Auswahl der wissenschaftlichen Literatur zum Thema „Popular music – social aspects – california“
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Zeitschriftenartikel zum Thema "Popular music – social aspects – california"
Handayani, Diah. „Political Identity, Popular Culture, and Ideological Coercion: The Discourses of Feminist Movement in the Report of Ummi Magazine“. Jurnal Pemberdayaan Masyarakat: Media Pemikiran dan Dakwah Pembangunan 5, Nr. 1 (18.06.2021): 185–210. http://dx.doi.org/10.14421/jpm.2021.051-08.
Der volle Inhalt der QuelleJunko, Kitagawa. „Some aspects of Japanese popular music“. Popular Music 10, Nr. 3 (Oktober 1991): 305–15. http://dx.doi.org/10.1017/s0261143000004669.
Der volle Inhalt der QuelleYasiuk, Tamara. „Ritualism in Ethnic and Popular Culture: Social and Historical Aspects“. Folk art and ethnology, Nr. 4 (30.12.2022): 89–94. http://dx.doi.org/10.15407/nte2022.04.089.
Der volle Inhalt der QuelleFAIRCHILD, CHARLES. „The medium and materials of popular music: ‘Hound Dog’, turntablism and muzak as situated musical practices“. Popular Music 27, Nr. 1 (13.12.2007): 99–116. http://dx.doi.org/10.1017/s0261143008001499.
Der volle Inhalt der QuellePowell, Bryan. „Community music interventions, popular music education and eudaimonia“. International Journal of Community Music 00, Nr. 00 (24.02.2021): 1–23. http://dx.doi.org/10.1386/ijcm_00031_1.
Der volle Inhalt der QuelleJunior, Jeder. „Música popular massiva e gêneros musicais: produção e consumo da canção na mídia“. Comunicação Mídia e Consumo 3, Nr. 7 (23.09.2008): 31–47. http://dx.doi.org/10.18568/cmc.v3i7.69.
Der volle Inhalt der QuelleZmudzińska, Kamila, und Roman Matykowski. „Spatial and social aspects of the impact of Pol’and’Rock Festival and Jarocin Festival in Poland“. Journal of Geography, Politics and Society 13, Nr. 2 (29.09.2023): 46–66. http://dx.doi.org/10.26881/jpgs.2023.2.05.
Der volle Inhalt der QuelleAlvarenga, Claudia Helena Azevedo, und Tarso Bonilha Mazzotti. „Samba as Representation of Brazilianness in the Popular Songs Rhetoric“. Per Musi, Nr. 39 (12.09.2019): 1–12. http://dx.doi.org/10.35699/2317-6377.2019.15152.
Der volle Inhalt der QuelleTemperley, David. „Syncopation in rock: a perceptual perspective“. Popular Music 18, Nr. 1 (Januar 1999): 19–40. http://dx.doi.org/10.1017/s0261143000008710.
Der volle Inhalt der QuelleAnantia, Alviana Aslama, Yolanda Masnita und Kurniawati Kurniawati. „Effectiveness of Digital Music Platforms’ Social Media Interaction on Advertising Trust Using Cognitive Aspects“. Manajemen dan Bisnis 22, Nr. 1 (20.03.2023): 1. http://dx.doi.org/10.24123/jmb.v22i1.624.
Der volle Inhalt der QuelleDissertationen zum Thema "Popular music – social aspects – california"
Gautier, Alba. „Producing a popular music : the emergence and development of rap as an industry“. Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79768.
Der volle Inhalt der QuelleWong, Chi-chung Elvin, und 黃志淙. „Making and using pop music in Hong Kong“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1997. http://hub.hku.hk/bib/B29872583.
Der volle Inhalt der QuellePolychronakis, Ioannis. „Song odyssey : negotiating identities in Greek popular music“. Thesis, University of Oxford, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.669839.
Der volle Inhalt der QuelleStraw, Will 1954. „Popular music as cultural commodity : the American recorded music industries 1976-1985“. Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=39241.
Der volle Inhalt der QuelleMoore, Christopher Lee. „Music in France and the Popular front (1934-1938) : politics, aesthetics and reception“. Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=102813.
Der volle Inhalt der QuelleSympathetic to the Popular Front's larger political aims, a number of French musicians and composers became affiliated with the Communist-sponsored Maison de 1a Culture and its affiliated musical organizations, the most prominent of which was the Federation Musicale Populaire (FMP). They participated in the administrative, cultural and intellectual life of the FMP; they took part in conferences, wrote articles on the theme of "music for the people," and were advocates for the organization within French musical life at large. Furthermore, these composers wrote works for government-commissioned events, for amateur groups, and for spectacles designed for mass audiences.
