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The article offers a close reading of music videos created in the Republic of Cyprus during the past two decades, focusing specifically on the ways the audiovisual texts represent space and (re)construct narratives in/of the Greek Cypriot context. Building on existing work in the area of lens-based media studies, namely cinema and photography, the article firstly examines how music videos co-exist and converse with other types of audiovisual representations of the island of Cyprus. Secondly, it presents a classification of local music videos, based on how such creative outputs represent Cyprus as a locale. In doing so, it highlights the ways in which alternative visual treatments might, consciously or otherwise, speak back to and rewrite narratives associated with specific places. The videos are also examined in relation to the lyrical content of the songs and the music genres they belong to. Our work contributes to the expanding body of research on the popular music scape of the island, particularly concentrating on the transgressive dynamic of strands of the Greek Cypriot independent music scene. This is the first study that offers a close examination of local music video production, which we place in the growing scholarly debates about how recent artistic expression in the Republic of Cyprus destabilises dominant representations of space and identity and produces new aesthetics of the Cypriot experience. [ABSTRACT FROM AUTHOR]

The article discusses the issue of copyright infringement on social media platforms, with a focus on X (formerly Twitter). It mentions a recent civil complaint filed against X by music publishers for copyright infringement, claiming that X has infringed on the copyright of over 1,700 songs. The article suggests that X could benefit from licensing agreements with music publishers that include arbitration clauses, as arbitration has proven to be advantageous in intellectual property disputes. It provides background information on copyright infringement on social media and the history of X as a platform. [Extracted from the article]

This paper examines the relationship between early childhood music and maths. The emphasis is on children as intuitive pattern makers as they explore, categorise and imagine their worlds. We argue for the careful listening of childhood languages and reason that music and maths are expressive languages that young children use to investigate and experiment. This concept is based on Malaguzzi’s idea of the hundred languages of children. Children’s explorations of patterns, whether music, maths or other media will follow the principle of symmetry. We observe the intersectionality of language/s. Data are drawn from video and teaching materials prepared for early childhood teachers in-service training in Australia. Framing the discussion with Vygotskian and developmental theories we identify the patterns a child makes in a music discovery video and categorise the child’s actions to combine both musical and mathematical concepts within the one action. The aim of the research is to revisit early childhood curriculum and pedagogy, rethinking sources of knowledge and the value of treating arts and sciences as being of equal importance as children discover and define their worlds. [ABSTRACT FROM AUTHOR]

One of the most successful new acts in the international anglophone music scene in 2022 was Wet Leg, an indie (i.e. independent music label) ensemble led by singerguitarists Hester Chambers and Rhian Teasdale. The band attracted attention for its effective pop-rock compositions and arrangements, the sardonic tone of lead singer Teasdale's delivery of their debut single 'Chaise longue' and the band's inventive music videos. One element that was prominent in the band's biographies was its origin in the Isle of Wight (IOW), a diamond shaped island lying off the south coast of England, close to the major port cities of Portsmouth and Southampton. The island provided both an insular context for the development of the band and an element of 'domestic exoticism' within the UK market. The latter aspect was also manifest in the band's decision to employ a female Morris (traditional folk dance) troupe to accompany its performance at the 2023 BRIT Awards, where it was awarded prizes for best group and best new artist. This article focuses on the role of the IOW in the band's biography, perception and oeuvre, with particular regard to its self-produced music videos, and the nature of the island as a repository of what might be regarded as quintessential English sensibilities that the band has inflected in ways that appeal to both domestic and broader audiences. [ABSTRACT FROM AUTHOR]

"Scary Monsters: Monstrosity, Masculinity and Popular Music" by Mark Duffett and Jon Hackett explores the intersection of monstrosity, masculinity, and popular music. The book delves into the myths and discourse surrounding musical figures, highlighting the presence of monsters in popular culture. Through character studies and research-led chapters, the authors analyze various performers and bands, examining themes such as gender politics, commodification in the music industry, and the use of horror imagery in African-American rap. While the book offers a fascinating exploration of these topics, some readers may find the structure and layout confusing, with a focus on specific individuals rather than a comprehensive study of musical masculinities as a whole. [Extracted from the article]

A democratic society is characterised by the respect accorded to the dignity and rights of all its members. These values are also transmitted by high-consumption media cultural products such as music videos. This article discusses the representation of women in music videos published in Spanish on music broadcast platforms in 2019 in order to observe the multimodal discourses to which our society is exposed. After identifying a total of 4197 videos, 47 of the highest emission frequencies were extracted. Using the qualitative data analysis programme ATLAS.ti, narrative, linguistic and visual resources, as well as cinematographic components, were analysed. The results reveal clear attacks on female dignity. Normalised sexist violence is observed in songs on the Hispanic market, where women are commodified as sexual objects on both audiovisual and linguistic levels. Hierarchical relationships are also shown, which position women on an inferior plane. In conclusion, commercial channels broadcast music videos from the Hispanic market that violate feminine dignity. [ABSTRACT FROM AUTHOR]

