Relevant bibliographies by topics / Music – Tanzania – American influences

Academic literature on the topic 'Music – Tanzania – American influences'

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

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Journal articles on the topic "Music – Tanzania – American influences"

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van der Lee, Pedro. "Latin American influences in Swedish popular music." Popular Music and Society 21, no. 2 (June 1997): 17–45. http://dx.doi.org/10.1080/03007769708591666.

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Narvaez, Peter. "The Influences of Hispanic Music Cultures on African-American Blues Musicians." Black Music Research Journal 22 (2002): 175. http://dx.doi.org/10.2307/1519948.

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Pope, Edgar W. "Imported others: American influences and exoticism in Japanese interwar popular music." Inter-Asia Cultural Studies 13, no. 4 (December 2012): 507–17. http://dx.doi.org/10.1080/14649373.2012.717598.

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Narvaez, Peter. "The Influences of Hispanic Music Cultures on African-American Blues Musicians." Black Music Research Journal 14, no. 2 (1994): 203. http://dx.doi.org/10.2307/779484.

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LeCroy, Hoyt F. "Community-Based Music Education: Influences of Industrial Bands in the American South." Journal of Research in Music Education 46, no. 2 (July 1998): 248–64. http://dx.doi.org/10.2307/3345627.

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From as early as 1855 and extending to the middle of the twentieth century, American industry encouraged the formation of bands and other musical organizations for workers, ostensibly to enhance their welfare. The actual purposes of music in industry, however, were often to prevent formation of unions and maintain social regimes. As industry expanded into the agrarian South, industrial bands augmented the limited town band tradition. Their performances, role-modeling and community-based instruction of young people filled curricular voids and developed favorable cultural environments for the eventual addition of instrumental music to public school curricula. A historical case study of the activities and influences of a significant industrial band in the state of Georgia provides a basis for formulating conclusions regarding influences of industry on music education in the American South.
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Schurk, William L., B. Lee Cooper, and Julie A. Cooper. "Before the Beatles: International Influences on American Popular Recordings, 1940–63." Popular Music and Society 30, no. 2 (May 2007): 227–66. http://dx.doi.org/10.1080/03007760701267755.

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Chong, Angela A. "Elusive Kodály Part I: Searching for Hungarian Influences in US Preschool Music Education." Hungarian Cultural Studies 15 (July 19, 2022): 33–44. http://dx.doi.org/10.5195/ahea.2022.463.

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This paper is the first part of two articles exploring whether and how Hungarian music pedagogues have influenced early childhood music education in the United States. Using less-known publications and archived materials, this study moves beyond the well-documented history of the Hungarian pedagogue, Zoltán Kodály’s influence upon American general music education to focus on Kodály’s early childhood concepts, which form the backbone of the Hungarian philosophy of music education. Through the lives and work of the Hungarian and American music educators, Katinka Dániel, Katalin Forrai, Sister Lorna Zemke and Betsy Moll, I delineate a pedigree of distinguished female Kodály protégés professing a passion for Hungarian early childhood music pedagogy that did not mainstream into US preschools. In words spoken by and about these scholar-educators, my research locates the systemic and cultural factors contributing to the challenge of implementing Hungarian musical ideas in US preschools. To round out a description of the elusive Kodály influence on US early childhood music, this analysis also draws upon my own Los Angeles experience in searching for a quality Kodály education for my young toddlers.
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FRIEDMAN, MONROE. "Commercial Influences in the Lyrics of Popular American Music of the Postwar Era." Journal of Consumer Affairs 20, no. 2 (December 1986): 193–213. http://dx.doi.org/10.1111/j.1745-6606.1986.tb00378.x.

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Palmese, Michael. "THE CURIOUS CASE OF ANTHONY GNAZZO: A LOST AMERICAN EXPERIMENTALIST." Tempo 74, no. 294 (September 1, 2020): 39–47. http://dx.doi.org/10.1017/s0040298220000376.

