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Journal articles on the topic 'Musicians – united states – biography'

Author: Grafiati

Published: 29 July 2024

Last updated: 31 July 2024

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1

Hughes, Richard. "Gates, Jr And Higginbotham, Eds., Harlem Renaissance Lives - From African American National Biography." Teaching History: A Journal of Methods 34, no. 2 (September 1, 2009): 110–11. http://dx.doi.org/10.33043/th.34.2.110-111.

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With hundreds of accessible entries on the lives of African Americans directly or indirectly associated with this period, Harlem Renaissance Lives is an ambitious effort to highlight, and sometimes uncover, the role of African Americans in shaping the United States in the twentieth century. While the entries are brief, the book's strength is its breadth with portraits of not only writers, artists, actors, and musicians but also educators, civil rights and labor activists, entrepreneurs, athletes, clergy, and aviators. Students of history will find familiar figures of the period such as Langston Hughes, Josephine Baker, Duke Ellington, Marcus Garvey, W.E.B. Du Bois, and Adam Clayton Powell, Jr. However, the real value of the work is in highlighting, however briefly, the lives of hundreds of lesser-known African Americans. Some figures, such as educator Roscoe Bruce, the son of a U.S. Senator, grew up relatively privileged, but many of the biographies involve African-Americans whose unlikely contributions begin with a background that included slavery and sharecropping. Regardless, each entry includes a valuable bibliography and information about relevant primary sources such as an obituary and archival collections.

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2

Jaffré, Maxime. "Decontextualizing Arabic Music in France and in the United States." Middle East Journal of Culture and Communication 12, no. 1 (March 29, 2019): 35–67. http://dx.doi.org/10.1163/18739865-01201006.

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Abstract This paper traces the various steps of the redefinition process implemented by Arab musicians performing in France and in the United States. The assembling of Arabic music groups outside their institutional and national borders reveals new patterns and raises several questions: (1) While most Arabic countries do not share the same institutional music traditions, or the same repertoires (Arab-Andalusian vs. maqamat), how can Arabic musicians from different countries assemble outside their institutional and national borders? (2) How can we understand the heterogeneity of repertoires (scholarly and popular) when the musicians come from different traditions and institutions? Can musicians pursue the legacy—and legitimacy—of classical repertoires or do they necessarily have to embrace Arabic pop culture? Finally, (3) while they were part of the elite in their home countries, how are Arab musicians considered outside their musical institutions, in their new countries such as France and the United States? Have they remained elite musicians in the eyes of their new audiences? Or have they simply become ‘popular’ musicians, regardless of the repertoire they play?

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3

Prendergast, A. "Scientific Biography in the United States." Choice Reviews Online 46, no. 02 (October 1, 2008): 227–38. http://dx.doi.org/10.5860/choice.46.02.227.

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4

Patalano, Frank. "Psychosocial Stressors and the Short Life Spans of Legendary Jazz Musicians." Perceptual and Motor Skills 90, no. 2 (April 2000): 435–36. http://dx.doi.org/10.2466/pms.2000.90.2.435.

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Mean age at death of 168 legendary jazz musicians and 100 renowned classical musicians were compared to examine whether psychosocial stressors such as severe substance abuse, haphazard working conditions, lack of acceptance of jazz as an art form in the United States, marital and family discord, and a vagabond life style may have contributed to shortened life spans for the jazz musicians. Analysis indicated that the jazz musicians died at an earlier age (57.2 yr.) than the classical musicians (73.3 yr.).

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5

Lookingbill, Brad. "Weisner And Hartford, Eds., American Portraits - Biographies In United States History." Teaching History: A Journal of Methods 23, no. 2 (September 1, 1998): 92–94. http://dx.doi.org/10.33043/th.23.1.92-94.

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Teaching historians often assign biography to supplement reading lists for the introductory survey classroom, even though selecting which life to share might be a difficult process. Biography represents a unique form of history and literature, inviting a reader to come to terms with the significance of human agency. Indeed, a biography possesses the potential to reveal how a particular person influenced and was influenced by broader historical forces.

