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Journal articles on the topic 'American music'

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Author: Grafiati

Published: 4 June 2021

Last updated: 4 March 2023

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1

Volk, Terese M. "Folk Musics and Increasing Diversity in American Music Education: 1900-1916." Journal of Research in Music Education 42, no. 4 (December 1994): 285–305. http://dx.doi.org/10.2307/3345737.

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From 1900 to 1916, the demographic makeup of the United States changed radically due to the heavy influx of people from Southern and Eastern Europe, and the schools, in particular, felt the impact of this immigration. Many music educators, like their colleagues in general education, found themselves facing an increasingly multicultural classroom for the first time. As a result of their efforts to help Americanize their immigrant students, music educators gradually came to know and accept folk songs and dances from many European countries and to make use of musics from these countries in music appreciation classes. Also during this period, some of the musics of Native Americans and African Americans were introduced into the music curriculum. Including these folk musics in the American school music curriculum resulted in an increased musical diversity that perhaps marked the beginnings of multicultural music education in the public schools.

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2

Yoo, Hyesoo, Sangmi Kang, and Victor Fung. "Personality and world music preference of undergraduate non-music majors in South Korea and the United States." Psychology of Music 46, no. 5 (July 14, 2017): 611–25. http://dx.doi.org/10.1177/0305735617716757.

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We investigated contributors of undergraduate nonmusic majors’ preferences for world musics, specifically those from Africa, Asia, and Latin America. Drawing upon the reciprocal feedback model as a theoretical framework, we determined the extent to which predictor variables (familiarity with the music, personality, and music absorption) were related to music preference. Participants were 401 undergraduate nonmusic majors from South Korea ( n = 208) and the USA ( n = 183). Participants took an online survey via Qualtrics that included demographic information, the World Musics Preference Rating Scale, the Big-Five Inventory, and the Absorption in Music Scale. Results indicated that, familiarity, followed by openness to experience, was the strongest predictor of participants’ preferences for world musics. For the U.S. participants, familiarity, followed by openness to experience, was the strongest predictor of participants’ preference for musics from each continent. By contrast, for the South Korean participants, although familiarity was also the strongest predictor for African, Latin American, and Asian musics, openness to experience was not consistently the second strongest contributor. For African music, openness to experience was ranked second; for Latin American and Asian music, agreeableness and music absorption were ranked second, respectively.

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3

KURAGANO, LEAH. "Hawaiian Music and Oceanizing American Studies." Journal of American Studies 52, no. 04 (November 2018): 1163–72. http://dx.doi.org/10.1017/s0021875818001147.

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American studies has been dedicated to understanding cultural forms from its beginnings as a field. Music, as one such form, is especially centered in the field as a lens through which to seek the cultural “essence” of US America – as texts from which to glean insight into negotiations of intellectual thought, social relations, subaltern resistance, or identity formation, or as a form of labor that produces an exchangeable commodity. In particular, the featuring of folk, indigenous, and popular music directly responded to anxieties in the intellectual circles of the postwar era around America's purported lack of serious culture in comparison to Europe. According to John Gilkeson, American studies scholars in the 1950s and 1960s “vulgarized” the culture concept introduced by the Boasian school of anthropology, opening the door to serious consideration of popular culture as equal in value to high culture.1

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4

Rasmussen, Anne K. "Made in America: Historical and Contemporary Recordings of Middle Eastern Music in the United States." Middle East Studies Association Bulletin 31, no. 2 (December 1997): 158–62. http://dx.doi.org/10.1017/s002631840003563x.

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Although Americans of Middle Eastern origin—be they of Arab, Turkish, Armenian, Sephardic Jewish, Assyrian, Greek, or Central Asian heritage—comprise one of the fastest growing groups in the United States, their music may seem invisible to the American musical connoisseur. Many of the recordings of Middle Eastern American musicians are produced and distributed within community networks. Walk into an Armenian grocer in Watertown, Massachusetts or into a Lebanese audio-video store in Dearborn, Michigan, and you will find hundreds of hours of music by Middle Eastern Americans for your listening pleasure. Walk into your public library and you may not find a thing. Middle Eastern music made in America is simply not widely available on the major or alternative recording labels to which we habitually turn for our fare of world music.