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ABSTRACTArchival evidence indicates that Anthony Gnazzo was a major figure within the Bay Area avant-garde music scene of the 1960s and 1970s who retired from composition by 1983 and has since been largely forgotten. Historical documents reveal, however, that a study of Gnazzo enables us to better understand the complex network of influences and artists working on experimental music in the Bay Area during the 1960s, 70s, and 80s. This article outlines Gnazzo's career and work, from his earliest academic compositions to his late electronic pieces, and concludes with a consideration of the ethical and moral issues inherent in musicological research on living subjects, particularly in the case of a composer who consciously avoids discussion of his personal aesthetic or compositional output. Should one study music that appears to have been ‘abandoned’ by the artist?
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Kahn, Douglas. "Christian Marclay's Early Years: An Interview." Leonardo Music Journal 13 (December 2003): 17–21. http://dx.doi.org/10.1162/096112104322750737.

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The artist discusses with the author his early career and influences. Marclay explains his upbringing in Switzerland and his lack of familiarity with American mass culture, to which he credits his early experiments in art, music and performance using records. Marclay describes the evolution of his use of records and discusses other influences, such as art school and the New York club scene of the 1970s.
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Dissertations / Theses on the topic "Music – Tanzania – American influences"

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Fernandez, Carlos. "American music / Cuban music: influences and connections." FIU Digital Commons, 2002. http://digitalcommons.fiu.edu/etd/3231.

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This thesis will demonstrate the effects of American music, specifically jazz, on the different styles of Cuban music. It will be presented chronologically, explaining decade by decade, how American music penetrated the Cuban culture in almost all musical genres.
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Speedie, Penelope Ann. "American operas on American themes by American composers : a survey of characteristics and influences /." The Ohio State University, 1991. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487758178236837.

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McReynolds, Robert Timothy. "The influences of American popular music upon twentieth-century song and chamber music." College Park, Md. : University of Maryland, 2005. http://hdl.handle.net/1903/3088.

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CHUA, EMILY YAP. "SOCIAL AND DOMESTIC INFLUENCES IN RUTH CRAWFORD'S MUSIC." University of Cincinnati / OhioLINK, 2002. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1021661917.

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Torchon, Jeffrey M. "Enrique Jorrín and Cha-Cha-Chá: Creation, Historical Importance, and Influences on American Music Education." Master's thesis, Temple University Libraries, 2015. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/364953.

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Music Education
M.M.
One of the most distinctive musical genres that originated in Cuba over the last century has been Cha-Cha-Chá, which was created by Enrique Jorrín in the 1950s. The popularity of this music has grown considerably since its genesis, evidenced by the vast array of repertoire associated with the style of music, the multitude of bands performing it and its prevalence in popular culture. The music has traveled the world via aural transmission; advances in technology have helped to disseminate Cha-Cha-Chá and have contributed to its prevalence. Very little research—particularly research written in the English language—exists on this genre and its creator. Due to its musical significance and social impact, it is important to understand Cha-Cha-Chá’s place in modern Cuba and how it has been preserved over time. The purpose of this study is to discuss Enrique Jorrín’s influence on the creation and performance of Cha-Cha-Chá, and to discuss the importance of Cha-Cha-Chá in American music education.
Temple University--Theses
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Willsie, Lucas. "Latin American Fusion: An Analysis of U.S. and Latin American Musical Styles and their Synthesis Exhibited in "The Cape Cod Files" by Paquito D'Rivera." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1505206/.

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This document focuses on background and performance practice of various musical styles encountered in Paquito D'Rivera's The Cape Cod Files. More specifically, the musical styles examined include: boogie-woogie, Argentine milonga, classical and popular Cuban music, American twelve-bar blues, contemporary atonal music, and Cuban danzón. A brief biography of Paquito D'Rivera is included to establish context of the composer's musical background. Each chapter examines one of the four movements and the musical styles found within that movement. A brief history of each musical style is provided to inform appropriate performance practice decisions.
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Lo, Albert. "The Impact of American Conductors on the Development of Japanese Wind Band Repertoire as Evidenced in the Programming of Tokyo Kosei Wind Orchestra, Musashino Academia Musicae, Showa Academia Musicae, Senzoku Gakuen School of Music, and Tokyo University of the Arts." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1404612/.

