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Jez Stewart's book, "The Story of British Animation," provides a comprehensive overview of the 130-year history of British animation. The book challenges the previous neglect of animation in British film scholarship and highlights the contributions of previously overlooked figures and areas of interest. It covers various periods, including early and silent cinema experimentation, the impact of World Wars I and II, the introduction of commercial television, and the expansion of new channels. The book also explores the international dimensions of British animation and includes profiles of leading figures and surveys of key types of animation. While the book is concise and does not offer extended critical analysis, it serves as an accessible entry point for those new to the topic and provides recommendations for further reading. Overall, "The Story of British Animation" reveals the rich history and potential for further research in this field. [Extracted from the article]

This review discusses two publications on Southeast Asian music, focusing on Vietnamese and Indonesian music. The first publication, Cannon's monograph, explores the creative practices of southern Vietnamese music and challenges Western notions of creativity and mastery. The second publication, "Sounding Out the State," examines Indonesian music from a predominantly North American perspective, highlighting the impact of Indonesian music on North American culture. The review emphasizes the need for a nuanced understanding of Southeast Asian music that considers both local and transnational contexts and challenges essentialist conceptions of creativity. [Extracted from the article]

Since emerging in the early 1990s, Estonian hip-hop has developed in line with other cultural and artistic projects in the country, reflecting attempts to foster a homogeneous society, yet ultimately cultivating one where diversity and multiculturalism prevail. As a genre where minority groups are frequently presented as "authentic," hip-hop and its visual and performative manifestations provide a valuable platform to examine expressions of identity. To this end, several Estonian hip-hop musicians have explored aspects of being "post-Soviet" in contradistinction to official hegemonic discourses, which outright reject the Soviet past and emphasize titular ethnicity as a cornerstone of national identity. This article uses Critical Discourse Analysis (CDA) and Multi-Modal Discourse Analysis (MMDA) to examine the lyrics and accompanying video of popular hip-hop song "für Oksana" by "Nublu featuring Gameboy Tetris." Doing so highlights how the song's basic narrative acts as a metaphor for experiences of integration processes between ethnic Estonians and Russophones since Estonian independence. I argue that through a combination of linguistic and cultural codeswitching, "für Oksana" constitutes an expression, performance, and negotiation of Russophone Estonian identity from both insider and outsider perspectives, emphasizing the need to understand Russophone Estonians as more than simply "Russians who live in Estonia." [ABSTRACT FROM AUTHOR]

Dream was an online live performance in early 2021 and was a collaboration between several partners, among them Royal Shakespeare Company, the Philharmonia Orchestra, Marshmallow Laser Feast, Manchester International Festival and EPIC Games. The stated goal of Dream was to explore new ways of interacting with audiences while bridging the disciplines of theatre, music, video games and other forms of digital media. The musical goals were to enable a high level of musical interactivity while at the same time coupling that with the use of high-quality recorded orchestral music. This article is not a study of the Dream project as a whole, but focuses on the interactive music that was generated in realtime by the actors and powered by Reactional Music. Apart from briefly discussing the technology itself, this article will describe and analyse some of the working processes involved in composing interactive music, as well as discuss some of the future implications of the use of technology from the video game industry in new areas such as live performances and audience interaction. The aim of this is to see if it's possible to envision what kind of new artistic output that can come from these new technological environments. [ABSTRACT FROM AUTHOR]

This study aimed to explore students' musical genre preferences, exploring variations across gender and age groups in Hungary. Additionally, we investigated the relationships among the popularity of musical genres and connections between musical programs and related activities. With the help of stratified sampling, we examined the opinions of students aged 9–19 about each genre (N = 1159) using specific musical examples. In this study, musical genres were classified into four main types based on related music videos, including classical popular music (CPM), rock music (RM), classical art music (CAM), and folk music (FM). Different types of analyses, such as t-tests, one-way and two-way ANOVAs, and correlational analyses such as correlation coefficients (r), chi-square tests, and eta squares, were employed in this study. The results showed that the popularity of the four pieces of music classified as CPM, RM, CAM, and FM had a moderately strong correlation with each other. The correlations between FM, CPM, and RM did not differ from each other, but they showed significantly weaker correlation values than the correlation between FM and CAM. Moreover, significant differences were found in the students' perceptions of the genres based on their gender and age groups. Among the four performances, the girls had a greater preference compared to the boys for each one, except for the folk music piece. The youngest age group (9–12) showed the highest preference for the CPM, although the difference compared to the oldest age group (17–19) was not statistically significant. Therefore, this study is beneficial for music education, focusing on students' genre preferences, including CPM, RM, CAM, and FM. [ABSTRACT FROM AUTHOR]