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5

Dickinson, Peter. "American Music." Musical Times 130, no. 1757 (July 1989): 418. http://dx.doi.org/10.2307/1193457.

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6

Johnson, Bret. "American Music." Tempo 57, no. 226 (October 2003): 56–57. http://dx.doi.org/10.1017/s004029820330035x.

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LEES: Symphonies Nos. 2, 3 and 51; Etudes for piano and orchestra2. 1Staatsphilharmonie Rheinland-Pfalz c. Stephen Gunzenhauser, 2James Dick (pno), Texas Festival Orchestra c. Robert Spano. Albany TROY 564/565 (2-CDset).LEES: Passacaglia. PERSICHETTI: Symphony No 4. DAUGHERTY: Philadelphia Stories; Hell's Angels. Oregon Symphony c. James De Preist. Delos DE 3291.FLAGELLO: Symphony No. 1; Theme, Variations and Fugue; Sea Cliffs; Intermezzo. Slovak Radio Symphony Orchestra c. David Amos. Naxos 8.559148.HOVHANESS: Symphony No 22, City of Light1; Cello Concerto2. 2Janos Starker (vlc), Seattle Symphony c. 1Alan Hovhaness, 2Dennis Russell Davies. Naxos 8.559158.HOVHANESS: Symphonies: No 2, Mysterious Mountain; No 50, Mount St Helens; No 66, Hymn to Glacier Peak; Storm on Mt Wildcat, op.2 no.2. Royal Liverpool Philharmonic Orchestra c. Gerard Schwarz. Telarc CD-80604.

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7

Beal, Amy C. "Negotiating Cultural Allies: American Music in Darmstadt, 1946-1956." Journal of the American Musicological Society 53, no. 1 (2000): 105–39. http://dx.doi.org/10.2307/831871.

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In the context of postwar and Cold War cultural politics, the Darmstädter Ferienkurse für Neue Musik set the stage for Germany's ambivalent reception of American music in the decades following World War II. This article weighs the catalytic role of American music in Darmstadt between 1946 and 1956; traces the relationships among U. S. cultural officers, German patrons, and representatives of American music in Darmstadt; and describes events in Darmstadt that led to a growing interest in American experimental music in West Germany. An English translation of Wolfgang Edward Rebner's 1954 Ferienkurse lecture "American Experimental Music" is included as an appendix.

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8

Paul, David C. "Consensus and Crisis in American Classical Music Historiography from 1890 to 1950." Journal of Musicology 33, no. 2 (2016): 200–231. http://dx.doi.org/10.1525/jm.2016.33.2.200.

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In the late nineteenth century American publishers began to answer a burgeoning demand for histories of classical music. Although some of the authors they contracted are well-known to scholars of music in the United States—most notably Edward MacDowell and John Knowles Paine—the books themselves have been neglected. The reason is that these histories are almost exclusively concerned with the European musical past; the United States is a marginal presence in their narratives. But much can be learned about American musical culture by looking more closely at the historiographical practices employed in these histories and the changes that took place in the books that succeeded them in the first half of the twentieth century. In particular, they shed light on the shifting transatlantic connections that shaped American attitudes toward classical music. Marked at first by an Anglo-American consensus bolstered by the social evolutionary theory of prominent Victorians, American classical music histories came to be variegated, a result of the influence of Central European émigrés who fled Hitler’s Germany and settled in North America. The most dramatic part of this transformation pertains to American attitudes toward the link between music and modernity. A case study, the American reception of Gustav Mahler, reveals why Americans began to see signs of cultural decline in classical music only in the 1930s, despite the precedent set by many pessimistic fin-de-siècle European writers.

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9

GABRIEL, JOHN. "There and Back Again: Zeitoper and the Transatlantic Search for a Uniquely American Opera in the 1920s." Journal of the Society for American Music 13, no. 2 (May 2019): 195–215. http://dx.doi.org/10.1017/s1752196319000075.