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The wind bands in Japan are considered by many scholars and wind band conductors to be among some of the finest ensembles in today's wind ensemble medium. The literature and repertoire of Japanese ensembles have evolved from orchestral transcriptions, patriotic music, and military marches to original compositions by European, American, and Japanese composers. British conductor Timothy Reynish states that Japanese wind band music has looked traditionally towards the United States and occasionally United Kingdom for inspiration and repertoire. This phenomenon can be attributed to the many collegiate American and the few English wind band conductors who traveled to Japan as guest conductors, and in some cases, became residents of Japan. The focus of this study is to closely examine this significant impact of American collegiate wind band conductors, their influence on Japanese programming and how that programming has affected the collegiate repertoire. This study includes surveys of repertoire, concert programs, discographies of recordings, and interviews with prominent American conductors currently conducting in Japan. This research documents the impact that American wind band conductors have had on the programming of Japanese wind bands and how their influence have altered the collegiate repertoire. Evidence of this impact is documented by Toshio Akiyama, who states that "The influence of visiting musicians from abroad must be measured as one of the most influential aspects affecting Japanese band growth. Although the effect of Japanese musicians traveling to the United States or Europe has been beneficial, the overall impact on large numbers of people has been more directly due to the visitors from abroad."
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Mohammed, Michael. "Sounding and Signifyin’: Representation and the Theatrical Black Voice." Thesis, 2020. https://doi.org/10.7916/d8-wv7w-9s18.

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This qualitative dissertation identifies musical strategies that black theatre singers use when presenting and representing music that integrates western classical vocal aesthetics with stylistic genres of traditionally black forms like gospel, jazz, and blues. This study investigates the use of the voice by five black opera and musical theatre performers and the approaches that they take in the representation of music that requires integrated vocality, which integrates elements from western classical traditions with those from black popular and folk idioms. Data were collected through audio/visual analysis, interviews, and video stimulated recall, presented through narrative analysis. Three emergent themes are explored are as follows: Authenticity is rooted in the singer’s experience of cultural traditions and expression; technique is a means of personal and cultural expression and provides the opportunity for personal liberation, and; a singer positions themself at the nexus of their cultural legacy as a learner, exemplar, advocate, and transmitter of culture. The implications for educators at the tertiary level are discussed in the final chapter. Alignment of technique, personal expression, and identity infuses a singer’s sound with meaning; fostering the black singer’s use of their cultural capital helps them transform their life experiences into artistic interpretation. Representation, the use of signs that link a person to their cultural circles, is an act of re-humanization, combating dehumanization caused by systematic and societal exclusion by placing positive images at the center of their cultural legacy. In higher education, pre-professional training becomes humanizing when expression is viewed as a means of critical understanding of a student’s lived experience. Also, inspiring persons with marginalized identities requires re-centralizing power toward those who can imagine themselves transforming the entertainment industry into a more inclusive artistic space.
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Khan, Khatija Bibi. "Post 9/11 constructions of Muslim identities in American black popular music." Thesis, 2010. http://hdl.handle.net/10500/3606.