This article examined the choral arrangement Zamina Mina Yeako Aba from an ethnodoxological perspective, drawing on an original music video, Zamina Mina Waka Waka, by the Zangalewa Band from Cameroon. Positioned as a composer, The researcher contextualized the choral arrangement against the historical and migration-related background of the Makossa ensemble. The study offered valuable insights into the choral arrangement of Zamina Mina Yeako Aba by exploring its linguistic and cultural origins. This article employed ethnomusicological and ethnodoxological approaches to scrutinize the choral arrangement, specifically focusing on the latter and exploring its cultural and spiritual aspects. This study examined the choral arrangement within its cultural setting, considering elements such as performance practices, compositional devices, cultural perspectives, and conversations with native Cameroonians and Ghanaians. Ethnodoxology, an interdisciplinary field, examines how various cultures articulate their worship through artistic mediums, particularly music in this instance. The article argued for fuller inclusion of Zamina Mina Yeako Aba and similar choral arrangements in global Christian worship and highlighted their inherent biblical themes. The significance of these arrangements extends beyond their musical qualities and highlights their role in preserving cultural heritage, promoting unity, and contributing to the broader landscape of global Christian music. This study showed how the seamless fusion of Western and African musical elements creates a synergistic effect. Through ethnodoxological insights into the choral arrangement, it reveals the deep connection between spirituality, tradition, and music in cross-cultural music-making. [ABSTRACT FROM AUTHOR]

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Afro-LatinX drag artist Gad Yola was born in Lima in 1995, migrated to Spain in 2006, and began performing in Madrid in 2017, a year marked by the rise of Spanish nationalism. This interview acquaints us with Gad Yola's artistic vision and practices. It orients us toward the growing presence of "Brown art" in the Peninsula, taking a deeper look at the work of artists who declare themselves "migrants" or "Migrantas" and examining the use of LatinX's X in Spain. Gad Yola's career includes performances such as "El drag es marrón" ("Drag Is Brown"), the exhibition "Hypernariz" ("Hypernose"), and the music videos "No exotice" ("Don't Exoticize"), "Aguanta Migranta" ("Hang in There, Mx. Migrant"), "Travesti del Perú" ("Trans from Peru"), and "Problemática" ("Troublemaker"). The analysis of these works focuses on the use of pop-reggaeton-cumbia rhythms, the politicization of Gad Yola's fashion, and her references to colonial history and Spanish, Peruvian, and US pop culture. LatinX's transatlantic "X" emerges on social media and webs across these geographies, accompanying Gad Yola's oeuvre and the work of other artists from the Spanish capital with whom she has collaborated, including Chenta Tsai Tseng, Samantha Hudson, and the drag families Casa Drag Latina and House of Gad. From Madrid's bars, squat houses, and museums, Gad Yola reclaims, invigorates, and re-conceptualizes such referents like Peruvian artist and philosopher Giuseppe Campuzano, while also coming up with characters like "Gad Bunny" and "Gadyoncé," thus embodying a Global South LatinXness. Gad Yola's queer, anti-racist art evokes a Global Iberian LatinX that bridges these terms and expands them, reconfiguring the cultural scene in Spain and beyond. [ABSTRACT FROM AUTHOR]

Childish Gambino's music video "This is America" garnered national attention for its graphic portrayals of commodified Black pain. The music video critically exposes how white America visually consumes Black pain for entertainment and profit via the sadistic fetishism of the white gaze. Through the rhetorical strategy of imitation, the video destabilizes and challenges the white gaze's fetishization of Black im/mobility and sadistic erasure of Black death, both of which are painful and violent depictions that have benefitted white America historically and culturally. My analysis offers what I theorize as repurposing the white gaze to understand how texts can visually subvert their own consumption, altering how viewers engage with mediated texts to challenge the consumer logics of the white gaze present in Black cultural productions. By repurposing the white gaze through imitation, "This is America" invites viewers to unsettle their own white gaze and engage the video's depictions anew, shifting viewers' orientation to see the invisible and hegemonic practices of the white gaze. The article concludes that scholars might find additional strategies that can repurpose the white gaze to advance creative ways to disrupt the suffocating white gaze. [ABSTRACT FROM AUTHOR]

Social scientists often study comments on YouTube to learn about people's attitudes towards and experiences of online videos. However, not all YouTube comments are relevant in the sense that they reflect individuals' thoughts about, or experiences of the content of a video or its artist/maker. Therefore, the present paper employs Supervised Machine Learning to automatically assess comments written in response to music videos in terms of their relevance. For those comments that are relevant, we also assess why they are relevant. Our results indicate that most YouTube comments are relevant (approx. 78%). Among those, most are relevant because they include a positive evaluation of the video, describe a viewer's personal experience related to the video, or express a sense of community among the video viewers. We conclude that Supervised Machine Learning is a suitable method to find those YouTube comments that are relevant to scholars studying viewers' reactions to online videos, and we present suggestions for scholars wanting to apply the same technique in their own projects. [ABSTRACT FROM AUTHOR]

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A prevalent theme in the construction of Estonian pop music femininities is their strong connection with nature. In this article we examine the connections between portrayals of women and nature in Estonian pop music, focusing on visual and textual discourses in Estonian pop artists' music videos and in-depth interviews. More specifically, we look at how these depictions intersect and interact with the prevailing local eco-nationalist folk femininity discourse. Our analysis shows that the dominant characteristics of nature-inspired femininity are simultaneously reinforced, challenged, and negotiated. We present two nature-related forms of femininity that emerge in popular music portrayals: on the one hand, a mystical, goddess-like woman as a force of nature, or a woman "naturally" belonging to nature; on the other hand, a broader alignment of a woman as agent of biological reproduction, women as natural, which merges femininity with motherhood, and can, we suggest, be made sense of as woman as forced by nature. [ABSTRACT FROM AUTHOR]