Some of the FMP's most prominent proponents (Darius Milhaud, Georges Auric, and Arthur Honegger) were former members of Les Six, a group that had been particularly interested in borrowing music derived from "popular" sources like the music hall and the circus following World War I. This study argues that the aesthetic approach of Les Six, which found support in FMP presidents Albert Roussel and Charles Koechlin, was reinvigorated during the Popular Front for a much more clearly defined political purpose. While the general interest in "popular" sources was still maintained, composers at the FMP now sought to integrate folklore and revolutionary music into their works "for the people" in an attempt to create and underline cultural links between workers and intellectuals---a compositional approach for which this dissertation coins the expression "populist modernism."
This study, the first book-length examination of French musical culture in light of Popular Front politics, concentrates on some of the period's most significant populist modernist works and draws upon contemporaneous journalistic coverage and archival documents that in many cases have hitherto never been the object of musicological study. The research shows that in 1936, following an initial infatuation with the genres and styles of socialist realist Soviet works, French left-wing composers developed a more inclusive view of what constituted music "for the people." Composers continued to write music indebted to politically resonant popular sources like folklore and revolutionary songs, but they also drew upon these genres in works (like the collaborative incidental music for Romain Rolland's Le 14 Juillet) that employed modernist compositional techniques. Though this approach was most obviously felt in the numerous works composed for organizations like the FMP, populist modernism also emerged in works performed at the Theatre de l'Opera-Comique and the 1937 Paris Exposition. By cutting across musical genres as well as institutional and social contexts, populist modernism emerges as the dominant aesthetic trend in French music during the years of the Popular Front.
Man, Oi-kuen Ivy. „Cantonese popular song in Hong Kong in the 1970s: an examination of musical content and social context inselected case studies“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B31221476.
Der volle Inhalt der QuelleWong, Chi-chung Elvin, und 黃志淙. „The working of pop music culture in the age of digital reproduction“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2010. http://hub.hku.hk/bib/B44140101.
Der volle Inhalt der QuelleJeppie, Shamil. „Aspects of popular culture and class expression in inner Cape Town, circa 1939-1959“. Thesis, University of Cape Town, 1990. http://hdl.handle.net/11427/24109.
Der volle Inhalt der QuelleCHINCOLI, Veronica. „Black North American and Caribbean music in European metropolises : a transnational perspective of Paris and London music scenes (1920s-1950s)“. Doctoral thesis, European University Institute, 2019. http://hdl.handle.net/1814/62230.
Der volle Inhalt der QuelleExamining Board: Professor Stéphane Van Damme, European University Institute; Professor Laura Downs, European University Institute; Professor Catherine Tackley, University of Liverpool; Professor Pap Ndiaye, SciencesPo
This thesis examines black music circulation in the urban spaces of London and Paris. It shows the complexity of the evolutionary processes of black musical genres, which occurred during the late imperial period (1920s-1950s) within the urban music scenes of two imperial metropolises, and how they played an important role on the entertainment circuit. Both cities functioned as sites of crossfertilisation for genres of music that were co-produced in a circulation between empires and Europe. Musicians of various origins met in the urban spaces of the two cities. The convergence and intermingling of musical cultures that musicians had brought with them produced new sounds. This process was influenced by a minority group (blacks), but had a significant and lasting influence on the musical world. By creating an historical account of the encounters and exchanges between people of different origins within the music scenes, this thesis examines music development and the complexity of processes of racialisation according to their historical locality and meaning. Using a variety of sources including police reports, government documents, interviews, guidebooks and newspapers, this work contributes to widen the perspective of historical studies on music developments, emphasising their social and spatial dimensions, which are fundamental for the exploration of music scenes, in general, and for the spread of black genres of music in particular. Black music styles spread internationally, but were produced in several specific locations where music industry infrastructure was developing. In the urban spaces of the music scenes of London and Paris social networks were formed by various actors - both blacks and whites - and were crucial for music production and reception; different perceptions of blackness, processes of competition, and debates on authenticity emerged; and processes of regulation and negotiation underpinned the intervention of public authorities.
Chapter 4 'Black Music Styles as Vehicles for Trans-racial Interplay: Practices of Learning, Perceptions of Blackness and Commercialisation of Music' of the PhD thesis draws upon an earlier version published as an article “Black Music Styles as Vehicles for Transnational and Trans-Racial Exchange: Perceptions of Blackness in the Music Scenes of London and Paris (1920s-1950s),” (2017) in the journal 'Zapruder world'
Gitonga, Priscilla Nyawira. „Music as social discourse : the contribution of popular music to the awareness and prevention of HIV/AIDS in Nairobi, Kenya“. Thesis, Nelson Mandela Metropolitan University, 2009. http://hdl.handle.net/10948/962.
Der volle Inhalt der QuelleBücher zum Thema "Popular music – social aspects – california"
Yang, Mina. California polyphony: Ethnic voices, musical crossroads. Urbana: University of Illinois Press, 2008.