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6

SullyCole, Althea. "Listening to Kora in New York City: Constructing Africa and Blackness in the United States." Ethnomusicology 66, no. 2 (July 1, 2022): 319–40. http://dx.doi.org/10.5406/21567417.66.2.07.

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Abstract Drawing upon ethnographic fieldwork with New York City-based musicians, this article observes how the kora, a twenty-one stringed harp from the Mandé region of West Africa, has become integrated into a Black cultural expression in the United States. It highlights the disjunctures between migrant West African kora players and Black musicians and audiences in the United States that result from particular modes of listening. How these conflicts are manifest in the performance context, the author argues, reveals both who and what means, historically, have been authorized to organize a social imaginary around the idea of “Africa” and its traditions.

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7

WELLS, PAUL F., and SALLY K. SOMMERS SMITH. "Irish Music and Musicians in the United States: An Introduction." Journal of the Society for American Music 4, no. 4 (October 19, 2010): 395–99. http://dx.doi.org/10.1017/s1752196310000349.

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“The Irish came early and often to America,” quipped musicologist Charles Hamm in his landmark book Yesterdays: Popular Song in America. Although the largest waves of immigration occurred during the years of the potato famines in the 1840s and 1850s, the process began long before then and continues to the present day, albeit with many ebbs and flows in the stream. Today nearly 36.5 million people in the United States claim Irish ancestry.

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8

Koegel, John. "Mexican Musicians in California and the United States, 1910-50." California History 84, no. 1 (2006): 6–29. http://dx.doi.org/10.2307/25161856.

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9

Phillips, Carla Rahn, and William D. Phillips. "Christopher Columbus in United States Historiography: Biography as Projection." History Teacher 25, no. 2 (February 1992): 119. http://dx.doi.org/10.2307/494269.

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10

Barilleaux, Ryan J. "Gonzo biography." Review of Politics 68, no. 2 (May 2006): 347–49. http://dx.doi.org/10.1017/s0034670506280136.

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The single organizing fact of the Cold War was “the bomb.” In our present age of unipolarity, globalization, and the clash of civilizations, it is useful to remember that our current complexities exist only because the previous age of stark simplicity has passed into history. The decades from the end of World War II until the fall of Communism were years shaped by a nuclear standoff. The threat of nuclear conflict between the United States and the Soviet Union framed the politics and culture of the age. This framing was especially apparent in the 1950s and 1960s, before arms-control agreements lent an air of manageability to nuclear politics.

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11

Fryer, Paul. "Musicians as heroes: Black singers in the United States and Jamaica." New Community 13, no. 2 (September 1986): 208–13. http://dx.doi.org/10.1080/1369183x.1986.9975969.

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12

Shelemay, Kay Kaufman. "Ethiopian Musical Invention in Diaspora: A Tale of Three Musicians." Diaspora: A Journal of Transnational Studies 15, no. 2-3 (March 2011): 303–20. http://dx.doi.org/10.3138/diaspora.15.2-3.303.

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This essay, based on ethnographic interviews and observation, discusses the lives and careers of three prominent Ethiopian musicians from sacred, folkloric, and popular musical domains (Moges Seyoum, Tesfaye Lemma, and Mulatu Astatke, respectively) whose individual initiatives have shaped the musical life of the Ethiopian diaspora during its formative years in the United States. These three careers provide an overview of musical activity within the Ethiopian American diaspora community since its inception and shed light on concepts of creativity as conceived both in the Ethiopian homeland and among the immigrant musicians profiled. The conclusion suggests that the ability of each man to negotiate the transition to diaspora life varied according to the musical domain in which he was engaged, his personal background, and the moment and circumstances of his arrival in the United States. (January 2009)

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13

Edward Beauchamp. "Education and Biography in the Contemporary United States: An Introduction." Biography 13, no. 1 (1990): 1–5. http://dx.doi.org/10.1353/bio.2010.0381.

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14

Suwadi, Pujiyono, Andi Chaerul Sofyan, and Rifqi Setia Ramdhani. "Legal Comparison Between National Collective Management Institutions in Indonesia and United States." Revista de Gestão Social e Ambiental 18, no. 4 (January 11, 2024): e04572. http://dx.doi.org/10.24857/rgsa.v18n4-015.