Copyright of Revista Musical Chilena is the property of Universidad de Chile and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In response to the problem of low classification efficiency in existing algorithms that only consider single modal features of music or video, the author proposes a music emotion classification algorithm based on multimodal deep learning. Firstly, a two-dimensional audio Convolutional neural network is designed, which takes the audio Mel spectrum as the input to learn the audio characteristics of music; Secondly, a video neural network was designed to learn the spatiotemporal characteristics of music videos; Adopting multimodal fusion technology, we fused audio and video features and designed a multimodal deep learning classification algorithm to classify music emotions. In response to the lack of labeled music video datasets, the author constructed a diverse music video dataset. Based on this dataset, experiments were conducted to verify the effectiveness of the proposed algorithm, and the impact of different optimizers on the performance of single mode classification models was compared and analyzed. The experimental results show that compared with a single modal sentiment classifier, a multimodal classifier can achieve the best classification performance. [ABSTRACT FROM AUTHOR]

Multimedia instructional materials are indispensable in the holistic process of instructional design, particularly for asynchronous online courses. The purpose of the current study was to investigate the impacts of background classical music played in an instructional video on learners' retention. The video started with a pretraining message followed by a narrated instructional content. The results of the study suggest that although classical background music in the pretraining message significantly improved learners' retention, it did not have a remarkable influence when embedded in the narrated content. Practical implications and suggestions for further research are provided. [ABSTRACT FROM AUTHOR]

Certain typical elements of ancient Egyptian culture have already become particularly symbolically charged. Even today, this sort of fascination for ancient Egypt and its relevant things still exists. Many different showing examples of ancient Egyptian culture in a variety of domains around the world demonstrate people's continued interest in it. This article discusses a song which was composed by Jay Chou, titled "Snake Dance", and as a pertinent example in Mandopop, how popular music and Jay Chou's creative style were intertwined with the cognition of ancient Egypt. It demonstrates how this song directly reflects the features related to the stereotype in cross-cultural communication. Through textual and visual analysis in terms of lyrics, music, and music video, this article shows the connection between already existing examples in contemporary Mandopop under the context of global cross-cultural phenomenon, especially the holistic presentation of this form of Egyptian elements observed. This study also aims to fill the previously cross-cultural research gap while explaining an acceptable form of blending ancient Egyptian elements in Mandopop. [ABSTRACT FROM AUTHOR]

Copyright of Revista Musical Chilena is the property of Universidad de Chile and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article reflects on the use of hip-hop music videos as mentor texts to teach critical literacy skills to middle school students. Topics include critical literacy embodies the skills that young adolescents need today, such as the ability to disrupt common understandings, to promote social justice and change; and using hip-hop as a wider range of texts in English language and literature (ELA) classrooms can help question what counts as ELA skills and counts as knowledge producers.

Worship music parody videos are one of the key elements within evangelical Christian "joking culture." The musically facilitated "worship experience" is among evangelicalism's most sacred rituals, and worship parody creators must carefully negotiate the line between humor and profanity. Drawing from textual analysis of selected blogs, forums, and YouTube comments, this article demonstrates the comedic and serious roles these videos play. Worship parodies demonstrate how evangelicals employ humor around one of their most sacred practices to question the boundaries of what is sacred, engage in discourse about power and morality, mediate internal disagreements, and shore up a shared religious identity. [ABSTRACT FROM AUTHOR]

Conflicts such as wars, rebellions and revolutions often give rise to songs that pass on from one generation to another. This applies also to the bloody 1918 Finnish Civil War, which led to the death of nearly 37 000 people (about 1% of the population), of whom the majority 27 000 belonged to the defeated, the Reds, and affected Finnish society on every level and in long-lasting ways, some of which can still be acknowledged today. For decades after the war official and public commemoration of the war dead applied only to the winners, the Whites, whereas the Reds were forced to mourn and honour their dead in the private sphere. On both sides, songs were first a popular way of keeping up spirits and then after the war to commemorate the war. These songs were sung at funerals, parades as well as to mock the enemy. Today some of these songs as well as new ones on the topic are still popular and circulate in various versions on YouTube and other social media sites. These music videos are often remixes of original footage and photos used together with images from other sources. The most popular videos have been viewed hundreds of thousands of times. In this article, we explore the digital heritage of the 1918 Finnish Civil War by giving first an overview of the musical legacy of the war and then analyse how and why this musical legacy continues to flourish on YouTube. [ABSTRACT FROM AUTHOR]