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AbstractThis article argues that in the late 1920s, the German genre of Zeitoper paradoxically became an essential component of the search for a new kind of uniquely American opera, resulting in a transatlantic cycle of mutual influence. This influence was possible because Germans and Americans alike saw the United States as the embodiment of modern life and technology. American producers and composers thus adapted German Zeitoper to bring it more in line with Americans’ self-image. I examine this dynamic by juxtaposing two German and two American Zeitopern, looking specifically at their engagement with jazz, film, race, and American popular musical theater: Paul Hindemith's Hin und zurück, Marc Blitzstein's Triple-Sec (inspired by Hindemith's opera), Ernst Krenek's Jonny spielt auf in the United States, and the unsuccessful effort to stage George Antheil's Transatlantic (modeled on Jonny and revised under the mentorship of Krenek) in New York. Both Germans’ image of America and Americans’ self-image were as much real as imagined, and although the similarities between them facilitated this cultural exchange, their differences also impeded it.

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10

SHADLE, DOUGLAS. "Nineteenth-Century Music." Journal of the Society for American Music 9, no. 4 (November 2015): 477–84. http://dx.doi.org/10.1017/s1752196315000401.

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Musicological research on nineteenth-century music blossomed during the 1970s. The surge was solidified with the founding of the journal 19th-Century Music in 1977, roughly a year after the establishment of the Sonneck Society and a decade before the appearance of AmeriGrove I. During this decade, the journal published seven articles on nineteenth-century American subjects (all on the United States, not other American regions or countries). By contrast, the official journal of the Sonneck Society, American Music, published nearly twice that number between 1983 and 1986 alone. Although this simple metric has sociological explanations exceeding the scope of this review, it suggests that work on nineteenth-century music in the Americas stood at some remove from general musicological discourse in the Sonneck Society's early days.

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11

Kushnir, Roman. "Music in Constructing Finnish American Identities in the Immigrant Novel by Martin Koskela." Journal of Finnish Studies 25, no. 1 (July 1, 2022): 1–21. http://dx.doi.org/10.5406/28315081.25.1.01.

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Abstract In the immigrant novel Welcome to Shadow Lake (1996) by the Finnish American author Martin Koskela, music is portrayed as a notable component of the ethnic heritage of Finnish American immigrants and their descendants in the US in the 1930s. This article analyzes the roles of music in characters’ identity formation with the help of the concept of transculturation, as developed by Mary Louise Pratt, and the theories of music in constructing and negotiating identity developed by Mark Slobin, Martin Stokes, Simon Frith, Georgina Born, and Ulrik Volgsten. Characters use their musical activities to maintain their Finnishness in the new country, but their Old Country music changes by acquiring new meanings and eventually by incorporating new traits of US and Finnish cultures. The discussion focuses on two aspects of music in Koskela's novel. First, live music and related activities such as dances, performed by ethnic Finnish bands as well as visiting musicians, function as shared markers of Finnish American ethnicity. The characters help build and maintain an ethnic community, but at the same time make their “little Finland” an integrated part of the United States. Second, recorded and radio broadcast music provides the characters with both a gateway to America and new symbols of Finnishness, thus enabling different generations of Finnish Americans to negotiate their identities in relation to the past and present, their Old Country heritage, and their sense of American identity. On the whole, the characters’ music reflects identities that are transcultural, both Finnish and American.

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12

Miller, Kiri. "Americanism Musically: Nation, Evolution, and Public Education at the Columbian Exposition, 1893." 19th-Century Music 27, no. 2 (2003): 137–55. http://dx.doi.org/10.1525/ncm.2003.27.2.137.

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The Columbian Exposition (the World's Fair in Chicago, 1893) was intended to represent the entire progress of human history, with American civilization as its culminating triumph. The Exposition celebrated the four-hundredth anniversary of Columbus's discovery of the New World; it restaged that discovery in myriad ways: from the display of ““savage races”” on the Midway to the construction of an emergent American middle class as civilization's newest noble savages, hungry for education. Music was an integral part of the Exposition. America's musical elite took an active role in the fair's promotion and design. The Exposition also stimulated a flood of writing on the nature and future of ““truly American”” music. This article examines American musical culture at the Exposition, with attention to music as art, science, and commerce three categories at the heart of the Exposition's formal definition of music. The network of mutual reinforcements, contradictions and the related concepts of nation, race, and evolution has powerful implications for the ensuing history of music in America. Analysis of the educational agenda of music at the Exposition suggests it taught its visitors--5 to 10 percent of the American population--a great deal about race, class, nationhood, and their identity as consumers. Reading the musical criticism, speculative philosophy, and patriotic grandstanding that accompanied the fair shows how musical thought of the day relied on evolutionary theory.

