Relevant bibliographies by topics / Music South America

Academic literature on the topic 'Music South America'

Author: Grafiati
Published: 10 December 2022
Last updated: 28 January 2023

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Journal articles on the topic "Music South America"

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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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Mellers, Wilfrid, Lisa M. Peppercorn, and Villa-Lobos. "Letters from (South) America." Musical Times 138, no. 1858 (December 1997): 18. http://dx.doi.org/10.2307/1004053.

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Behague, Gerard, Dale A. Olsen, and Daniel E. Sheehy. "South America, Mexico, Central America, and the Caribbean." Latin American Music Review / Revista de Música Latinoamericana 21, no. 1 (2000): 75. http://dx.doi.org/10.2307/780419.

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Breternitz, Christian. "Export von (Militär-)Musikinstrumenten von Berlin nach Zentral- und Südamerika um 1900." Die Musikforschung 74, no. 4 (December 15, 2021): 308–17. http://dx.doi.org/10.52412/mf.2021.h4.3016.

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The article outlines the significance of Prussian military music of the 19th and early 20th centuries in an international context. It focuses on deliveries of musical instruments and sheet music by the Berlin company C. W. Moritz to Central and South America around 1900. The delivery lists of 1897/98 for the Colombian military bands show that they were equipped according to the Prussian model, which goes back to the ideas of Wilhelm Wieprecht. He reformed and standardised the Prussian military music system between the 1830s and 1860s, thus creating the basis for its success. The sheet music enclosed with the musical instruments gives an insight into the popular musical taste of the period around 1900, which was increasingly introduced to Central and South America. Future research will ask what impact such imports of music and musical instruments had on the development of music in Central and South America. (Vorlage)
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Schettini, Cristiana. "South American Tours: Work Relations in the Entertainment Market in South America." International Review of Social History 57, S20 (August 29, 2012): 129–60. http://dx.doi.org/10.1017/s0020859012000454.

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SummaryThis article explores the relationships between young European women who worked in the growing entertainment market in Argentine and Brazilian cities, and the many people who from time to time came under suspicion of exploiting them for prostitution. The international travels of young women with contracts to sing or dance in music halls, theatres, and cabarets provide a unique opportunity to reflect on some of the practices of labour intermediation. Fragments of their experiences were recorded by a number of Brazilian police investigations carried out in order to expel “undesirable” foreigners under the Foreigners Expulsion Act of 1907. Such sources shed light on the work arrangements that made it possible for young women to travel overseas. The article discusses how degrees of autonomy, violence, and exploitation in the artists’ work contracts were negotiated between parties at the time, especially by travelling young women whose social experiences shaped morally ambiguous identities as artists, prostitutes, and hired workers.
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Stepanova, O. "Piano culture of South and Latin America: features of formation and transformation." Culture of Ukraine, no. 74 (December 20, 2021): 66–72. http://dx.doi.org/10.31516/2410-5325.074.11.

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The purpose of the article involves a thorough study of the original sources of the emergence in Latin and South America of such an instrument as the piano. In addition, it is necessary to trace the historical stages of the transformation of the composer’s style — from European classical to a new ideological and artistic musical embodiment of a specific Latin American culture. The methodology. The main research method in the article is based on next principals: cultural-historical, comparative-typological, structural, analysis and synthesis and ascent from the abstract to the concrete. The results. The conducted historical and musical analysis revealed the importance of the piano for the formation of the musical culture of South and Latin America. Thanks to touring artists from Europe, the piano gradually gained popularity. Its evolution has gone from European imitation to the formation of its own identity in world music culture. The path of Latin and South American composers to national identity took place through rethinking and interpreting the musical styles of past eras (baroque, classicism, romanticism) and folklore. During the period of experiments, study and introduction of national cultural elements, piano works by composers of Latin and South America had a high level of professionalism and popularity. The scientific novelty. It is that the work is a comprehensive scientific study, which substantiates a holistic system of evolution and transformation of piano culture in South and Latin America. The practical significance. The materials of the article can be used in further research on the phenomenon of Latin America piano culture, as well as in classes on the history of piano art and world music history.
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Martin, Denis-Constant, and Gerard H. Behague. "Music and Black Ethnicity, the Caribbean and South America." Latin American Music Review / Revista de Música Latinoamericana 16, no. 2 (1995): 255. http://dx.doi.org/10.2307/780376.