Rebecca Black was thirteen when her music video "Friday" went massively viral after it was uploaded to YouTube in 2011. Black re-entered the news cycle in 2020 after coming out as queer, and shortly thereafter releasing a remix of "Friday" for the video's tenth anniversary. Through references to the online spaces and memetic cultures where Black was trolled and harassed, "Friday (Remix)" repackages trauma in a bright, nostalgic bundle. Through an analysis of the music video and media coverage around Black's coming out, this article considers how "Friday (Remix)" positions Black's rebrand as one in which, as a payoff for the resiliency she has exhibited throughout her career, the singer possesses newfound agency to express herself in an authentic way. Simultaneously, Black's play with her virality in "Friday (Remix)" demonstrates an increasing need in contemporary celebrity culture to engage in constant self-commodification and self-"memeification" to achieve this sense of authenticity. [ABSTRACT FROM AUTHOR]

The current transformations of the music industry continue a previous process, added to the changes brought about by digitalization, audiovisual convergence, and transmedia logic. A systemic approach is necessary to locate the new conditions of musical remediation and appropriation of music by the media industry and to inquire into the turn toward the visual of the music industry, which some authors have found in recent years. The period of lockdown due to the Coronavirus (COVID-19) deepened a series of dynamics that combine the production and distribution of popular music with other sectors of the music industry. On the one hand, the video clip has become a multifaceted instrument after YouTube, which has made it possible to monetize music listening. Its forms of expansion colonize platforms, and its format and aesthetic model expand in duration in the visual album or are cloned for application to various microformats. Thanks to platformization, it acts not only as a promotional format but also as a listening medium. On the other hand, live music is a relevant diffusion field in popular music. In its retransmitted version, livestreaming of concerts consolidates another formula of innovation tending toward personalization. The paper's objectives involve reflecting on the logic of global modification of the creation and consumption of musical content in the current transmedia context and analyzing the dynamics of interaction between agents, considering the digitalization and platformization of musical content. The conclusions trace the possibilities of monetization and personalization of the experience of popular music and reflect on how the production conditions of creative agents in the current music industry and musical reception change. [ABSTRACT FROM AUTHOR]

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]

In (media) popular music, "personas" are usually media personalities. They mainly appear in mass media. As the media landscape has changed over the last 150 years, so have the media appearances of these musician-personalities - from sheet music to radio, records, film, television, music videos and finally YouTube, Instagram and TikTok. Popular music is dominated by stars, media personalities who present a musical performance - but the way this performance is presented has varied historically. In "old" media, record companies had considerable power with regard to access to markets, but also regarding production, marketing and perpetuation of star images. This has changed dramatically with the rise of the internet and various social media platforms. Now potentially everyone has access, everyone can present oneself publicly, everyone can have his or her "15 minutes of fame" (Andy Warhol). The article describes these transformations to the principle of stardom using a case study: the creation of the German entry for the Eurovision Song Contest in Rotterdam 2021. The previously unknown singer Jendrik Sigwart talks about his application on TikTok and in particular about the production of a music video for it. His application on TikTok for one of Europe's oldest TV events is an interesting moment in media history, in which old narrative strategies mix with new ones. [ABSTRACT FROM AUTHOR]

Copyright of Revista Internacional de la Imagen is the property of Common Ground Research Networks 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 2023 GCNA Congress took place at St. Stephen's Episcopal Church in Cohasset, Massachusetts, where the church's impressive carillon, the largest in New England, was a central focus. The congress featured recitals, presentations, and discussions on a range of topics related to carillon music, including the history of women carillonists in Massachusetts, programming diverse repertoire, and Chinese influences in carillon composing and arranging. The event aimed to celebrate and explore the rich traditions and possibilities of carillon music. The text also provides information on carillon maintenance, service companies, and DIY tips, as well as summaries of concerts and presentations on women in the carillon community and the Franco Composition Contest. It offers resources, databases, and websites related to carillon music, profiles of women in the carillon field, and insights from composers on their methods of composing for the carillon. The text also includes information on the GCNA business meeting, new members, awards, and post-congress field trips to carillons in Norwood and Wellesley, Massachusetts. [Extracted from the article]

Copyright of Revista Soletras is the property of Editora da Universidade do Estado do Rio de Janeiro (EdUERJ) 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.)

From his early days as an indie auteur to his more recent mainstream success as an Oscar-winning film director, Spike Jonze has been a pioneer of dance storytelling. In particular, Jonze's experimentation with dance and the format of live music video, such as Arcade Fire's 'Afterlife' filmed at the 2013 YouTube Music Awards, distinguishes him as screendance artist with an elevated sense of movement and flow. This article examines the director's mastery of short-form choreographic storytelling in 'Afterlife', for how he ingeniously employs dance as both a narrative vehicle and a stylistic tool to bridge the mundane and the magical. [ABSTRACT FROM AUTHOR]