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13

Graber, Naomi. "Rethinking American Music." American Music 38, no. 4 (December 1, 2020): 524–27. http://dx.doi.org/10.5406/americanmusic.38.4.0524.

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14

Gilbert, Philip. "American Choral Music." Musical Times 130, no. 1759 (September 1989): 519. http://dx.doi.org/10.2307/1193512.

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15

Koetting, James. "Afro-American Music." Ethnomusicology 29, no. 2 (1985): 330. http://dx.doi.org/10.2307/852146.

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16

Koegel, John, Ramiro Burr, Lalo Guerrero, Sherilyn Meece Mentes, David Reyes, Tom Waldman, Broyles-Gonzalez, et al. "Mexican American Music." American Music 23, no. 2 (2005): 257. http://dx.doi.org/10.2307/4153034.

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17

Lee, Douglas A., and Bennett Lerner. "American Piano Music." American Music 6, no. 1 (1988): 118. http://dx.doi.org/10.2307/3448361.

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18

Cohen, Norm. "Jewish-American Music." Journal of American Folklore 102, no. 405 (July 1989): 330. http://dx.doi.org/10.2307/540646.

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19

Cohen, Norm. "Italian-American Music." Journal of American Folklore 102, no. 405 (July 1989): 333. http://dx.doi.org/10.2307/540647.

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20

Cohen, Norm. "Mexican-American Music." Journal of American Folklore 102, no. 405 (July 1989): 335. http://dx.doi.org/10.2307/540648.

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21

Cohen, Norm. "French-American Music." Journal of American Folklore 102, no. 405 (July 1989): 336. http://dx.doi.org/10.2307/540649.

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22

Chybowski. "GERMAN AMERICAN MUSIC." Journal of American Ethnic History 32, no. 4 (2013): 75. http://dx.doi.org/10.5406/jamerethnhist.32.4.0075.

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23

Horowitz, Joseph. "Henry Krehbiel: German American, Music Critic." Journal of the Gilded Age and Progressive Era 8, no. 2 (April 2009): 165–87. http://dx.doi.org/10.1017/s1537781400001134.

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The “dean” of New York's music critics a century ago, Henry Krehbiel–born in Ann Arbor to German immigrant parents—was emblematic of a vibrant intellectual community that blended Germanic and American traits. As a dominant propagator of a distinctively wholesome American Wagnerism, he embodied both German Kunst and American meliorism. As a self-made critic, he combined weighty scholarly learning and prose with a nose for news and a popularizing bent. During World War I, the German enemy incited no more patriotic response than his. But Krehbiel was increasingly stranded in postwar America. A bearer of genteel culture, he retained his iron criterion of uplift; no such aesthetic anchor would stabilize art in times to come.

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24

PRESTON, KATHERINE K. "American Musical Life Before 1900." Journal of the Society for American Music 8, no. 2 (May 2014): 125–29. http://dx.doi.org/10.1017/s1752196314000042.

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The Journal of the Society for American Music is the official organ of the Society; as such, the articles published in its pages deal with a wide range of topics that both reflect its mission and illustrate the incredible diversity of music and musical styles composed, performed, and heard in the Americas. A glance at the tables of contents for issues published in the last three volumes of the journal (February 2011 through February 2014) provides an illuminating snapshot of the wondrous multiplicity that characterizes American music history. The thirteen issues published during that time include articles on popular music (hip hop, ragtime, swing, jazz, rock, country, soul), musical theatre, teachers, conductors, works by composers ranging from Ives and Copland to Feldman, Harrison, and Reich (and many in between), performers (Heifetz, Robeson, Zappa), jam sessions, ethnomusicological topics; in other words, the journal reflects in a truly impressive manner the rich and varied musical culture of the Americas. What is seriously underrepresented in this panoply of musical multiplicity, however, is the rich, diverse, and similarly wondrous American musical culture of any time before the twentieth century. Of the forty-two articles published over this three-year period, only two (5 percent) deal with American music or musical life before 1900, both of them on nineteenth-century topics.