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Bräuninger, Jürgen. "Southern Cones: Music out of Africa and South America." Leonardo Music Journal 10 (December 2000): 71–72. http://dx.doi.org/10.1162/096112100570486.

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Graziano, John. "The Early Life and Career of the "Black Patti": The Odyssey of an African American Singer in the Late Nineteenth Century." Journal of the American Musicological Society 53, no. 3 (2000): 543–96. http://dx.doi.org/10.2307/831938.

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The early career of the African American singer Matilda Sissieretta Jones (1868-1933), known as the "Black Patti," was unique in nineteenth-century America. Reviewers gave high praise to her singing, and she attracted large mixed-race audiences to her concerts across the country. Her fame was such that, during the early 1890s, she appeared as the star of several companies in which she was the only black performer. This article documents her early life in Portsmouth, Virginia, and Providence, Rhode Island; her two tours, in 1888 and 1890, to the Caribbean and South America; and her varied concert appearances in the United States and Europe up to the formation of the Black Patti Troubadours in the fall of 1896.
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Bräuninger, Jürgen. "Introduction: Southern Cones: Music out of Africa and South America." Leonardo Music Journal 10 (December 2000): 70. http://dx.doi.org/10.1162/096112100570477.

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Dissertations / Theses on the topic "Music South America"

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Childs, Alundra Nicole. "La Tradicion de Los Negros Lubolos: ¿Es Una Apreciacion o Una Apropiacion del Candombe?"." Miami University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=miami1496097078570828.

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Tygel, Julia Zanlorenzi. "Etnomusicologia participativa : conceitos e abordagens em dois estudos de caso." [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284092.

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Orientador: Lenita Waldige Mendes Nogueira
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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entre outros nomes - tem suscitado grande interesse nas últimas décadas, e vem ganhando destaque em congressos e encontros científicos. Entretanto, ainda há poucas publicações que delineiem e discutam a área, o que dificulta sua aceitação dentro do paradigma científico, que continua a caracterizá-la como atividade extra-acadêmica, realizada de forma empírica pelos pesquisadores interessados. Esta pesquisa teve como objetivo delinear, a partir de referências dos campos da etnomusicologia, antropologia e metodologia da pesquisa-ação, alguns pontos teóricos sobre a etnomusicologia participativa, com base em dois estudos de casos bastante distintos: o Arquivo Musical Timbira, sediado em Carolina/Maranhão e gerido pela ONG Centro de Trabalho Indigenista entre as comunidades indígenas Timbira do Maranhão e Tocantins; e ações do Laboratório de Etnomusicologia, Antropologia e Audiovisual, sediado na cidade de Cachoeira, no Recôncavo Baiano, que abriga diversas tradições afrodescendentes. A pesquisa teve como base o estudo bibliográfico, a permanência em campo com a postura de observação participante e a realização de entrevistas. O ponto central deste trabalho consiste na reflexão sobre as metodologias adotadas por esses projetos de pesquisa e ação em etnomusicologia, no intuito de trazer contribuições para um aprofundamento no debate sobre a etnomusicologia participativa no Brasil, fortalecendo sua importância e colocando-a como alternativa para a realização de estudos acadêmicos, especialmente no âmbito da extensão universitária.
Abstract: The participative ethnomusicology - also called applied ethnomusicology, among other terms - has been concerning much interest on last decades, and is a spreading theme in scientific conferences and meetings. However, there are still few publications which delineate and discuss the field, what turns difficult its acceptation in scientific paradigm, which continues to characterize it as an extra-academic activity, empirically conducted by the interested researches. The main goal of this research was to delineate, based in references from ethnomusicology, anthropology and action-research methodologies fields, some theoretic concepts about participative ethnomusicology, focusing very different case studies: the Timbira Musical Archive, hosted in Carolina/Maranhão, Brazil, and supported by the NGO Centro de Trabalho Indigenista among the Timbira indigenous communities in Maranhão and Tocantins states; and the initiatives from the Laboratory for Ethnomusicology, Anthropology and Audiovisual, hosted in Cachoeira city, on an area of Bahia state called Recôncavo, which has many afro-descendants traditions. The research is based in bibliographic studies, fieldwork with participative observation posture and the collecting of interviews. The central point of this work consists on the reflection about the methodologies adopted by those projects of research and action in ethnomusicology, objectifying to add contributions to deepen the debate among participative ethnomusicology in Brazil, fortifying its importance and defining it as an alternative to the development of academic studies, especially concerning university outreach programs.
Mestrado
Musica
Mestre em Música
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McGinley, Paige A. "Sound travels: Performing diaspora and the imagined American South." View abstract/electronic edition; access limited to Brown University users, 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3319110.