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Purpose: This Study aims to find out about the role of the Indonesian National Collective Management Institution in providing protection for the economic rights of musicians compared to the United States Collective Management Organization on digital era development. Methods: This research method uses normative and empirical legal research methods by using empirical facts from human behavior, both behavior through direct observation or verbally obtained from interviews. Data collection techniques were carried out by conducting interviews with informants and studying documents from written data. Results and Conclusion: The results of the study show that in carrying out its duties the National Collective Management Institute has fulfilled the royalty rights of musicians in accordance with what is mandated in the applicable regulations. Research implications: the development of the Digital world which should have had many positive impacts on Economic Progress and the quality of Human Resources in the Indonesian nation actually had a negative impact due to a lack of understanding which would hinder this process. Originality/value: The Indonesian government must be encouraged to create regulations regarding copyright in digital media and provide education to the public regarding understanding copyright.

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15

Turner, Diane. "Black Music Traditions of Central Avenue." Practicing Anthropology 20, no. 1 (January 1, 1998): 21–24. http://dx.doi.org/10.17730/praa.20.1.b06g13202633r087.

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Because of the early development of an African American community on Central Avenue, the city of Tampa, Florida provides an excellent environment to document Black music traditions in the southeastern region of the United States. By the late nineteenth century, an urban Black working class had formed on Central Avenue. Black musicians were part of a distinct cultural community, including divergent lifestyles, which were organically linked to the rural and urban life experiences of Black people in the United States and the Caribbean.

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16

Spears, Amy, Danelle Larson, and Sarah Minette. "Informal music-making among piano bar musicians: Implications for bridging the gap in music education." Journal of Popular Music Education 4, no. 3 (November 1, 2020): 371–88. http://dx.doi.org/10.1386/jpme_00019_1.

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Recent research in music education has sought to bridge the gap between formal music-making and informal music-making done by many musicians who may have little or no formal musical training. Piano bar musicians fall under the category of musicians who may or may not have had formal musical training but are able to perform covers of a variety of pop songs for live and interactive audiences. Many of them also play multiple instruments. Participants we observed and interviewed in this qualitative study were eight piano bar musicians from various regions of the United States. Key findings include that the primary method participants used to learn songs was listening and learning by ear; ‘reading’ music took multiple forms; music theory and chord functionality were useful and allowed for flexible musicianship; and that a participatory culture was important for learning the songs the musicians chose to learn.

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17

Patalano, Frank. "Psychosocial Stressors in the Lives of Great Jazz Musicians." Perceptual and Motor Skills 84, no. 1 (February 1997): 93–94. http://dx.doi.org/10.2466/pms.1997.84.1.93.

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Brief biographical information on four great jazz tenor saxophone players of the past is presented to illustrate the similar psychosocial stressors these men seemed to experience, namely, severe substance abuse, haphazard working conditions, lack of acceptance of their art form in the United States, marital and family discord, and a vagabond life style. Ages at death of 80 great jazz musicians may indicate that the stressful life style of jazz musicians may be reflected in a shortened life span, but a control group is needed.

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18

CRANITCH, MATT. "Paddy Cronin: Musical Influences on a Sliabh Luachra Fiddle Player in the United States." Journal of the Society for American Music 4, no. 4 (October 19, 2010): 475–89. http://dx.doi.org/10.1017/s1752196310000398.

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AbstractIn the world of Irish traditional music, Paddy Cronin from Sliabh Luachra in the southwest of Ireland is regarded as one of the tradition's exceptional fiddle players. Although his music exhibits many characteristics of the Sliabh Luachra tradition, it also has other elements and features, primarily from the Sligo style. A pupil of Pádraig O'Keeffe (the “Sliabh Luachra Fiddle Master”), Cronin emigrated to Boston in 1949 and lived there for approximately forty years. Before he left Ireland, he had been familiar with the music of the Sligo masters, such as Michael Coleman and James Morrison, who had gone to the United States many years before him. In Boston Paddy met and played with many of the great Sligo musicians, and also had the opportunity to hear music in other styles, including that of Canadian musicians, whose use of piano accompaniment he admired greatly. This article considers his music before and after he left Ireland, and compares him to Coleman and Morrison by considering their respective performances of the reel “Farewell to Ireland.”