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25

C.S.T, Maria Elfrieda, and Ida Rochani Adi. "THE FORM OF SENSUALITY IN HISPANIC MUSIC IN AMERICAN MUSIC INDUSTRY: DISCOURSE ANALYSIS ON AMERICAN POPULAR MUSIC." Rubikon : Journal of Transnational American Studies 7, no. 1 (December 23, 2020): 64. http://dx.doi.org/10.22146/rubikon.v7i1.62512.

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In 2017 and 2018, Hispanic music reaches high popularity as world music. The reaction came from the American music industry, seen through the production of Hispanic music in American music industry, which brings Hispanic music as a part of American popular music. In this case, American popular musicians started to produce music that contains Hispanic music characteristics. Among all of the characteristics, the form of sensuality becomes a significant aspect in producing Hispanic music, even in American music industry. In relation to this fact, this research is conducted in order to see how the form of sensuality supports the popularity of Hispanic music. The theory of Discourse Analysis by Michel Foucault is applied to analyze sensuality as adiscourse behind the popularity of Hispanic music. As a research conducted within the frame of American Studies, this research also usesthe postmodern approach to see the new formula related to the form of sensuality in Hispanic music, especially when produced in the American music industry.

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26

Bendrups, Dan. "Latin Down Under: Latin American migrant musicians in Australia and New Zealand." Popular Music 30, no. 2 (May 2011): 191–207. http://dx.doi.org/10.1017/s026114301100002x.

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AbstractThe global significance of Latin American popular music is well documented in contemporary research. Less is known about Latin American music and musicians in Australia and New Zealand (collectively termed ‘Australasia’): nations that have historically hosted waves of migrants from the Americas, and which are also strongly influenced by globalised US popular music culture. This article presents an overview of Latin American music in Australasia, drawing on ethnographic research, with the aim of providing a historical framework for the understanding of this music in the Australasian context. It begins with an explanation of the early 20th-century conceptualisation of ‘Latin’ in Australasia, and an investigation into how this abstract cultural construction affected performance opportunities for Latino/a migrants who began to arrive en masse from the 1970s onwards. It then discusses the performance practices that were most successfully recreated by Latin American musicians in Australia and New Zealand, especially ‘Andean’ folkloric music, and ‘tropical’ dance music. With reference to prominent individuals and ensembles, this article demonstrates how Andean and tropical performance practices have developed over the course of the last 30 years, and articulates the enduring importance of Latin American music and musicians within Australasian popular music culture.

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27

Kim, Soojin. "Music General Education for Cultural Diversity－Focusing on American Music Historiography." Korean Association of General Education 16, no. 1 (February 28, 2022): 287–97. http://dx.doi.org/10.46392/kjge.2022.16.1.287.

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Music is considered as one of the most effective mediums to enhance cultural diversity. As Korea becomes a more multicultural society, many scholarly works have been examining concepts and theories regarding multiculturalism and cultural diversity. Moreover, an increasing number of scholarly works pertaining to music have been written which aim to teach cultural diversity to students intent on becoming world citizens. Previous works have focused on music curriculum development, comparative studies of multiculturalism in the US and Australia, comparative studies of music textbooks, and the limits of the concept of multiculturalism. However, those studies encompass other types of music which exclude music based on western music idioms. Thus, this study aims to investigate the case of multiculturalism and to examine multicuturalism as it appears in music from the US. To do so, this study focuses on one of the textbooks written by Richard Crawford and Larry Hamberlin that is widely used in America. The research positions this textbook as a turning point in the changing of American music historiography and shows how the coverage of American music history has broadened from classical music to other diverse musical genres. Furthermore, this study will not only analyze the perspective of certain scholars, but will also examine the sort of musical diversity that has been accepted in American music historiography. Finally, this article will shed light on the new way to understand multiculturalism from a different angle.

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28

DuPree, Mary Herron. "Mirror to an Age: Musical America, 1918–30." Royal Musical Association Research Chronicle 23 (1990): 137–47. http://dx.doi.org/10.1080/14723808.1990.10540939.