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The aim of this study was to critically explore the constructions of Muslim identities in selected Black African American popular music composed before and after the 11th of September 2001. This study is interdisciplinary because it used popular culture theories developed by Hall, Strinati, Storey and Gilroy’s concept of the Black Atlantic. Postcolonial literary theories of Bhabha, Spivak and Fanon were also used. The study demonstrated that the content and style of the lyrics by Public Enemy, Talib Kweli, Paris, Lupe Fiasco, Kanye West, Scarface, Miss Eliot, Missundastood, Erykah Badu and KRS-One have been influenced by Islam’s religious versions of the Nation of Islam, Five Percenters or Nation of Gods and Earths and Sunny Islam. Individual singers also manipulated the spiritual symbols and cultural resources made available to them in the Islam religion. Black African American singers more or less share common historical experiences, but they constructed and depicted Muslim identities differently because of their class, generational and gender backgrounds. Chapter one introduced the area of study, justified it and adopted an eclectic theoretical approach in order to account for the diverse constructions of Muslim identities in the songs composed by black African American hip hop singers. Chapter two provided an extended review of literature for the study. Chapter three explored the influence of the Nation of Islam on the singers and its creative manipulation by the black singers. Chapter four explored religious hybridity because the lyrics draw from Islam and Christian eschatological values. Chapter five used lyrics by three black female singers and revealed how they reconfigured differently, Black Muslim identities in a musical industry predominantly patronised by male singers. Chapter six explored the use of language in signifying different meanings of Muslim-ness in order to arrive at different definitions of pan Black Islamic musical consciousness. Chapter seven concluded the study by summarising the central argument of the study which was that black African American singers have referenced cultural symbols from Islam and in the process manipulated Islam’s religious metaphors to suggest different and alternative models for the black communities in the United States of America.
English Studies
D. Litt. et Phil.
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Khan, Khatija Bibi. "Post 9/11 constructions of Muslims identities in the American black popular music." Thesis, 2010. http://hdl.handle.net/10500/3606.

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The aim of this study was to critically explore the constructions of Muslim identities in selected Black African American popular music composed before and after the 11th of September 2001. This study is interdisciplinary because it used popular culture theories developed by Hall, Strinati, Storey and Gilroy’s concept of the Black Atlantic. Postcolonial literary theories of Bhabha, Spivak and Fanon were also used. The study demonstrated that the content and style of the lyrics by Public Enemy, Talib Kweli, Paris, Lupe Fiasco, Kanye West, Scarface, Miss Eliot, Missundastood, Erykah Badu and KRS-One have been influenced by Islam’s religious versions of the Nation of Islam, Five Percenters or Nation of Gods and Earths and Sunny Islam. Individual singers also manipulated the spiritual symbols and cultural resources made available to them in the Islam religion. Black African American singers more or less share common historical experiences, but they constructed and depicted Muslim identities differently because of their class, generational and gender backgrounds. Chapter one introduced the area of study, justified it and adopted an eclectic theoretical approach in order to account for the diverse constructions of Muslim identities in the songs composed by black African American hip hop singers. Chapter two provided an extended review of literature for the study. Chapter three explored the influence of the Nation of Islam on the singers and its creative manipulation by the black singers. Chapter four explored religious hybridity because the lyrics draw from Islam and Christian eschatological values. Chapter five used lyrics by three black female singers and revealed how they reconfigured differently, Black Muslim identities in a musical industry predominantly patronised by male singers. Chapter six explored the use of language in signifying different meanings of Muslim-ness in order to arrive at different definitions of pan Black Islamic musical consciousness. Chapter seven concluded the study by summarising the central argument of the study which was that black African American singers have referenced cultural symbols from Islam and in the process manipulated Islam’s religious metaphors to suggest different and alternative models for the black communities in the United States of America.
English Studies
D. Litt. et Phil.
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Books on the topic "Music – Tanzania – American influences"

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E, Robertson Carol, ed. Musical repercussions of 1492: Encounters in text and performance. Washington: Smithsonian Institution Press, 1992.

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1948-, Lock Graham, and Murray David, eds. The hearing eye: Jazz & blues influences in African American visual art. New York: Oxford University Press, 2009.

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Sheldon, Harvey. The history of Afro Cuban Latin American music: Singers, musicians, composers. [Charleston, S.C: BookSurge], 2010.

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Alexander Zemlinsky--Steve Reich: Alternative Moderne(n) : "Afrika" in der Kompositionskultur des 20. Jahrhunderts. Köln: Verlag Dohr, 2014.

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Jack, Sullivan. New World symphonies: How American culture changed European music. New Haven: Yale University Press, 1999.