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19

Berlin, Robert H. "United States Army World War II Corps Commanders: A Composite Biography." Journal of Military History 53, no. 2 (April 1989): 147. http://dx.doi.org/10.2307/1985746.

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20

McManus, Emily J. "The Tango in Translation: Intertextuality, Filmic Representation, and Performing Argentine Tango in the United States." TranscUlturAl: A Journal of Translation and Cultural Studies 5, no. 1-2 (March 25, 2014): 194. http://dx.doi.org/10.21992/t9w34w.

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This article analyzes representations of the Argentine tango by the U.S. media utilizing Farzaneh Farahzad’s theory of “translation as intertextual practice” and Lawrence Venuti’s theory of translated “adaptations.” I argue that the juxtaposition of Latin American and European cultural stereotypes within filmic representations of the tango has created and reinforced a highly racialized master discourse (Said Faiq) that continues to influence how the Argentine tango is perceived in the United States today. Because cultural translation occurs between a hegemonic culture and a marginalized culture, representations of the tango in the United States both create and reinforce a master discourse that inextricably ties the tango to an exoticized and eroticized Latin “Other.” I conclude by discuss how the racialized and sexualized narratives discussed throughout this paper are integrated into contemporary performance of the tango. I draw on ethnographic research with tango communities throughout the United States to illustrate how 20th century filmic representations of the tango continue to motivate, influence, and inform how, when, and why the Argentine tango is performed by U.S. dancers and musicians. Films analyzed include Four Horsemen of the Apocalypse, Some Like it Hot, Last Tango in Paris, and The Scent of a Woman, as well as a variety of lesser-known films and television advertisements. Although a large variety of 20th century films feature the tango, the films discussed in this paper were selected for analysis due to the frequency with which they are referenced by tango aficionados and contemporary tango dancers, musicians, and deejays performing throughout the United States today.

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21

Stanek, Jeremy L., Kevin D. Komes, and Fred A. Murdock. "A Cross-Sectional Study of Pain Among U.S. College Music Students and Faculty." Medical Problems of Performing Artists 32, no. 1 (March 1, 2017): 20–26. http://dx.doi.org/10.21091/mppa.2017.1005.

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OBJECTIVES: Studies over recent decades have demonstrated significant performance-related pain among professional musicians. However, there have been no large-scale studies to evaluate pain among college musicians. The aim of this study was to determine the prevalence and anatomical locations of performance-related pain among students and faculty at the college level and learn what musicians do when they have pain. METHODS: Cross-sectional data were collected using an online survey distributed to colleges across the United States. Data were analyzed using REDCap electronic data capture tools and Microsoft Excel. RESULTS: We received 1,007 survey responses and found that 67% of musicians at colleges experienced performance-related pain. The highest prevalence of pain was in woodwind musicians, with 83% reporting performance-related pain. The most common locations of pain were upper back (27%), lower back (26%), and fingers of the right hand (25%). Many student musicians with pain seek help from their teacher, but almost as many do not seek help at all. Less than 25% see a medical professional. CONCLUSIONS: Most musicians at colleges experience performance-related pain in a variety of anatomical locations depending upon instrument/voice. Performing arts health organizations can increase awareness of treatment options for musicians suffering from performance-related pain, which may lead to improved quality of life and increased career longevity for college musicians.

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22

Beasley, Gerald. "Curatorial Crossover: Building Library, Archives, and Museum Collections." RBM: A Journal of Rare Books, Manuscripts, and Cultural Heritage 8, no. 1 (March 1, 2007): 20–28. http://dx.doi.org/10.5860/rbm.8.1.272.

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I tend to associate the word “crossover” with popular music. I think of crossovers as being those artists whose music has successfully crossed over from a smaller market to a bigger one, like Mexican musicians making it big in the United States, or black musicians making it big with white audiences. And I frankly love the idea that I, as a librarian, might be able to make a curatorial crossover into a bigger market, much as Ricky Martin or Otis Redding made a musical crossover. Of course, I would have to address the two most common criticisms that are made . . .