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The time between the end of the First World War in 1918 and the stock market crash in 1929 has traditionally been considered an interregnum in American Music: before it, American music and musical culture largely reflected that of Europe, and after it, America found its voice in the distinctive compositions of Aaron Copland, Roy Harris and others. An examination of periodical writings on music from that time, however, reveals that this period marked not a state of anticipation but the real beginning of modern American music, of composition of international significance, and of distinctive styles of American composition. It was a period when traditionalism, modernism and jazz-influenced composition were each passionately defended and condemned not only in the music journals but in the pages of most of the general intellectual magazines.

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29

Wang, Tian, Yuan Yang, and Jing Liu. "A Study of African American English Variant Based on the Corpus of Afro-American Music." International Journal of Languages, Literature and Linguistics 8, no. 2 (June 2022): 126–32. http://dx.doi.org/10.18178/ijlll.2022.8.2.334.

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As black culture became a trend, African American English, used by the majority of Afro-Americans, also gained influence. In order to solve the prejudice and misunderstanding toward language variant, this paper, taking Afro-American music as corpus, sorts out the characteristics and development history of AAE, introduces the concept of language variant, and analyzes AAE from the perspective of sociolinguistics. It is expected to arouse the attention to AAE English variant in the field.

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30

Specht, R. John. "Americana: Choral Masterworks of American Composers." American Music 5, no. 2 (1987): 230. http://dx.doi.org/10.2307/3052176.

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31

Neal, Jocelyn. "Popular Music Analysis in American Music Theory." Zeitschrift der Gesellschaft für Musiktheorie [Journal of the German-Speaking Society of Music Theory] 1–2, no. 2/2–3 (2005): 173–80. http://dx.doi.org/10.31751/524.

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32

Edwards, Kay L. "Native American Music in General Music Class." General Music Today 7, no. 1 (October 1993): 6–10. http://dx.doi.org/10.1177/104837139300700104.

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33

Wallenius, Todd. "American Counterculture Ideals Expressed through the Music of the 1960s." Prithvi Academic Journal 1, no. 1 (May 31, 2018): 79–87. http://dx.doi.org/10.3126/paj.v1i1.25902.

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The 1960s era was one of the most divisive, turbulent periods in American history. In many ways, the decade was defined by the Counterculture Movement and by those who resisted the demands of a conformist society rooted in Cold War values. This historical study first contextualizes the emergence of the Counterculture Movement of the 1960s within the historical period of mid-century America. Next, the paper provides an analysis of the values of the Counterculture Movement expressed through music. Exploration of counterculture songs reveals that participants advocated the rejection of society through the expression of personal freedom, immediate gratification, anti-materialism, community, and free love. Furthermore, inquiry demonstrates that music was used as a vehicle to explain and promote the movement’s ideals. Ultimately, the study demonstrates the ways in which music of the Counterculture Movement reflected Americans’ broader questions of, and challenges to, the Cold War culture in the late- 1960s.

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34

Masa de Lucas, Olmo. "Blackface Nation. Race, Reform, and Identity in American Popular Music." Revista de Estudios Norteamericanos, no. 22 (2018): 349–53. http://dx.doi.org/10.12795/ren.2018.i22.18.

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35

Roland-Silverstein, Kathleen. "Music Reviews." Journal of Singing 79, no. 3 (December 30, 2022): 413–16. http://dx.doi.org/10.53830/tjdv9385.

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This music review covers new (2022) song and aria publications. These include operatic arias excerpted from the chamber opera, Uncovered, by American composer Lori Laitman; a two volume collection of operatic arias by American composer Stephen Paulus; the song, “Partridge Sky”, by Chinese composer Fang Man; and a collection of encore songs created by 20th century comedienne Anna Russell, in a new edition by American pianist and editor, Dace Gisclard.

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36

Hunter, Mead. "Interculturalism and American Music." Performing Arts Journal 11, no. 3 (1989): 186. http://dx.doi.org/10.2307/3245436.

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37

Vandermeer, Philip, and Kip Lornell. "Introducing American Folk Music." Notes 50, no. 3 (March 1994): 991. http://dx.doi.org/10.2307/898573.

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38

Howe, Warren P. "Early American Military Music." American Music 17, no. 1 (1999): 87. http://dx.doi.org/10.2307/3052375.

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39

MacDonald, Kelly A. "Native American Music Forgotten." Music Educators Journal 89, no. 4 (March 2003): 9. http://dx.doi.org/10.2307/3399895.

