Introduction

A folk-music competition of 1895 sets the scene for an exploration of the problem of French music historiography in relation to the provinces between the 1830s and World War II. Key terms (“decentralization,” “deconcentration,” “regionalism”) are defined and explained in relation to Republican concepts of cultural unity that long discouraged regional difference in music and reinforced the soft and hard power of the capital as the nation’s cultural boiler house: power relations turned the provinces into an “internal exotic,” but the “colonies” of mainland France had their own often distinctive local dynamics relating to professional and amateur music-making. The narrative arc of the book is sketched out: from the dynamics of provincial musical life to the challenges of musical regionalism as it manifests in new composition. Finally, methodological reflections are offered on the project’s archival source-base, on the problematic ephemerality of musical life as a subject of diachronic musicological study, on music as an object of local memorialization, and on the geographical patterns of both decentralist and regionalist French musical life as showing particular density at the edges at the expense of the center.

Diana Doherty

Diana Doherty is principal oboe of the Sydney Symphony Orchestra (Australia). She won first prize at the Prague Spring International Music Competition in 1991 and was a joint winner of the 1995 Young Concert Artist auditions in New York. In this chapter, she discusses her early life, the international aspects of her career, and reeds. She also talks about how she warms up on the instrument and offers advice on developing finger technique and articulation. She shares her inspirations and memorable concerts

Starting young: Multimodal gender presentation in children’s pop music

A recent quantitative study (Smith, Choueiti, and Pieper 2018) demonstrates the hegemonic discrimination in today’s popular music scene, particularly but not exclusively in gender and race. This paper builds on that study, taking it not only into a multimodal dimension (where musical and visual performances are taken into account), but also extending it to children’s popular music, here defined as popular music performed by children for an audience and market primarily made up of children and their guardians. The annual Norwegian popular music competition for children aged 8-15 Melodi Grand Prix Junior (MGP Jr) is the children’s equivalent of the adult competition to be Norway’s entry in the Eurovision Song Contest (ESC). It has been running since 2004, with 10 entries in each final, and those from 2007 onwards are available for public viewing on the national television channel’s website (tv.NRK.no). The resulting 130 songs thus provide a meaningful corpus from which to study current and recent multimodal gendered presentations of child performers. Preliminary multimodal gender analyses (cf Maxwell and Mittner 2018) show that the performances are based around traditional gender binaries (i.e. boys and girls). While both presented genders sing, except for rare exceptions it is only boys who play instruments. This both complements and contrasts the study of the ESC (Isaksen forthcoming) which also shows a clear dominance of singing, particularly among female and female-presenting artists (including drag queens). When these results from children’s pop music and from the ESC are set in relation to Smith, Choueiti, and Peiper 2018 in an interdisciplinary mixed methods approach, it is clear to see that the discrimination in the industry not only begins at a young age, it is also presented as normal, indeed attractive, to child viewers. This is borne out by the decreasing uptake of music tuition at Norwegian kulturskoler (the provider of state-sponsored lessons in the arts), particularly among school-age girls (Utdanningsdirektøret 2017). In this paper I will present multimodal analyses of a selection of songs from MGP Jr in order to provide both examples of and exceptions to the norms shown by the statistics. In addition, an analysis of the (gendered) presentations of standard Norwegian instrument textbooks (cf Blix 2018) provides background context, with an emphasis on the gendered meanings that surround children in their everyday musical lives. With thanks to Matilda Maxwell (age 11), aspiring instrumentalist, fan of MGP Jr, and research assistant.

Implementasi Kebijakan Pemerintah Kabupaten Sumenep Dalam Rangka Pengembangan dan Pelestarian Kesenian Musik Tradisional Tong - Tong

This qualitative descriptive research method is to describe and discuss a policy of the Sumenep Regency Government to implement the Sumenep Regency Government Policy in the Context of the Development and Preservation of Traditional Music Art of Tong-Tong Madura Island, East Java Province. At the beginning of the development of traditional Tong-Tong art music which was used as a sahur patrol music was played in waking people to perform the sahur worship in the holy month of Ramadan and Calling the Dwarf who wanted to go home to his cage. In accordance with the Sumenep Regent's Regulation No. 28/2008 concerning the duties and functions of the Regional Office, the Sumenep District Youth and Sports Culture Service, has the task and function of fostering and preserving the Tong-Tong Traditional Music culture in the Sumenep district. The Tong - Tong se Madura Music Contest and the Sumenep Regency Tong - Tong Festival from 2016-2018 is in the context of fostering efforts as well as preserving the cultural heritage of the ancestors which is held regularly every year starting. The cost of conducting the Tong - Ton Traditional Arts Music Kirab Music Festival, the Tong Se Madura Music Contest and the Tong-Tong Festival is annually charged to the Sumenep Regency Regional Revenue and Expenditure Budget (APBD). The aim is to hold the Tong Tong Se Madura Music Competition and the Tong-Tong Festival every year in Sumenep Regency to improve and develop Sumenep Regency tourism promotion and marketing through the Madura tong-tong music competition.

The power of violins and rose petals: The Eurovision Song Contest as an arena of European crisis

This paper explores the interconnection between European crises and the Eurovision Song Contest, the largest non-sports-related TV show on earth, which has run as an annual music competition of European countries since 1956. The paper explores the development of the actual show, based on existing audio and video recordings, as well as selected aspects of the respective media coverage. Special focus is paid to the creation of the contest in a post-catastrophic Europe, specifically the first show in Lugano in 1956; the apparent decline of the show’s appeal in Western Europe in the 1980s and 1990s; and finally the contest held in Moscow in 2009, when the global financial crisis had just reached Europe. This research shows that ‘crisis’ is less an objective state, but rather a rhetorical strategy to communicate one’s perceptions of the time, illuminating the significance of the Eurovision Song Contest as an arena for European affairs.

Markasan Strategy in A Best-Selling Music

Gesang and Didi Kempot, in dominating the market of the music industry in their era, incorporated local capital, i.e., the site in lyrics and scales in melody. Likewise with Markasan. However, little is known about the site and melody used by Markasan as a tool to dominate the keroncong market in East Java in the 1960-1965 period. This study aims to reveal lyrics and melody that songwriters can use to dominate the music competition market in their day. To address this gap, observations, interviews, and documentation studies were carried out. The subjects are Keroncong-Markasanan musicians and RRI as melting pots of keroncong in Surabaya. Through ‘Blauran Wayah Sore’ song, we can observe Markasan’s efforts to construct songs, build resistance, and perpetuate domination in the music industry competition in his day. This research provides a strategy to utilize cultural capital consisting of lyric styles, popular site names, local scales, and identification of favorite song scales in a best-selling effort in the music industry today.