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COLLINS, TIM. "'Tis Like They Never Left: Locating “Home” in the Music of Sliabh Aughty's Diaspora." Journal of the Society for American Music 4, no. 4 (October 19, 2010): 491–507. http://dx.doi.org/10.1017/s1752196310000404.

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AbstractThis article, which builds on research in the fields of Irish traditional music, place, and diaspora, focuses on a community of diasporic musicians from Sliabh Aughty, an upland region of approximately 250 square miles that encompasses the musical storehouses of east Clare and southeast Galway in the West of Ireland. It examines the importance of home for these musicians, who have been resident in the United States for many decades. Their personal music geographies are explored to ascertain how traditional Irish music plays a critical role in transcending their sense of dislocation and reconnecting them with “home.”

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Symes, Colin. "A sound education: the gramophone and the classroom in the United Kingdom and the United States, 1920–1940." British Journal of Music Education 21, no. 2 (June 24, 2004): 163–78. http://dx.doi.org/10.1017/s0265051704005674.

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The advent of the gramophone transformed the cultural conditions of contemporary music, including the way it was taught. For a considerable period of time, musicians and music educators disparaged the gramophone. The members of the musical appreciation movement were more sympathetic and helped transform the gramophone's educational image during the 1920s and 1930s. They argued that the gramophone, contrary to its detractors, might stem the appeal of popular music. As is clear from the sentiments of those espousing the pedagogic uses of the gramophone – which are analysed in this paper – their advocacy went far beyond music and was part of a broader cultural agenda, which included arresting the moral dangers associated with popular music.

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Werb, Bret Charles, and Maria V. Lebedeva. "The Aleksander Kulisiewicz Collection at the United States Holocaust Memorial Museum: An Introduction." Observatory of Culture 17, no. 5 (November 12, 2020): 478–95. http://dx.doi.org/10.25281/2072-3156-2020-17-5-478-495.

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Envisioned by its founders as a storehouse of historical evidence — material artifacts, written and oral testimonies, photographs and films — the U.S. Holocaust Memorial Museum in Washington DC is the repository of a significant archive of music salvaged from the Nazi ghettos and camps. This paper focuses on the Museum’s single largest music collection, that of the Polish camp survivor Aleksander Kulisiewicz (1918—1982). A native of Kraków, Poland, who spent over five years as a political prisoner in Sachsenhausen, Kulisiewicz in later life grew obsessed with documenting the repertoire that his fellow Poles and an international cadre of musicians, authors, and artistes created and performed while captives of the Germans. The collection he amassed during his final decades consists of hundreds of songs, choral works and instrumental pieces gathered from survivor memoirs, manuscripts, and multiple recorded interviews with former inmates. Approximately 70,000 pages of documentation encompass music-related artworks, biographical details of camp poets and composers, and copious additional corroborating material. Apart from providing an overview of the collection, the paper will discuss Kulisiewicz’s cultural and intellectual background in interwar Poland, and postwar career as a performer, activist and author. Music illustrations will be drawn from Kulisiewicz’s archive of sound recordings, including selections from his own series of autobiographical songs written in Sachsenhausen. A final set of musical examples demonstrates the collection’s utility as a resource for musicians and programmers seeking overlooked, yet revivable repertoire, and for composers inspired to create new works based on “rescued” music preserved in the Museum’s archive.

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Quigley, Nicholas Patrick, and Tawnya D. Smith. "The educational backgrounds of DIY musicians." Journal of Popular Music Education 00, no. 00 (July 9, 2021): 1–21. http://dx.doi.org/10.1386/jpme_00053_1.

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In this qualitative, exploratory study we examined the music education backgrounds and current creative practices of thirteen self-described do-it-yourself (DIY) musicians from around the United States. A growing community of scholars within and outside of education have noted the relative inclusionary nature of DIY communities as compared to mainstream society. Several themes have emerged in DIY music participation literature, including social influences and isolation, and music making for self care and self expression. DIY music-making can offer a potentially liberating space for those marginalized by traditional schooling, providing students with social, educational and musical opportunities they could not find or participate in at school. Through an analysis of interviews and participation-observations of creative practices such as band rehearsals and improvisation sessions, we found that similar themes emerged in our own data. Implications for music education include the importance of more individualized instruction and opportunities for self care and self expression.

