Vocal accent in musical performance may carry more information than what is apparent at a first look. This idea becomes more significant in a popular music realm, where globalization is pronounced, thus making the dichotomy of individuality and belonging desires obscured compared to a realm where locality dominates the form of expression. This…[Read more]

After the handover of Hong Kong to China in 1997, Hong Kong music in general lingered in the middle of influences from the English heritage, Mainland China, and local traditions. This is observed best in popular music made, and performed in Hong Kong’s local scenes. As a result of globalisation of 1990s and 2000s, Hong Kong’s local popular mus…[Read more]

Death/doom metal music, a style of extreme metal, emerged around the beginning of 1990s with a genius loci in West Yorkshire. While this style dispersed around the globe during this decade and later decades, the pioneers of this style -namely Paradise Lost, My Dying Bride, and Anathema- quickly moved on from the style which they are credited to…[Read more]

After the extreme turn of late 1980s and early 1990s of metal music, three northern England-based bands –My Dying Bride and Paradise Lost from Bradford, and Anathema from Liverpool, commonly referred to as ‘the Peaceville Three’ because of their record label based is Dewsbury, West Yorkshire- went on to pioneer the musical style which came to be…[Read more]

Doom metal music is comprised of richly varied styles. These styles sound significantly different from time to time, yet they still are referred under a doom umbrella. One compelling trait emerges among these seemingly disparate styles. Especially when compared to other heavy and extreme metal music styles, these doom styles always stay on the…[Read more]

Death/doom emerged as a subgenre in extreme metal music during 1990s mostly based in Yorkshire. Interestingly, these Yorkshire-based bands changed their style significantly to what is generally accepted as gothic/doom. This change also illustrates two different approaches to death in the music. While the early repertoire engages with the idea of…[Read more]

Oral history provides important sources of information when looking at the development of a particular genre of music. This idea becomes more pronounced when the genre of music in question may be tentatively considered a popular music. While one has to be careful in labelling a genre of music ‘popular’, in this case labelling extreme metal and mor…[Read more]

Sound and space—however one defines these terms—are phenomenologically and ontologically intertwined.

The Muslim-dominated “Swahili Coast”has always served as a conceptual as well as physical periphery for post-colonial Kenya. This article takes Kenyan youth music under the influence of global hip-hop as an ethnographic entry into the dynamics of identity and citizenship in this region. Kenyan youth music borrows from global hip-hop culture the…[Read more]

An introduction to twenty Persian musical texts written in India which included both Persian and Indian music

This article focuses on recording Persian music by the German record companies during the interwar period and social, economic, and political motivations behind it.

This article focuses on the history of European military music in Persia and shows how this history was twisted by French/Artesian patriotism and self-promotion. In order to provide an alternative history, this article explores various sources and introduces several European musicians who worked in Persia in the nineteenth century, including the…[Read more]

When examining a particular creative work, one has to be aware of a number of hidden relationships embedded within that work as a whole. Who created this work? What was their goal in doing so (if there ever was an established goal)? How am I supposed to interpret this work, given the nature in which it was created? Going down these paths of…[Read more]

ABSTRACT Joon Park takes a closer look at Steven Strunk’s innovative application of the neo-Riemannian Tonnetz to jazz. Strunk reinterprets neo-Riemannian transformations as geometric reflections—as opposed to more conventional group theory operations—showing his understanding of jazz performance practice. Park clarifies the difference between con…[Read more]

This article presents the results of implementing a musical/multimodal/multilingual pedagogical approach to foster literacy practices in an ESL composition classroom at the University of Puerto Rico-Mayagüez Campus. Based on the students’ written reflections, multimodal texts, and subsequent interviews, this qualitative research study hi…[Read more]