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¶ … Martin (2005) are that music played an integral role in the mid-twentieth century African-American freedom struggles and that a variety of black musical genres and artists contributed towards arousing black social consciousness and activism. Much of the evidences used to support these points were derived from the works of various cultural historians and black art theoreticians.
The main points of the article by Aidi (2003) were that Islamic traditions were slowly being incorporated into mainstream Western pop culture due to large-scale conversions among minority members of Western society and the increasing popularity of Islamic hip-hop. Much of the evidence for verifying the conversion rates came from statistics compiled by Islamic organizations and social science researchers. The evidence indicating the emergence of Islamic hip-hop was derived from the works of Western social commentators and journalistic sources.
The ideas expressed by Martin (2005) have convincingly portrayed the black freedom struggle's use of music to motivate its insurgents. I found it especially interesting how disparate black artists during different periods of time were able to sustain the common goal of instilling black pride and self-determination. The ideas expressed by Aidi (2003) were also very persuasive in showing how Islamic elements are being integrated into Western pop culture. It was quite interesting to read about how Islamic hip-hop came into existence among the French Muslim youth and how it helped them to identify with youths of other cultures, namely African-American youth.
The ideas expressed by Martin (2005) were incomplete in that I wished that he had delved deeper into how music helped to maintain the nonviolent nature of the African-American movement. Aidi's (2003) ideas are also incomplete in that I wished he could have researched into whether Muslims of other nationalities were helping to popularize Islam in the West.
Works Cited
Aidi, Hisham. "Let us be Moors: Islam, race and 'connected histories'." Middle East Report 2:29 (Winter 2003): 42-53.
Martin, Waldo. No coward soldiers: black cultural politics and postwar America. Boston: Harvard University Press, 2005.
Music has always been an important part of my life. From the time I was a little boy into my adolescence and through my teenage years, music was my companion whenever I could put my headset on and not get in trouble for listening to music. My good times were accompanied by music and just like my friends, music was there when I wasn't doing so well. In fact music
Music Violence The violence in music debate rages on across the mass media of America. Television, magazines, newspapers, and of course the radio blast the commercial marketing of popular music with one wavelength, while simultaneously reprimanding the creators and listeners of this music for their negativity. It is a violent world that we live in, and this violence is reflected in the art that we create. Some people argue that the
Even the lyrics, which nonetheless maintain the same kind of bubblegum-angst present in nearly any widely successful "alternative" band, manage to surprise simply by the fact that the band seems to have gained a wider vocabulary, both in terms of individual words and the metaphors used. Put another way, burning "like the fire of a thousand suns" is simply a more enjoyable image than "one step closer to the
Music and Society Music has a profound influence on society. As with other forms of art, music has the ability to communicate messages that are both complex and oblique -- the message need not be specific, but may convey an emotion or ethos, external to the lyrical content of the songs. Music gives a voice to generations by allowing those who have the ability to convey their thoughts and feelings through
This is particularly the case in elderly patients who suffer form various debilitating diseases and conditions, where it has been found that music therapy produces positive outcomes. References Anatomy of Melancholy. Retrieved April 8, 2008, at http://etext.library.adelaide.edu.au/b/burton/robert/melancholy/S2.2.6.html Bhat, M. Udupa S. (2003) the Evolution, Appreciation and Representation of Music. MCGILL JOURNAL of MEDICINE, 7(2), pp. 190 -195. Black bile. Retrieved April 8, 2008, at http://www.answers.com/topic/melancholia. Complementary and Alternative Approaches to Biomedicine. Retrieved April 9,
Aristoxenos, two centuries after Pythagoras released his model, sought to discredit the standing theories held by Pythagorean devotees. In his works, he established that numbers are not relevant to music, and that music is based on perception of what one hears, not any mathematical equation. Descartes as well as Vincenzo Galilei (Galileo's father) both also discredited the music-to-math theories that formed the revolutionary basis for Pythagoras' music work, but not