Asian Culture On Music Essay Example | Topics and …

Different kinds of music can be found throughout the world nowadays. We all need music for various reasons and I think international pop music is more important than traditional music.

Music plays an important role in different stages of our lives. Music is a commonly taught in elementary school, and it allows children to express themselves by singing or playing an instrument. Songs are also played in class for language learning, which not only allows students to learn the different expressions and vocabularies, but also gives them the chance to have a better understanding of the foreign culture. Music is also an essential ingredient for special occasions. For example, it is practically impossible to have a birthday party without playing or singing the birthday song, or to have a wedding ceremony without the proper melody to fill that romantic atmosphere. In short, music is everywhere and people naturally need it as part of their lives.

From my perspective, traditional music is not as significant as the music we listen from all over the world. Globalization is a concept that is spreading and developing in most parts of the world. For this reason, international music should be accepted for countries to be united and have fun with the latest in the entertainment world. Moreover, we can see that the younger generation is much more attracted by international pop music and it seems that traditional music will eventually die out. Singers and bands from countries like the United States, England, and South Korea are widely accepted and becoming so popular that teenagers from different cultures are now identifying themselves with such music.

To conclude, music is extremely important in our lives and we should focus more on international music because traditional music will no longer exist in the near future.

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There are many different types of music in the world today

And then Jimmy Castor earlier this week. A really deep brutha. What I knew of him initially was that he was part of that hip black-latin-conga-bongo thing that was happnin in the mid 60's that served as the springboard for the likes of Santana and that whole West Coast African/Spanish wave that swept the country into the 70's. See it all started with Joe Bataan. It was called Latin Soul or Boogaloo (Boogalu). It combined the most primal elements of doo-wop and R&B and married them to the African rhythms of the barrios and the ghettoes of Harlem and Newark and North Philly. Jimmy Castor did EXACTLY the same sort of thing with his work with Frankie Lymon and the Teenagers subbing for Frankie and serving as understudy. He wrote one of their biggest hits in Promise To Remember. But this Latin Soul thing was something else. No Mandrill, Osibisa, Cymande or any other early funk/roots acts would have been possible without this small but hugely significant piece of musical culture. No Salsa either. New Yorkers more than anyone remember the days when Puerto Ricans and Blacks gang warred and fought like dogs back in the day. But then like nowhere else these two subdivisions of basically the same ethnicity began to come together. First musically and then socially and politically. The music was as greasy as anything JB made but it also moved with a lil bit mo syncopation with that clave underscoring everything. Cornbread, hawgmaws and chit-ta-lins became a battle cry that was equaled only by 'I'll Never Go Back To Gawgia'! Jimmy Castor and Hey Leroy was smack dab in the middle of this. Cats like Joe Bataan, Joe Cuba, TNT Band and Pucho and the Latin Soul Brothers all made this music that was basically born on the stoop. When I was a kid cats used to do the doo-wop but many also got bongos and congas (the cheap studded head kind) that had to be tuned by heating over the burners on the stove or a can of sterno. This gave em that 'teacup' sound. Cats played sambas, guaguancoes and mozambiques (basic African hand drumming rhythms) on my steps until late or until the cops shooed em away. This is what made Jimmy Castor so special to me. The 1st place I saw him was at the Apollo and he tore the house up! He could've stopped right there and made a career out of that but instead he used the concept of ancient times, Genesis and the dawning of civilization to spawn a novelty act that HAD to be very influential to the Troutman clan. From Troglodyte through Bertha Butt and all of the slick, hard driving funk in-between Jimmy Castor became a monster in his own right. How bout Groove Gon Make You Move? It's Only Just Begun? Potential? These are all funk workouts SUPREME!!!!! If you were in a band one or all were worthy of your playlist just as much as Kool or JB or Sly.