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Santos, Ramon Pagayon. Musika: An essay on the American colonial and contemporary traditions in Philippine music. [Manila]: Sentrong Pangkultura ng Pilipinas, 1994.

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Santos, Ramon Pagayon. Musika: An essay on the American colonial and contemporary traditions in Philippine music. [Manila]: Sentrong Pangkultura ng Pilipinas, 1994.

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Marc, Smirnoff, ed. The Oxford American book of great music writing. Fayetteville: University of Arkansas Press, 2008.

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Sound diplomacy: Music and emotions in German-American relations, 1850-1920. Chicago: University of Chicago Press, 2009.

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A language of song: Journeys in the musical world of the African diaspora. Durham [NC]: Duke University Press, 2009.

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Book chapters on the topic "Music – Tanzania – American influences"

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Zhuk, Sergei I. "“American Influences” in Forbidden Literature, Non-traditional Religions, Music, Video and Sex." In KGB Operations against the USA and Canada in Soviet Ukraine, 1953–1991, 227–40. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003212522-12.

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Graziosi, Joseph G. "Turkish Music in the Greek American Experience." In Greek Music in America, 149–64. University Press of Mississippi, 2018. http://dx.doi.org/10.14325/mississippi/9781496819703.003.0009.

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Through information about specific recordings and musicians, Joseph Graziosi’s essay on “Turkish Music in the Greek American Experience” delineates how many immigrants from the former Ottoman Empire embraced Turkish music and song as a familiar aspect of their home culture. This again challenges theories promoted by some twentieth century scholars who portrayed Greek music as highly differentiated from that of surrounding musical cultures—and perhaps harkening back to a glorious ancient past. Many of those theories assume the continuing purity of Greek musical forms, genres, or contexts—yet when we honestly examine any musical lineage, it is clear that everything changes and evolves in response to a variety of influences.
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Schneider, John. "Ben Johnston (1926–2019)." In Interviews with American Composers, 167–84. University of Illinois Press, 2022. http://dx.doi.org/10.5622/illinois/9780252043994.003.0011.

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Schneider explains “subversive” features of Johnston’s work, with just intonation as “the emancipation of the consonance.” Johnston begins with his interest in tunings, his apprenticeship with Harry Partch, his first microtonal piece, and precompositional structuring. He discusses musical perception (Langer, Stockhausen), his work in overtones, computer and tape music, indeterminacy, working with performers, associations with dance and jazz, and the difficulty of his music. He describes a song cycle then in progress and its system, its resemblance to Knocking Piece (1962), use of computer program and metric modulation. His influences include Carter and Stockhausen, Partch and Cage. Earlier influences include Milhaud, Bartók, Hindemith, and Stravinsky. Childs and Johnston discuss their contemporaries, commissions, universities, the usefulness of consonance and dissonance and lack of progression in twelve-tone works.
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Carlin, Richard. "1. Behind the “big bang”." In Country Music: A Very Short Introduction, 4–19. Oxford University Press, 2019. http://dx.doi.org/10.1093/actrade/9780190902841.003.0001.

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How did country music evolve? What were its antecedents? How did this unique style draw on different cultures to become a uniquely American creation? Behind the “big bang” explores how country music developed out of many different influences, and how this music was initially documented and received by scholars and folklorists, and performers and songwriters themselves. It also explores how selective aspects of these musical influences were used to market this music, particularly through new performance styles and music publishing. It begins with the ballads, dance, and religious music of Anglo-American traditions, before considering the influences of work songs and blues from the African American traditions.
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Maxile, Horace J. "Olly Wilson (1937–2018)." In Interviews with American Composers, 343–55. University of Illinois Press, 2022. http://dx.doi.org/10.5622/illinois/9780252043994.003.0021.