Den vollen Inhalt der Quelle findenYang, Mina. California polyphony: Ethnic voices, musical crossroads. Urbana: University of Illinois Press, 2008.
Den vollen Inhalt der Quelle findenYang, Mina. California polyphony: Ethnic voices, musical crossroads. Urbana: University of Illinois Press, 2008.
Den vollen Inhalt der Quelle findenMichael, Ochs, Hrsg. Waiting for the sun: The story of the Los Angeles music scene. London: Viking, 1996.
Den vollen Inhalt der Quelle findenKortaba, Joseph. Popular music and society. New York: Routledge, 2009.
Den vollen Inhalt der Quelle findenCouncil, Scottish Arts. Contemporary popular music. Edinburgh: Scottish Arts Council, 2001.
Den vollen Inhalt der Quelle findenInternational Conference on Popular Music Studies (7th 1993 Stockton, California). Popular music--style and identity: International Association for the Study of Popular Music Seventh International Conference on Popular Music Studies. Montreal: Centre for Research on Canadian Cultural Industries and Institutions, 1995.
Den vollen Inhalt der Quelle findenBennett, Andy. Popular music and youth culture: Music, identity, and place. Basingstoke: Palgrave, 2002.
Den vollen Inhalt der Quelle findenJames, Lull, Hrsg. Popular music and communication. 2. Aufl. Newbury Park, Calif: Sage Publications, 1992.
Den vollen Inhalt der Quelle findenHamm, Charles. Putting popular music in its place. Cambridge: Cambridge University Press, 1995.
Den vollen Inhalt der Quelle findenBuchteile zum Thema "Popular music – social aspects – california"
Chow, Yiu Fai, Jeroen de Kloet und Leonie Schmidt. „Documenting the Past, Sustaining the Present, Making the Future“. In Contemporary East Asian Visual Cultures, Societies and Politics, 1–34. Singapore: Springer Nature Singapore, 2024. http://dx.doi.org/10.1007/978-981-99-6710-0_1.
Der volle Inhalt der QuelleBrackett, David. „The Newness of Old-Time Music“. In Categorizing Sound. University of California Press, 2016. http://dx.doi.org/10.1525/california/9780520248717.003.0004.
Der volle Inhalt der QuelleLelwica, Michelle M. „Losing Their Way to Salvation“. In Religion and Popular Culture in America, Third Edition. University of California Press, 2017. http://dx.doi.org/10.1525/california/9780520291447.003.0014.
Der volle Inhalt der QuelleNorth, Adrian C., und David J. Hargreaves. „Experimental aesthetics and everyday music listening“. In The Social Psychology of Music, 84–104. Oxford University PressOxford, 1997. http://dx.doi.org/10.1093/oso/9780198523840.003.0005.
Der volle Inhalt der QuelleCohen, Annabel J. „Music As A Source Of Emotion In Film“. In Music And Emotion, 249–72. Oxford University PressNew York, NY, 2001. http://dx.doi.org/10.1093/oso/9780192631886.003.0011.
Der volle Inhalt der QuelleGeoffroy-Schwinden, Rebecca Dowd. „Social Privilège and Musician-Masons“. In From Servant to Savant, 51–76. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780197511510.003.0003.
Der volle Inhalt der QuelleAgawu, Kofi. „Rethinking Music Theory, with African Aid“. In On African Music, 105—C5N48. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780197664063.003.0005.
Der volle Inhalt der QuelleFletcher, Stella. „Religion“. In The Oxford History of the Renaissance, 87–122. Oxford University PressOxford, 2023. http://dx.doi.org/10.1093/oso/9780192886699.003.0003.
Der volle Inhalt der QuelleHansen, Kai Arne. „A Different Country?“ In Pop Masculinities, 66–99. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190938796.003.0004.
Der volle Inhalt der QuelleSilvanto, Satu. „How to Flow“. In Focus On Festivals. Goodfellow Publishers, 2015. http://dx.doi.org/10.23912/978-1-910158-15-9-2647.
Der volle Inhalt der QuelleKonferenzberichte zum Thema "Popular music – social aspects – california"
Jucu, Ioan Sebastian. „WHEN LIVE PERFORMANCES, SHOWS AND CONCERTS OF LEGENDARY ICONIC ARTISTS MARK THE HISTORY OF THE CITIES“. In 9th SWS International Scientific Conferences on SOCIAL SCIENCES - ISCSS 2022. SGEM WORLD SCIENCE, 2022. http://dx.doi.org/10.35603/sws.iscss.2022/s14.126.
Der volle Inhalt der QuelleROMAN, Diana. „The Actor, Between the Self from Theatre and the Other from Music“. In The International Conference of Doctoral Schools “George Enescu” National University of Arts Iaşi, Romania. Artes Publishing House UNAGE Iasi, 2023. http://dx.doi.org/10.35218/icds-2023-0021.
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