Brainscape's Knowledge GenomeTM

Browse over 1 million classes created by top students, professors, publishers, and experts.


See full index

Comps > Step 4C - Relate the event's genre(s) to its broader cultural context > Flashcards

Step 4C - Relate the event's genre(s) to its broader cultural context Flashcards

1
Q

Broader cultural context categories

A
  1. artists
  2. creativity
  3. language
  4. transmission and change
  5. cultural dynamism
  6. identity and power
  7. aesthetics and evaluation
  8. time
  9. emotions
  10. subject matter
  11. community values
  12. community investment
How well did you know this?
1
Not at all
2
3
4
5
Perfectly
2
Q

Artists main points

A

who are the artists-what are their roles?
how do artists in this genre relate to the community?
how do people become artists in this genre?

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
3
Q

Who are the artists? sources

A

Small (1998); Ruskin and Rice (2012)

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
4
Q

Small (1998)

A

ACTIVITY (not thing) of musicking; everyone involved, down to the trash cleaner at the end of the concert

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
5
Q

Ruskin and Rice (2012)

A

4 types: innovators, key roles, ordinary, anonymous; artists are the ones influencing new social structures

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
6
Q

Creativity main points

A

o who are the creators of new works?
o how do new examples of this form come into being?
o what does “new” mean in this art form?
o where do components [creators; language/symbolic systems; audience/gatekeepers] lie?

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
7
Q

Creativity sources

A

Csikszentmihalyi (1996); Toynbee (2003)

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
8
Q

Csikszentmihalyi (1996)

A
  • creativity = people draw on personal competencies, symbolic systems, and social patterns to produce event of heightened communication that has not previously existed in that exact form [note that is systemic, between person’s thoughts and a given context]
  • domain = set of symbolic rules/procedures
  • field = gatekeepers of domain (have to accept the new creation—creativity not just judged from innovation, but recognition of that innovation—creativity cannot be separated from its recognition)
How well did you know this?
1
Not at all
2
3
4
5
Perfectly
9
Q

Toynbee (2003)

A

the listener ultimately determines creativity! artist interacts

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
10
Q

where do components lie? sources

A

Rice (2003); Clifford (1997)

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
11
Q

Rice (2003) - creativity: where do components lie

A

with world in flux, 3 dimensions to describe individual’s music experiences: time x2, space, metaphor (perception of what art is)

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
12
Q

Clifford (1997)

A

emphasis on intercultural connection, routes, not roots

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
13
Q

Language main points

A

o which language(s), dialect(s), register(s) appropriate?
o what status/identity associated with each language choice?
o [see also Dye (2009), esp. #1, appropriate language/dialect/orthography, and #2, good translation]

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
14
Q

Transmission and change main points

A

how passed on to others?

how has the form changed historically?

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
15
Q

Transmission and change sources

A

Nettl (2005); Coulter (2011); Fishman (1991); Lewis and Simons (2010); UNESCO (2003)

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
16
Q

Nettl (2005) - transmission and change

A

ethnomus now more interested in change; 4 types (concentrate on changes to essential character); musical change slowest where….; music focused on either innovation or variation, but not both

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
17
Q

Coulter (2011)

A

sustainability—language survey tools SEQ and RTT for GMSS, 8 steps, addition of “locked” (fixed repertoire for tourists—not everyday part of community)

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
18
Q

Fishman (1991)

A

GIDS

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
19
Q

Lewis and Simons (2010)

A

EGIDS, from 8 stages to 13 (but preserved numbering with levels a, b, etc.; new stages beginning—international and end—dormant, extinct)

20
Q

UNESCO (2003)

A

new attention to education, protection, etc., of art forms

21
Q

Cultural dynamism source

A

Schrag (2013)

22
Q

Schrag (2013)

A

[also listed under Step 3], use malleable to strengthen stable; use stable as point of reference to understand the malleable

23
Q

Identity and Power main points

A

what kinds of people identify with this form? how does this form relate to social stratification, gender, other distinctions? [examples of wielding power through music]

24
Q

What kinds of people identify with this form? sources

A

Merriam (1964); Bourdieu (1977)

25
Q

Merriam (1964) - identity and power

A

artistic action creates feelings of cohesion; solidarity

26
Q

Bourdieu (1977)

A

artistic action builds social capital = way you get a voice and potentially influence a community

27
Q

How does this form relate to social stratification, gender, other distinctions? source

A

Nettl (2005)

28
Q

Nettl (2005) - identity and power

A

societies not equal in participation; men perhaps have had access/paid attention more to men? with more women in the field, perhaps will learn more….

29
Q

[examples of wielding power through music] sources

A

Daughtry (2006); Shelemay (2001)

30
Q

Daughtry (2006)

A

negative reaction in Russia to melodic associations of “old anthem tune,” even though words new and better suited

31
Q

Shelemay (2001)

A

hidden vs. public agendas (South African national anthem; reggae subversive resistance; Shoshone powwow flag/war songs)

32
Q

Aesthetics and Evaluation sources

A

Small (1998); Merriam (1964); Fitzgerald and Schrag (2006)

33
Q

Small (1998)

A

beauty = when relationships communicated by object/gesture align with ideal relationships in mind of perceiver; musicking involves both performing and listening

34
Q

Merriam (1964) - aesthetics and evaluation

A

Western aesthetic concepts (distance self from object, manipulate form for its own sake) don’t transfer into other cultures; the arts are all one, stemming from same source but just using different materials

35
Q

Fitzgerald and Schrag (2006)

A

identify signs at work; identify purposes of song; see how well aligned—do the signs effect the purposes?

36
Q

Time main points

A

experience time during performance differently

borader temporal context (yearly cycle, month/date)

37
Q

experience time during performance differently - sources

A

Goodridge (1999); Rice (2003)

38
Q

Goodridge (1999)

A

“patterned energy flow of action…marked by changes in level of intensity, speed and duration”

39
Q

Rice (2003) - time

A

historical and experiential time

40
Q

Emotions sources

A

Huron (2006); Keil (1995); Turino (1999); Racy (1991)

41
Q

Huron (2006)

A

fight/flight/freeze (frission/laughter/awe)

42
Q

Keil (1995)

A

people stay engaged because of the variations (groove, texture, timbral); importance of process; social time of creating together; constant negotiation

43
Q

Turino (1999)

A

semiotics = lexical (symbolic, conventional); iconic (resemblance); indexical (by association)—these indices are perceived as part of the experiences, while symbols are simply about those experiences

44
Q

Racy (1991)

A

importance of educated and responsive audience in getting tarab performer into ecstasy, sultana

45
Q

Subject Matter source

A

Murdock (2004)

46
Q

Murdock (2004)

A

themes common to many cultures

Comps (15 decks)

Brainscape helps you reach your goals faster, through stronger study habits.
© 2024 Bold Learning Solutions. Terms and Conditions