into its role as a source of conspicuous consumption practices.

Details

Journal of Consumer Marketing, vol. 37 no. 4
Type: Research Article
ISSN: 0736-3761

Keywords

Article
Publication date: 4 June 2010

Christèle Boulaire, Guillaume Hervet and Raoul Graf

The purpose of this paper is to analyse how individual creativity of internet users is expressed in the production of online music videos and how the creative dynamic among…

2450

Abstract

Purpose

The purpose of this paper is to analyse how individual creativity of internet users is expressed in the production of online music videos and how the creative dynamic among amateur internet video producers can be characterized.

Design/methodology/approach

The researchers became readers and authors in the aim of providing the academic community with a scholarly narrative of creative YouTube video production. To develop their narrative, they explored the narrative woods that have grown up on the other side of the monitor screen in the form of videos inspired by one song.

Findings

The collective creative force is shown not to be expressed merely through the semantic and non‐semantic montages that make internet users into postmodern tinkerers, but also through such mechanisms as imitation, diversification and ornamentation. This force and these mechanisms give rise to chains that link and connect individual minds, imaginations, interests, enthusiasms, talents, abilities and skills.

Practical implications

As part of a relationship, or even a “conversation” to be initiated, sustained, and maintained on behalf of an industry organization, or brand with its consumers, the authors believe that the way to deal with digital participatory culture and the creative force manifested in innovation communities is to capitalize on these creative chains as judiciously as possible.

Originality/value

The authors suggest that this process should be part of a high‐impact interactive marketing strategy likely to promote (self‐) enchantment and foster loyalty among community members through (self‐) enchantment, particularly via the coproduction of a story, with community members creating the scripts.

Details

Journal of Research in Interactive Marketing, vol. 4 no. 2
Type: Research Article
ISSN: 2040-7122

Keywords

1 – 10 of over 4000