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27

Gregory, Dianne. "Analysis of Listening Preferences of High School and College Musicians." Journal of Research in Music Education 42, no. 4 (December 1994): 331–42. http://dx.doi.org/10.2307/3345740.

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Undergraduate college music majors, high school musicians in performance groups, and sixth-grade students in eight sites across the United States listened to brief excerpts of music from early contemporary compositions, popular classics, selections in the Silver Burdett/Ginn elementary music education series, and current crossover jazz recordings. Each of the classical categories had a representative keyboard, band, choral, and orchestral excerpt. Self reports of knowledge and preference were recorded by the Continuous Response Digital Interface (CRDI) while subjects listened to excerpts. Instrumental biases were found among high school and college musicians' preferences for relatively unfamiliar classical music. College music majors' preferences, in general, were less “own-instrument-based” than were those of high school musicians. In addition, the results suggest training broadens receptivity within and across music genres. There seems, however, to be no predictable connection between the degree to which one “knows ” an excerpt and preference for the excerpt.

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Drane, Gregory. "The Role of African-American Musicians in the Integration of the United States Navy." Music Educators Journal 101, no. 3 (March 2015): 63–67. http://dx.doi.org/10.1177/0027432114565132.

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29

Reidy, David A. "Rawls and Racial Justice in the United States." Tocqueville Review 43, no. 1 (June 1, 2022): 69–87. http://dx.doi.org/10.3138/ttr.43.1.69.

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It has become increasingly common for students and scholars to criticize Rawls’s work as irrelevant, or worse, when it comes to issues of race and justice. Though he clearly judges both structural and systemic racial hierarchy and interpersonal racial disrespect to be non-controversially unjust, Rawls does not much explore, either in his ideal theory or in his non-ideal theory, issues at the intersection of race and justice. In this essay, drawing from both his texts and biography, I highlight some of Rawls’s thoughts on, and the seriousness with which he approached, these matters. Though I do not attempt to answer all the criticisms that have been raised regarding Rawls’s approach to issues of race and justice, I answer a few and to point the way toward resources that might prove fruitful in answering others. With respect to issues of race and justice, there are good reasons, better than critics typically acknowledge, to continue exploring the extent to which working from within a Rawlsian framework we can successfully think through our aspirational ideals and eliminate existing injustices.

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Chunnu, Winsome. "Under the Eagles Wings: America, God Shed a Tear on Thee." Cultural Studies ↔ Critical Methodologies 20, no. 5 (November 25, 2019): 468–70. http://dx.doi.org/10.1177/1532708619885401.

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Bob Marley says one good thing about music—when it hits you, you feel no pain. So hit me with music. On the transition of Aretha Franklin, and the vitriolic trolling of her funeral and Childish Gambino 2019 Grammy award winning song and record of the year for “ This is America,” this piece is using music as a conceptual frame for understanding the pain of Black people in the United States. Recently, musicians Beyoncé, Childish Gambino, Kendrick Lamar, Pink, and many others have used their music to contest inequality in America. I grew up in Jamaica on Motown, Country, and Reggae music. This is what Aretha and many other musicians have meant to me.

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Kubyshkin, Alexander, and Ivan Kurilla. "“Reluctant Diplomat”: Nikolai Vasilievich Novikov’s Biography Pages." Vestnik Volgogradskogo gosudarstvennogo universiteta. Serija 4. Istorija. Regionovedenie. Mezhdunarodnye otnoshenija, no. 1 (March 2024): 87–101. http://dx.doi.org/10.15688/jvolsu4.2024.1.8.

