Music and Youth: Between Us and the World, the Future
Bibliographic record
Abstract
Come what may today, Tomorrow's world belongs to us. NTM, band from Saint-Denis, France It is a truism to say that music is one of humankind's most-used and best-loved channels for rendering and externalizing its joys and sorrows, its euphoria and failures, its experiences and expectations. Music is at the heart of both self-expression and interpersonal communication. It is a bearer of identity as much as it is a way of interacting with other people, near and far. And to do this, it draws on a repertoire of signs that are much more universal than words -- although the increasing use of a trite, almost over-polished kind of American English (the desperanto of a globalizing world?) may force to moderate this assertion somewhat. Such are the general hypotheses that inspired the production of this special edition of Ethnologies. Readers will perhaps be interested to know that this issue marks the end of a research project that we initiated a few years ago on the highly topical question of the expression of identity in the context of globalization. This project was funded by the SSHRC and the FCAR,(1) and led to several individual and collective publications, including many contributions from students (Jewsiewicki 1995; Jewsiewicki and Letourneau [eds.] 1998; Letourneau [ed.] 1997; Demers 1999; Leblanc 1999). If there is a single conclusion that emerges from these works, it is that current processes of globalization by no means annihilate local dynamics of the expression of identity. They do, however, play a part in bringing their meanings up to date. They infuse with new rhythms, lexicons, sounds, body movements and so on. In this way, bridges are built between the local and the global. Some links revitalize, others destructure, but all are part of the endless regeneration of human groupings within a complex dialectic of referents that mixes tradition and escapism. This is definitely a factor in the transition of communities towards the mutant and moving cultural places where the real gains and losses of meaning are transacted, thanks to which these communities are redefining themselves in a curious dynamic of self-recognition and self-rejection that is at once alienating and liberating (Letourneau 1998, 2000). The context of these transformations is thus composed of here and elsewhere, of heritage and emancipation, of the performance and production of I and us in relation to them on the contemporary world stage. In this theatre of immediacy and globality, young people's music contains a wealth of social, cultural and identity resources -- which it is out aim to apprehend in this special edition. In this respect, our own point of view can be presented as follows. If the various musics of the world to which young people listen, dance and play out their global identity organize the fields of their experience and their aesthetic sensibilities, then they also reveal the horizons of their expectations. For this reason, it is essential to investigate these musics in their broadest register, in terms of what new meanings they signify. Unfortunately, social scientists often try to grasp contemporary youth culture using a repertoire of rather stale, outdated references -- i.e. their own, those that dominated the western cultural universe of thirty years or so ago. This anachronism is inopportune. Young people today the world over think about themselves and the world in terms of world beat and world music. Their musical universe, and hence their social universe, is polyrhythmic and polysemic, just as their way of approaching the world is plural. This composite can be expressed by the following phrase, formulated from various extracts of music lyrics in this issue: when reality hits you (Dragusanu, p. 106), between and the world (Kalulambi, p. 130), the future is unlimited (Dragusanu, p. 113), even though the past never dies (Hadj Miliani, p. 240). Contemporary world music offers young people a fin de siecle (or debut de millenaire) glossolalia. …
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How this classification was reachedexpand
Full frame machine prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. The Gemma side is a direct model label for every work in the frame, read from the title-only record. The Codex side is a classifier learned from the 10,348 direct Codex labels and calibrated to design-weighted sample rates; fields without enough sample support carry no Codex call. Candidate is the union of the two sides; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels.
Distilled classifier scores by category (both heads)
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.001 | 0.001 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.001 | 0.002 |
| Science and technology studies | 0.006 | 0.008 |
| Scholarly communication | 0.010 | 0.004 |
| Open science | 0.000 | 0.003 |
| Research integrity | 0.001 | 0.002 |
| Insufficient payload (model declined to judge) | 0.008 | 0.001 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; a candidate call from one source (direct Gemma or distilled Codex), not a consensus.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".