This study investigated the development of marching band traditions at Historically Black Colleges and Universities (HBCUs), as told through the rivalry between Southern University (SU) and Jackson State University (JSU). I interviewed directors from SU, including Lawrence Jackson, Nathan Haymer, and Kedric Taylor. Directors from JSU included Dowell Taylor, Lewis Liddell, and Lowell Hollinger. Paul Adams directed at both schools, David Ware is an HBCU bands researcher, and Julian White directed at Florida A&M University (FAMU). I found traditions established through the intense rivalry between SU and JSU. Interviewees agree that a desire to outplay and outperform the other band is a major factor. This study highlights similarities between HBCU bands and New Orleans-style "second line" brass bands, which were historically driven by a competitive edge. Narrations revealed combinations of happenstance and careful planning that birthed traditions such as the famed pre-game "zero quarter" and post-game "fifth quarter" rituals that are now commonplace at HBCU football games. Directors discussed how these traditions changed with improved video sharing. Fans now demand more music, more shock factor, and flawlessness. This competitive environment forged unique traditions which can inform modern music educators about the important and complex role of competition in performance. [ABSTRACT FROM AUTHOR]

Copyright of Zeitschrift für Qualitative Forschung (ZQF) is the property of Verlag Barbara Budrich GmbH and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

A video-based learning (VBL) has long practically been used in the education environment to help students enhance their level of understanding. Educational content for VBL has been widely produced on various platforms to support achieving the optimum level of student performance. Additionally, the concept of edutainment using video in education is gaining traction, particularly in children's learning. Implementing the edutainment notion into the learning process is a critical component of successful learning. Previous research has examined the beneficial effects of edutainment using video for learning purposes. It has been shown to improve the effectiveness of the learning process and generate enjoyable learning experiences for students. As the paper is aimed at children, the educational music video (EMV) can capture their attention even more than a standard educational video does due to its interactive content. However, studies on edutainment for educational music videos, in particular, have not been studied much. Thus, the objective of this paper is two-fold; i) to review and discuss the conceptual approach of edutainment and its significance towards student learning experiences, and ii) to propose the component and element of edutainment in the EMV for children learning. The findings of this study outline the characteristics of edutainment that can be utilised as criteria for selecting the finest EMV for children's learning. [ABSTRACT FROM AUTHOR]

Copyright of Revista Fronteiras is the property of Universidade do Vale do Rio dos Sinos and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article explains how specific aesthetic decisions work in the game The Dream Machine. I analyze it through the lens of Russian Formalism: particular techniques of making a video game are judged through Shklovsky's Art as a Technique, and the problem of the game genre is presented through Tynianov's The Literary Fact. Theoretically, I aspire to reclaim the original context for these ideas, which is surprisingly relevant to contemporary horror media. Digital games as an artistic form re-introduce the effect of estrangement into the ongoing experiments with their medium; in The Dream Machine, this effect is created by replacing a digital simulacrum of computer generated imagery with high resolution scans of real life objects, made of modeling clay, cardboard and found objects. I label this technique "scary matter", and it can be found both in games, animation films and pop music videos, such as Peter Gabriel's Sledgehammer. The medium of a digital game suggests it is timeless and infinitely replayable, which intensifies the effect of estrangement in the case of always-already dead 'scary matter'. [ABSTRACT FROM AUTHOR]

The article focuses on the Unlikely Emergence of Underground Moving-Image Curation on Twitch . Topisc discussed include socially distanced cinephiles witnessed the emergence of a new streaming platform de jour; and predominantly used by video gamers to share gameplay with their online followers.

Despite the boyband's continued years-long hiatus, One Direction (1D) fans continued actively engaging in fan activities. A mixed methods online survey distributed in 2020 sought to explore how and why fans were still participating. In early 2020, the top four activities respondents were engaging in were listening to 1D music, supporting members' solo careers, reading 1D fan fiction, and rewatching videos of/about 1D. Through a thematic analysis, common motivations among participants were found; across activities, fans had often been participating because of missing the band, to feel like the band was still together, to feel closer to the band, to remember other times, and because the band had made lifelong impacts. [ABSTRACT FROM AUTHOR]

Music can serve as an important vehicle for making political statements, cohering community and forming solidarity at the intersections of identity, and exposing structures of inequality linked to (post)colonially informed power hierarchies of race, gender, and sexuality. However, intensified global flows of images and capital in a time of digital dominance have reconfigured existing notions of musical 'protest'. Through a systemic functional-multimodal approach to the music video for Cuban American artist Seidy 'La Niña' Carrera's Tumbao, this article argues that the politics of identity in music video are often rather compromised to offer certain kinds of precarious resistance. The tensions between the political and the creative-commercial in Seidy's interpellation as a foreign-but-familiar, national/diasporic-but-exotic mulata cubana evince the ambivalence of claims to protest when they become hypervisible on a 'global screen.' A hypervisible figure must market themselves in certain ways; any kind of political intervention must be carefully balanced and constantly negotiated. Ultimately, this article highlights a new identity politics of hypervisibility that is inextricably tied to music as a form of resistance in an age of streaming and video-sharing. [ABSTRACT FROM AUTHOR]

Copyright of Observatorio (OBS*) is the property of OberCom and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Zeitschrift für Qualitative Forschung (ZQF) is the property of Verlag Barbara Budrich GmbH and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)