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1. "Music is the very essence of European Cultural Identity"

Author:
Jorge Chaminé
Publication Date:
07-2023
Content Type:
Working Paper
Institution:
Robert Schuman Foundation (RSF)
Abstract:
Following the Russian invasion of Ukraine, you initiated a chain of solidarity. What does it consist of? The night of 24 February 2022 shocked me because it showed just how fragile peace is. I felt the need to do something and decided, with the Centre européen de musique, to help and facilitate the reception of Ukrainian musicians in Europe, but also to work to preserve the dialogue between Ukrainian, Russian and Belarusian musicians. At the beginning of the conflict, there were moves to censor the Russian repertoire, and concerts were cancelled because the programme included works by Tchaikovsky - an absolute absurdity! Within this chain of solidarity, links are being forged, with musicians playing not only the repertoire of their own country but also that of countries with which they are at war. In an increasingly violent and divided world, music can be an instrument of peace, integration and inclusion. That's why I've worked so hard in theatres of war. For over fifteen years, I regularly travelled to the Middle East to work on musical projects. After the Taliban took power, we also supported Afghan musicians and the Institute of Afghan Music, now based in Braga, Portugal.
Topic:
Culture, Interview, Music, and Identity
Political Geography:
Europe

2. The Economic Impact of Music in Europe

Author:
Oxford Economics
Publication Date:
11-2020
Content Type:
Working Paper
Institution:
Oxford Economics
Abstract:
The European music sector has a major impact on the economies of the EU and the UK. In 2018 the recorded music industry supported an €81.9 billion contribution to EU27 and UK GDP, according to a study by Oxford Economics, commissioned by IFPI. This was larger than the GDP of nine of the 28 EU Member States in that year. Of this contribution, €37.5 billion was generated by the music sector itself through its output, wages and tax payments. To give a sense of scale, this was 1.5 times larger than that made by the wine-making and brewing sectors. The European music sector also had a significant indirect impact on the labour market and fiscal position around Europe. We estimate the music sector supported 2 million jobs across the EU27 and UK, which meant that 1 in every 119 jobs in the 28 countries were dependent on the sector’s activities to some degree. All of this economic activity also benefited public finances, with the sector supporting a total contribution of €31.0 billion to EU27 and UK tax revenues, equivalent to 19.4% of the entire EU budget for the same year. In addition to this, we also conservatively estimate that the European music sector earned €9.7 billion in export revenue in 2018 from customers around the rest of the world. These earnings are 13% higher than all exports of European GI-protected wines to non-EU countries (including champagne).
Topic:
Economics, Culture, Music, popular culture, and Job Creation
Political Geography:
Europe

3. Musical Diplomacy: The Eurovision Song Contest in Tel Aviv

Author:
Dean Vuletic
Publication Date:
03-2019
Content Type:
Special Report
Institution:
Georgetown Journal of International Affairs
Abstract:
After winning the 2018 Eurovision Song Contest (ESC) with her song “Toy” (inspired by the #MeToo movement), Netta Barzilai issued the declaration, “Next year in Jerusalem!” By using the traditional Jewish phrase, she was suggesting that the 2019 ESC would be held in that city.
Topic:
Diplomacy, Culture, and Music
Political Geography:
Europe, Middle East, and Israel

4. THE OUTSTANDING VIEW OF GLOBALIZATION: ROMAN GAME AIR AS CATEGORY OF WORLD MUSIC

Author:
Zeynep Gonca GİRGİN
Publication Date:
02-2018
Content Type:
Journal Article
Journal:
Alternative Politics
Institution:
Department of International Relations, Abant Izzet Baysal University, Turkey
Abstract:
The category of world music is a new genre-title created by that latest embodiment of globalization, the glocal (global-local) market in the music industry. The increase in the power of the world music market in late 1980's and the popularization of the Romani musician as an identity in that regard plays an important role in the popularization of the 9/8 Romani dance tune both in Turkey and in the Balkans sound. The Gypsy-Romani themed films in the last quarter century by Emir Kusturica and Tony Gatlif, the Gypsy-Romani music festivals held in Europe and North America, and the increase in the Romani instrumentalist and performer productions in the Balkans popular music market; also, the rise in the scientific and artistic interest in the academia show the emphasis on both the distinctive and the European identity of the Gypsies, while supporting the new political economic conditions. This article critically reviews the popularization process of Turkish Roma musicians and musics in the world music industry via correlation with Balkan territories.
Topic:
Globalization, Culture, and Music
Political Geography:
Europe, Turkey, Asia, and Balkans

5. K-pop Fans’ Reaction Videos and Their Implications for Korean Language Learning

Author:
Soojin Ahn
Publication Date:
10-2018
Content Type:
Journal Article
Journal:
International Journal of Korean Studies
Institution:
International Council on Korean Studies
Abstract:
As social media platforms such as YouTube have become important access points for Korean popular music (K-pop), international fans have enjoyed recording and sharing their responses to K-pop music videos on social media. In particular, reaction videos have been the most convenient and popular way for many international fans to share their opinions on and reactions to K-pop songs with others. This study aims to investigate the unique characteristics of reaction videos to share K-pop fans’ cultural experiences through YouTube videos and discuss the potential use of such fans’ learner motivation and learning environment for Korean language education. Four YouTube reaction videos were investigated through thematic analysis and through a discourse analysis informed by interactional sociolinguistics. The findings show how the reaction video creators build a community with other fans by establishing familiarity through agreement, considering the audience, and exchanging information, not only about a specific song, but also about K-pop in general and Korean Wave genres. These creators also demonstrated multiliteracies by expressing their opinions and feelings through facial expressions, visuals, and dance. These creators make their reaction videos regularly, proving their long-term enthusiasm for K-pop and the Korean Wave. This research offers important implications for future Korean language education, which will embrace diverse groups of international learners who actively participate in K-pop fan activities online.
Topic:
Culture, Social Media, Language, Music, and YouTube
Political Geography:
Europe, Asia, South Korea, Korea, and United States of America

6. THE SYRIAN MUSICIANS IN ISTANBUL: THE RELATIONSHIP BETWEEN REPERTOIRE AND STAGE

Author:
Hussain hajj
Publication Date:
10-2016
Content Type:
Journal Article
Journal:
Alternative Politics
Institution:
Department of International Relations, Abant Izzet Baysal University, Turkey
Abstract:
This article aims to present some notes and findings about the fieldwork that I conducted in Istanbul with Syrian musicians in 2015. The main questions of the research were the identity of the Syrian musicians and the status of Syrian music and musicians in Istanbul. In this article I will first present some details about the musical institutions in Syria and the problems related to “being a musician” and studying music in the era of Al-Baath party ruling. I will add some notes about the Kurdish musicians in Syria. The second section is about Syrian musicians in Istanbul. I will discuss how far they can communicate among each other and with musicians from Turkey, and what are the messages that they try to spread through their music. For this aim, I analyze some musical activities that took place in Istanbul, such as the concerts of the Syrian community, as well as the relationship with the Turkish music of the Syrian alternative media in Turkey. Then, I discuss whether Turkey is seen as a temporary or permanent station by Syrian musicians. Lastly, I will analyze two musical activities and their repertoire that took place in two different stages to show the diversity of Syrian community in Istanbul. Keywords: Syrian refugees, ethnomusicology, musicians, cultural diversit
Topic:
Diaspora, Culture, Refugees, and Music
Political Geography:
Europe, Turkey, Middle East, Asia, and Istanbul