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Free signup required to download or reading online Music as Social and Cultural Practice book. The linking theme of the essays collected here is the intersection of musical work with social and cultural practice. Inspired by Professor Strohm's ideas, as is fitting in a volume in his honour, leading scholars in the field explore diverse conceptualizations of the "work" within the contexts of a specific repertory, over four main sections. Music in Theory and Practice studies the link between treatises and musical practice, and analyses how historical writings can reveal period views on the "work" in music before 1800. Art and Social Process: Music in Court and Urban Societies looks at the social and cultural practices informing composition from the late Renaissance until the mid-eighteenth century, and interrogates current notions of canon formation and the exchange between local and foreign traditions. Creating an Opera Industry focuses on how genre and artistic autonomy were defined in operas from diverse eras and countries, explaining the role of literature and politics in this process. Finally, The Crisis of Modernity treats nineteenth-century music, offering new models for "work" and "context" to challenge reigning theories of the meaning of these terms. CONTRIBUTORS: AMNON SHILOAH, ANNA MARIA BUSSE BERGER, MARGARET BENT, EDWARD WICKHAM, BONNIE J. BLACKBURN, DAVID BRYANT, ELENA QUARANTA, OWEN REES, ALINA ZORAWSKA-WITKOWSKA, ELLEN T. HARRIS, CHRISTOPH WOLFF, NORBERT DUBOWY, MICHAEL TALBOT, MELANIA BUCCIARELLI, FRANCESCA MENCHELLI-BUTTINI, BERTA JONCUS, MICHEL NOIRAY, MICHAEL FEND, EMANUELE SENICI, FEDERICO CELESTINI, PAMELA POTTER, GIOVANNI MORELLI, JANET SMITH

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Although numerous models of acculturation exist, the most complete models take into consideration the changes occurring at the group and individual levels of both interacting groups. To understand acculturation at the group level, one must first look at the nature of both cultures before coming into contact with one another. A useful approach is Eric Kramer's theory of Dimensional Accrual and Dissociation (DAD). Two fundamental premises in Kramer's DAD theory are the concepts of and semiotics, which infer that identity, meaning, communication, and learning all depend on differences or variance. According to this view, total assimilation would result in a monoculture void of personal identity, meaning, and communication. Kramer's DAD theory also utilizes concepts from several scholars, most notably and , to synthesize explanations of widely observed cultural expressions and differences.

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In contradistinction from Gudykunst and Kim's version of adaptive evolution, Eric M. Kramer developed his theory of Cultural Fusion (2011, 2010, 2000a, 1997a, 2000a, 2011, 2012) maintaining clear, conceptual distinctions between assimilation, adaptation, and integration. According to Kramer, assimilation involves conformity to a pre-existing form. Kramer's (2000a, 2000b, 2000c, 2003, 2009, 2011) theory of Cultural Fusion, which is based on systems theory and , argues that it is impossible for a person to unlearn themselves and that by definition, "growth" is not a zero sum process that requires the disillusion of one form for another to come into being but rather a process of learning new languages and cultural repertoires (ways of thinking, cooking, playing, working worshiping, and so forth). In other words, Kramer argues that one need not unlearn a language in order to learn a new one, nor does one have to unlearn who one is in order to learn new ways of dancing, cooking, talking and so forth. Unlike Gudykunst and Kim (2003), Kramer argues that this blending of language and culture results in cognitive complexity, or the ability to switch between cultural repertoires. To put Kramer's ideas simply, learning is growth rather than unlearning.

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People in our world all come from an ethnic background, whether if the ethnicity is White American, African American, American Indian, Asian, and Hispanics our experiences and perceptions represent the values and decisions that are made in our life. This concept comes from the cultural that was taught and developed from after birth and through our adolescent years. In this paper, I will first explore the true meaning of culture, second I will then state what kind of culture I practice, and finally I will list the medicines and beliefs that have influenced my attitudes in health care industry. Our culture is the foundation of who we essentially are in life. It identifies the lifestyle and pursuits that are practiced in the group of people we interact with in our society. In other words, a significant concept to understand is that cultural beliefs, values, and practices are learned from birth: first at home, then in church and other places where people congregate, and also in educational areas ((Purnell, 2008, p.5). Some practices and beliefs in human culture include religion, music, sports, food, health beliefs, and art which symbolize the values we possess in life. Furthermore, our own culture is diverse and it is significant to look with in and identify what we value the most, what is essentially needed, and how we perceive the world. It is our surviving tool and it is like the air we breathe in and subconsciously we don’t even realize it is needed to communicate and socialize with others. For example, a fish in a bowl of water is unaware that the water surrounds the fish and is needed to live, which represents our culture and we are unaware that it exists in our daily lives. The culture I have the most pride for is the Mexican/Hispanic culture. I am Hispanic and came from a family who endured strong values and beliefs. Some characteristic’s I learned from my culture is the concept of being family orientated. It is extremely important to love...