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40

Davidson, Mary Wallace. "Introduction: Disciplining American Music." American Music 22, no. 2 (2004): 270. http://dx.doi.org/10.2307/3593005.

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41

Marcus, Kenneth H. "Music and American Culture." History Compass 5, no. 4 (June 2007): 1412–30. http://dx.doi.org/10.1111/j.1478-0542.2007.00445.x.

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42

Salzman, Eric. "Whither American Music Theater?" Musical Quarterly 75, no. 4 (1991): 235–47. http://dx.doi.org/10.1093/mq/75.4.235.

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43

Whidden, Lynn. "North American Native Music." Journal of American Folklore 109, no. 432 (1996): 193. http://dx.doi.org/10.2307/541835.

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44

Teck, Katherine. "American music for dance." Dance Chronicle 21, no. 3 (January 1998): 481–84. http://dx.doi.org/10.1080/01472529808569326.

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45

Williams, Patrice Jane. "African American Sheet Music." Charleston Advisor 24, no. 3 (January 1, 2023): 5–9. http://dx.doi.org/10.5260/chara.24.3.5.

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African American Sheet Music is a database created by the Center for Digital Scholarship located in John Hay Library at Brown University. It is a culturally rich database filled with sheet music, illustrations, lyrics, and music publishing history centering around the lives of African American composers, musicians, singers, dancers, and stage actors. Various descriptions have the holdings set between different collection dates; however, in the search filters researchers can search items between 1800 and 1926, with some years missing in between. African American Sheet Music contains a wealth of information about African American theater during eras such as the Antebellum South, the Civil War, Reconstruction, and Post-Reconstruction. In addition, there are important illustrations for blackface minstrelsy. Approximately 1,455 items are digitized and readily available for research usage.

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ROBERTSON, MARTA. "Ballad for Incarcerated Americans: Second Generation Japanese American Musicking in World War II Camps." Journal of the Society for American Music 11, no. 3 (August 2017): 284–312. http://dx.doi.org/10.1017/s1752196317000220.

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AbstractDuring World War II, the United States government imprisoned approximately 120,000 Japanese Americans, two-thirds of whom were American-born citizens, half of whom were children. Through ethnographic interviews I explore how fragile youthful memories, trauma, and the soundscape of the War Relocation Authority (WRA) Incarceration Camps shaped the artistic trajectories of three such former “enemy alien” youth: two pianists and a koto player. Counterintuitively, Japanese traditional arts flourished in the hostile environment of dislocation through the high number ofnisei(second generation) participants, who later contributed to increasing transculturalism in American music following resettlement out of camp. Synthesizing Japanese and Euro-American classical music, white American popular music, and African American jazz, manyniseiparadoxically asserted their dual cultural commitment to both traditional Japanese and home front patriotic American principles. A performance of Earl Robinson and John Latouche's patriotic cantata,Ballad for Americans(1939), by the high school choir at Manzanar Incarceration Camp demonstrates the hybridity of these Japanese American cultural practices. Marked by Popular Front ideals,Ballad for Americansallowedniseito construct identities through a complicated mixture of ethnic pride, chauvinistic white Americanism allied with Bing Crosby's recordings of theBallad, and affiliation with black racial struggle through Paul Robeson's iconicBalladperformances.

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Guerrini, Susan C., and Mary C. Kennedy. "Cross-Cultural Connections: An Investigation of Singing Canadian and American Patriotic Songs." Bulletin of the Council for Research in Music Education, no. 182 (October 1, 2009): 31–40. http://dx.doi.org/10.2307/27861460.

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Abstract The purpose of this study is to compare American and Canadian high school choral students’ knowledge of their respective patriotic songs. The questions of the study are as follows: (a) do students sing accurately their respective national anthems relative to melody and lyrics; (b) do students sing accurately "America" and "God Save the Queen" relative to melody and lyrics; (c) do students sing accurately the national anthems of each other’s country relative to melody and lyrics; and (d) is there a difference in the accuracy when students sing their respective and each other’s patriotic songs? The sample consisted of 102 secondary school students who were enrolled in non-auditioned choir classes and audio taped singing unaccompanied versions of their respective national anthems and "America" or "God Save the Queen." Results indicated that overall, Americans were significantly more proficient than Canadian singers. When converted to percentages, 77% of American students and 41% of Canadian students were judged as proficient when singing lyrics and melody of their own National Anthem. American students were significantly more accurate (p < .0001) in melody and lyrics when singing "America" than Canadian students who performed "God Save the Queen." Implications for practical application indicate that more emphasis should be placed on giving choir students the opportunity to sing their own national anthems, with special attention to typical lyric mistakes.

