Music in Culture and Society

Every music system in the world is a complex cultural phenomenon. Culture is the foundation of a series of concepts that extend the music system to other basic cultural activities of society. It is then defined by the whole society, conceptualized, and rooted in cultural phenomena. Therefore, in order to fully understand the specific music of a particular culture, it must be studied in its cultural context according to its musical context. It is impossible to actually understand a certain musical culture unless you first study the concept and meaning of music.

In September 1996, European Music Office announced a report on "European Music". The second part of the study is called "European music, culture and society" edited by Paul Rutten. It contains six important papers on the value of the EU music culture and five case studies. This important contribution to popular music as cornerstones for the formation of youth and children was written by Keithlow for the event. Pop star Madonna has caused a real controversy in the field of cultural research. In the 1980s, people wrote a lot about her femininity and the style of traditional erotic symbols with confidence.

In this article I will discuss and explain these three articles on Stuart Hall's cultural research theory. Cultural research: The two paradigms of media, culture, society, the future of cultural research and self gender: the theory of culture research gender status - cultural hypersensitivity is that people in different countries and different races, It occurs when you recognize and recognize that you have a series of unique experiences, beliefs, values, and languages ​​that affect life recognition. By tackling the sensitivity of culture, people can understand cultural differences.

Music is an integral part of most people's lives because it has many cultural and social uses. Culture and society define music and decide how it will be used. The basic premise in the field of music therapy is that cultural music other than yourselves has little meaning (Gaston, 1968) and you will not react or participate in music. (Gibbons, 1977, Davis, Gfeller, and Thaut, 1999, p. 296) showed that people understand that context in music therapy literature - the socio-cultural environment of practice of music therapy - As used here it is almost impossible to describe it so that it does not conflict with the context model and contextual understanding.