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Wittmann, Luisa Tombini 1979. "Flautas e maracás = música nas aldeias jesuíticas da América Portuguesa (séculos XVI e XVII)." [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/280441.

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Orientador: John Manuel Monteiro
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas
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Resumo: Esta pesquisa tem como objetivo o estudo das relações sonoras entre jesuítas e índios no Estado do Brasil e no Estado do Maranhão, durante os séculos XVI e XVII. A análise da documentação histórica, sobretudo jesuítica, atenta, na primeira parte, para as regras da Companhia de Jesus, no que se refere à música, e para suas adaptações e debates em missões na Ásia e na América Portuguesa. Aspectos das culturas nativas possibilitam a passagem das normas às práticas, em três espaços: costa e planalto paulista na metade do século XVI, Amazônia seiscentista e sertão nordestino nas últimas décadas do século XVII. Busca-se, assim, contar uma história de constantes negociações, na qual a música desempenha papéis plurais, onde atores colocam em jogo sonoridades que se revelam indispensáveis ao diálogo religioso entre ameríndios e missionários
Abstract: This thesis explores musical relations between Jesuit missionaries and Amerindian peoples in colonial Portuguese America (Brazil and the State of Maranhão) during the sixteenth and seventeenth centuries. Based mainly on Jesuit sources, this work focuses initially on the musical conventions adopted by the Society of Jesus and on their discussion and adaption within the missionary contexts of Portuguese Asia and America. The thesis then argues that different aspects of native cultures enabled the transition from conventions to practice, with emphasis on three spatial contexts: the sixteenth-century coast and São Paulo plateau, the seventeenth-century Amazon, and the northeastern hinterland. In sum, the thesis develops a story of constant negotiation, where music played multiple roles and where different historical agents exchanged sounds that proved to be indispensible in the religious dialogue between Amerindian peoples and European missionaries
Doutorado
Historia Social
Doutor em História
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Bidgood, Lee. "Bluegrass and Social Class in the American South." Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etsu-works/1041.

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Excerpt from Introduction" Social class is one of the fundamental analytical categories for studying southern cultures. Exploring southern society as the context for cultural life is an enduring concern of scholars from such disciplines as sociology, social history, anthropology, social psychology, and political science, among others, and this volume shows the vital public policy connections to scholarly issues of social class.
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Mcdowell, Michael A. "Heavy South: Identity, Performance, and Heavy Music in the Southern Metal Scene." Scholar Commons, 2016. http://scholarcommons.usf.edu/etd/6319.