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Maxile places this interview at the point when Wilson had just moved to the University of California, Berkeley and his increased incorporation of elements of Black culture into his work after a fellowship in Africa. Childs and Wilson discuss the use of Black music in his work, avoiding mere quotation, the impact of his fellowship in Africa, which coalesced his concert music and Black music experience. He discusses his current commissions, including The Eighteen Hands of Jerome Harris; approaches to electronic music, including increased freedom, and music in environmental settings. He talks of writing for classical and gospel choirs together and community music and outreach. They explore concerts and audiences on the West Coast. Wilson distinguishes revolutionary and personal expression. They discuss musical syntax and meaning, contemporary music history and influences and music analysis as opposed to “feeling.”
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Manulkina, Olga. "‘Foreign’ versus ‘Russian’ in Soviet and Post-Soviet Musicology and Music Education." In Russian Music since 1917. British Academy, 2017. http://dx.doi.org/10.5871/bacad/9780197266151.003.0010.

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The standard term used in Russian to refer to ‘foreign music’, zarubezhnaya muzïka, has an interesting history, as zarubezhnaya literally means ‘music from outside the border’—the border in question being that of the USSR. The term was coined in 1948 as one of the measures taken in the ideological campaign to purify Soviet music of ‘cosmopolitan’ influences. This chapter sets out to explore the concept of zarubezhnaya muzïka and trace how this canon was formed, to examine the strategies that it was necessary to adopt to carry out research on European and American music, and to assess the implications for the lives and careers of Soviet musicologists.
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Blec, Yannick. "Stepping to His Own Music." In With Fists Raised, 141–60. Liverpool University Press, 2021. http://dx.doi.org/10.3828/liverpool/9781800859777.003.0008.

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From his first book on, William Melvin Kelley showed his nonconformism to given norms—a position he retained even when he joined the ranks of Black Arts movement artists. Relying not only on the concepts of the Black aesthetic and self-determination that the BAM is too often abridged to, the influences of more Eurocentric forms such as the novel and the modern and postmodern paradigms can also be found in his narratives. This chapter aims to show how Kelley tackled the various goals of the BAM and how he often rejected some of its main arguments; to demonstrate how he redefined Black identity by showing the plurality of individuals in the community and their singular identities; and to try to determine how he contemplated the diverse points of view that can be taken concerning African American culture as opposed to, or mingled with, Euro-American culture.
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Wyatt, Robert, and John Andrew Johnson. "George Gershwin: “Fifiy Years of American Music…Younger Composers, Freed from European Influences, Labor toward Achieving a Distinctive American Musical Idiom” (1929)." In The George Gershwin Reader, 115–19. Oxford University Press, 2007. http://dx.doi.org/10.1093/acprof:oso/9780195327113.003.0035.

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Anderson, Crystal S. "Conclusion." In Soul in Seoul, 147–60. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496830098.003.0005.

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This chapter uses Korean indie groups to reveal the diversity of music under the K-pop umbrella and the ramifications of such diversity for music aesthetics, authenticity, and globalization. Placing K-pop within a global R&B tradition highlights K-pop as a diverse style of music largely informed by African American popular music. It reveals the extent to which Black popular music has informed K-pop. Technology enables fans to access a wide array of K-pop, foster fan communities, and act as critics and arbiters of taste. K-pop’s place in a global R&B tradition also reveals the diversity of global influences, challenging the focus on a generalized West and United States that obscures the impact of African American culture.
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Braae, Nick. "The Musical World(s) of Queen." In Rock and Rhapsodies, 174–89. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197526736.003.0008.

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This chapter begins from the premise that’s Queen idiolect or ‘sound’ was distinct in popular music. Using the concept of ‘style planets’, the idiolect characteristics are connected to numerous and varied stylistic sources including 1970s hard rock, 1970s Baroque pop, 1960s pop, soul, and pre-WWII American popular song. These influences are identified in the textural structures, performance gestures, and harmonic choices. Using the concept of ‘musical worlding’, it is suggested that a hypothetical listener might regard Queen’s idiolect as predominantly placed within the world of hard rock, but made to sound distinct and unique because of the integration of seemingly incongruous style influences within their songs. This analysis is conducted with primary reference to ‘We Are the Champions’
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