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Romero, Sergio Ospina. "Ghosts in the Machine and Other Tales around a “Marvelous Invention”: Player Pianos in Latin America in the Early Twentieth Century." Journal of the American Musicological Society 72, no. 1 (2019): 1–42. http://dx.doi.org/10.1525/jams.2019.72.1.1.

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Gabriel García Márquez's literary portrait of the arrival of the pianola in Macondo in One Hundred Years of Solitude functions as a metaphor for the reception and cultural legitimization of player pianos in Latin America during their heyday in the 1910s and 1920s. As a technological intruder, the player piano inhabited a liminal space between the manual and the mechanical as well as between unmediated musical experiences and the mechanically mediated consumption of sounds. It thus constitutes a paradigmatic case by which to examine the contingent construction of ideas about tradition and modernity. The international trade in player pianos between the United States and Latin America during the first decades of the twentieth century was developed in tandem with the commercial expansion and political interventionism of the United States throughout the Americas during the same period. The efforts of North American businessmen to capture the Latin American market and the establishment of marketing networks between US companies and Latin American dealers reveal a complex interplay of mutual stereotyping, First World War commercial geopolitics, capitalization on European cultural/musical referents, and multiple strategies of appropriation and reconfiguration in relation to the player piano's technological and aesthetic potential. The reception of player pianos in Latin America was characterized by anxieties very similar to those of US consumers, particularly with regard to the acousmatic nature of their sounds and their perceived uncanniness. The cultural legitimization of the instrument in the region depended, however, on its adaptation to local discourses, cultural practices, soundscapes, expectations, language, gender constructions, and especially repertoires.

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CANNATA, AMANDA. "Articulating and Contesting Cultural Hierarchies: Guatemalan, Mexican, and Native American Music at the Panama-Pacific International Exposition (1915)." Journal of the Society for American Music 8, no. 1 (February 2014): 76–100. http://dx.doi.org/10.1017/s1752196313000618.

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AbstractThree case studies, on Guatemalan, Mexican, and Native American music performed at San Francisco's 1915 Panama-Pacific International Exposition, illustrate the complex and varied ways that music can both reflect and challenge dominant and local ideologies of cultural value. The Guatemalan Commission made a claim for cultural significance through the Hurtado Royal Marimba Band's residency in their pavilion. This claim, however, was made through a Euro-American framework of cultural progress; the band's performances thus obscured the important role of Afro-Guatemalans and indigenous groups in the nation's marimba tradition. Although the “Mexican Village” depicted Mexico as exotic and primitive, the daily performances of the Orquesta Típica Torreblanca in the village showcased the country's cosmopolitan side. Native Americans were frequently subjected to exoticizing and racist musical ventriloquism at the PPIE, yet on at least one occasion a group of Blackfoot people refused this imposition and used music to push for control over their representation. The presence of these musics and musicians, largely ignored in the exposition's official administrative record, demonstrates the shifting power dynamics that shaped the performance and reception of music on the fairgrounds, and reveals that even in environments heavily shaped by dominant ideologies of race, gender, and class, multiple discourses of power and value can circulate.

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Klump, Brad. "Origins and Distinctions of the "World Music" and "World Beat" Designations." Canadian University Music Review 19, no. 2 (March 1, 2013): 5–15. http://dx.doi.org/10.7202/1014442ar.

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This article traces the origins and uses of the musical classifications "world music" and "world beat." The term "world beat" was first used by the musician and DJ Dan Del Santo in 1983 for his syncretic hybrids of American R&B, Afrobeat, and Latin popular styles. In contrast, the term "world music" was coined independently by at least three different groups: European jazz critics (ca. 1963), American ethnomusicologists (1965), and British record companies (1987). Applications range from the musical fusions between jazz and non-Western musics to a marketing category used to sell almost any music outside the Western mainstream.

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