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The Southern Metal scene depends heavily on the performance of a Southern Identity. While considerable research has been done on other musical genres and scenes from the American South (country music, blues, gospel music), less attention has been given to the extreme metal scene of Southern Metal. Using scholarship of Nadine Hubbs, Philip Auslander, Jefferey C. Alexander, and Keith Kahn Harris, among others, I analyze two films, Slow Southern Steel (2010) and NOLA: Life, Death, and Heavy Blues from the Bayou (2014), and one song, Down’s “Eyes of the South” as cultural productions of this Southern Metal scene. In this project, I define the musical elements and scene ethos of Southern Metal as they relate to a wider, more mainstream American audience and describe how these identities and cultural forms are produced, negotiated, and embodied.
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Pappas, Nikos A. "Patterns in the Sacred Music Culture of the American South and West (1700-1820)." UKnowledge, 2013. http://uknowledge.uky.edu/music_etds/12.

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This narrative chronicles the dissemination of sacred music from the eastern seaboard to the West and South spanning a time frame from the colonial era to the latter part of the Early Nationalist Period (1700-1820). Musical culture in its migration away from the eastern seaboard also parallels the greater western and southern expansion of the United States from its initial configuration of localized regional subgroups to the beginnings of a larger national identity. From this conceptual base, sacred music becomes a vehicle for understanding not only religious and musical changes over time, but also the broader maturity of a nation. Focusing on this period allows for inquiries both into the development of hymnody in the Middle Atlantic, and the subsequent developments of the West and South. These chronological delimitations allow for a discussion of musical practice beginning with formative sacred music developments and continuing to the incorporation of techniques shaped by reform-minded musicians from the eastern seaboard. The following topics guided the construction of this thesis: explicating how the Middle Atlantic region shaped compositional trends, aesthetic, and performance practice of the American West and South; identifying the various southern cultures as understood by eighteenth and nineteenth-century southerners and their application to sacred music practice; understanding how nineteenth-century Americans distinguished between the West and the South; understanding how southern and western music relates to individual denominations and cultures within these areas; and understanding performance practice common to the evangelical and non-evangelical branches of individual sects. Identifying patterns of development in American sacred music of the South and West involves documentation of performance practice, denominational aesthetics, and tunebook bibliography. The study of eighteenth-and-nineteenth-century material by twentieth-and-twenty-first-century writers has falsely defined cultural borders of this region according to a post-bellum conceptualization of the boundaries of the North and South. Prior to 1850, writers defined their borders according to a different set of geographic boundaries than today. Consequently, this thesis differs in terms of geographic and cultural definitions of the North and South from current scholarship because of this writer’s application of colonial and Early Nationalist understandings of American culture.
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Keith, Brandon P. "Southern rock music as a cultural form." [Tampa, Fla] : University of South Florida, 2009. http://purl.fcla.edu/usf/dc/et/SFE0003110.

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Kirby, Jason. "LIKE A WRECKING BALL: GILLIAN WELCH AND THE MODERN SOUTH." Connect to this title online, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1151330052.

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Carpenter, Heath J. "T bone burnett, the American South, and the ethic of a contemporary cultural renaissance." Thesis, Arkansas State University, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10138520.

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With the success of the O Brother, Where Art Thou? soundtrack, T Bone Burnett spent his cultural capital on repurposing traditional American music in subsequently successful soundtracks and artistic productions, providing a spark for a 21st century cultural movement that moves beyond music. This study aims to position Burnett has a cultural catalyst by grounding his work, and those abiding by a similar ethic, in the American South. In the process, I examine what Burnett’s soundtracks and select artistic productions communicate about contemporary Southern cultures and identities, while negotiating the ever-enigmatic generational issues of identity and authenticity. By extending the analysis to artists, producers, and cultural tastemakers who operate by a similar ethic as Burnett as well, I also address the characteristics of and spark igniting the preservationist, heritage movement in contemporary roots music, and how this music community contributes to ongoing conversations regarding contemporary Southern identity? The purpose of my study is to explore these connections, the culture in which they reside, and most specifically the role T Bone Burnett plays in a contemporary cultural movement which seeks to (re)present a traditional American music ethos in distinctly Southern terms. Furthermore, I will set the movement within the contemporary context in which such sounds, symbols, and narratives reside. Within this study, I read films, songs, soundtracks, albums, fashion, and performances, each loaded with symbols, archetypes, and themes that illuminate intersection past and present issues of identity. By weaving ethnographic interviews (with musicians, producers, and other cultural tastemakers) with cultural analysis, I investigate how relevant cultural issues are being negotiated, how complicated discussions of history, tradition, and heritage feed the ethic, and how the American South as a perceived distinct region factors in to the equation.

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Books on the topic "Music South America"

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Read, Kay Almere. Music in South India. Oxford: Oxford University Press, 2002.

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1974-, Nair Ajay, and Balaji Murali 1979-, eds. Desi rap: Hip-hop and South Asian America. Lanham, MD: Lexington Books, 2008.

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Gerard, Béhague, and University of Miami. North-South Center., eds. Music and Black ethnicity: The Caribbean and South America. New Brunswick, N.J: Transaction Publishers, 1994.

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McCaslin, Nellie. A gift of music. Studio City, CA: Players Press, 1996.

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Made-from-bone: Trickster myths, music, and history from the Amazon. Urbana: University of Illinois Press, 2009.

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Guerrero, J. Agustín. Yaravíes quiteños: Música ecuatoriana del siglo xix. 2nd ed. Municipio de Quito: Archivo Sonoro, 1993.

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Bugallo, Rubén Pérez. Katináj: Estudios de etno-organología musical chaquense. [Buenos Aires]: Instituto Nacional Superior del Profesorado de Folklore, 1997.

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Salazar, Ernesto. Pasado precolombino de Morona Santiago. Quito: Casa de la Cultura Ecuatoriana Benjamín Carrión, Núcleo de Morona Santiago, 2000.

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Gómez-Perasso, José Antonio. Los guarayu: Guaraníes del oriente boliviano. [Asunción]: RP Ediciones, 1988.

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Bugallo, Rubén Pérez. Katináj: Estudios de etno-organología musical chaquense. [Buenos Aires]: Instituto Nacional Superior del Profesorado de Folklore, 1997.

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Book chapters on the topic "Music South America"

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Olsen, Dale A. "The Music of South America." In The Garland Handbook of Latin American Music, 194–200. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003249986-20.

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Miller, Terry E., and Andrew Shahriari. "South America and Mexico: The Amazon Rainforest, Peru, Argentina, Brazil, Mexico." In World Music, 383–414. Fifth edition. | New York : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780367823498-12.

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Kostelanetz, Richard, and Steve Silverstein. "Composer's Report on Music in South America (1947)." In Aaron Copland, 118–20. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003061724-16.

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White, John. "Southern Music." In A Companion to the Literature and Culture of the American South, 185–202. Oxford, UK: Blackwell Publishing Ltd, 2008. http://dx.doi.org/10.1002/9780470756935.ch11.

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Ching, Barbara. "Country Music." In A Companion to the Literature and Culture of the American South, 203–20. Oxford, UK: Blackwell Publishing Ltd, 2008. http://dx.doi.org/10.1002/9780470756935.ch12.

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Heredia, Juanita. "From Dirty Wars in Argentina and Latvia to Listening to Music: Julie Sophia Paegle." In Mapping South American Latina/o Literature in the United States, 173–90. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-72392-1_11.

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"South America." In World Music: The Basics, 333–68. Routledge, 2004. http://dx.doi.org/10.4324/9780203997710-12.

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Miller, Terry E., and Andrew Shahriari. "South America and Mexico." In World Music CONCISE, 258–80. Routledge, 2018. http://dx.doi.org/10.4324/9781351176033-12.

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"South America, Mexico, Central America, and the Caribbean." In The Garland Encyclopedia of World Music, 361–80. Routledge, 2017. http://dx.doi.org/10.4324/9781315086446-25.

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"South America and Mexico: The Amazon Rainforest, Peru, Argentina,." In World Music, 448–83. Routledge, 2013. http://dx.doi.org/10.4324/9780203152980-17.

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