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Introduction. The article analyzes the biography and diplomatic activities of Nikolai Vasilievich Novikov (1903–1989), a Soviet diplomat who represented the USSR in Cairo and in Washington during World War II and took part in the efforts to establish a new system of international relations at the beginning of the Cold War. Methods and materials. The article is based on published texts by Nikolai Novikov himself, diplomatic documents, periodicals, and materials from his personal archive, deposited in the Archive of the European University at St. Petersburg by the diplomat’s family. Analysis. The authors examine Novikov’s biography, the reasons for his rapid career in the People’s Commissariat of Foreign Affairs, his relations with Soviet foreign policy managers, and the circumstances of his resignation at a relatively young age. Special attention is paid to Novikov’s activities in the United States in the context of the emerging Cold War, the place of Novikov’s note (cable) in the process of shaping Soviet approaches to relations with the United States, and his own attitude to these approaches. Results. Novikov’s contribution to the shaping of the postwar world is underappreciated, as are his attempts to resist the changes that were breaking Soviet-American cooperation in the international arena. In fact, the strategic concepts formulated by Novikov in a memo to Molotov were the basis of the official Soviet interpretation of the causes and nature of the Cold War and were included in Soviet school and university textbooks on universal history and the history of international relations. Authors’ contributions. A.I. Kubyshkin analyzed the most important stages of Nikolai Novikov’s diplomatic activity and the general situation in relations between the USSR and the USA during the Second World War. He assessed Novikov’s activities from the political leadership of the USSR and foreign countries in which the Soviet diplomat worked. He also examined the most important aspects of the activities of Soviet diplomacy reflected in Novikov’s memoirs and carried out their internal criticism as a historical source. I.I. Kurilla processed the archive of Nikolai Novikov and identified and analyzed the corpus of sources of personal origin. He also analyzed the contents of Nikolai Novikov’s personal diaries, reviewed the personal contribution of N.V. Novikov in developing a strategy in relations with the United States in the initial period of the Cold War, and compared the contents of the “long telegram” of J. Kennan and the “Novikov telegram”.

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Griffiths, Jonathan. "Lives and works — biography and the law of copyright." Legal Studies 20, no. 4 (November 2000): 485–502. http://dx.doi.org/10.1111/j.1748-121x.2000.tb00156.x.

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In both the United Kingdom and the United States, there have been a substantial number of copyright disputes concerning the creation of biographical works. Prominent recent examples have involved J D Salinger and Sir Stephen Spender. In many such disputes, the claimant's motive for bringing infringement proceedings is not financial but ‘personal’— for example, to protect privacy or reputation. In this article, it is argued that, when copyright is employed for such motives, inconsistent results can arise. In particular, in such cases, it is demonstrated that the possession of a copyright interest is capable of providing a number of apparently inequitable advantages to claimants whose privacy or reputation is threatened.

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Nugroho, Dwi Mifta, Muhammad J. B. Firdaus, and Adam J. Wijaya. "The Anti-War Movement through Romanticism of the Hippies Culture on Vietnam War 65-73." Jurnal Hubungan Internasional 13, no. 2 (November 28, 2020): 295. http://dx.doi.org/10.20473/jhi.v13i2.21290.

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In this paper, the authors try to provide an overview of the new socialmovement variant, which is the anti-war movements initiated by hippies.The hippie culture developed rapidly in the 1960s in the United Statesand now has spread to the whole world through cultural globalization.Hippie Movement itself is a subculture movement that has a significantrole in forming a counter-culture in the United States. This movement’ssuccess cannot be separated from the support of the musicians ofthe world through popular culture that will be discussed in this paper throughcultural globalization.

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Zenkevich, I. V. "Archibald Cary Coolidge: A Promoter of Russian Studies in the United States." Язык и текст 3, no. 3 (2016): 78–85. http://dx.doi.org/10.17759/langt.2016030307.

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The article is dedicated to the contribution of Harvard professor Archibald Cary Coolidge and his students into the rise and development of Russian studies in American Universities. The author believes that it was due to their personal interest and enthusiasm that the Russian language began to be taught in the USA universities. The article provides information about Coolidge’s biography, his approach to teaching Russian, and his work aimed at popularizing Russian and introducing it into the American higher education curriculum.

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Yoffee, Norman. "Robert McCormick Adams: An Archaeological Biography." American Antiquity 62, no. 3 (July 1997): 399–413. http://dx.doi.org/10.2307/282162.

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Robert Adams celebrated his 70th birthday on July 23, 1996. Forty years ago American Antiquity published his first journal article, which helped launch a remarkable career. Adams has influenced not only fundamental aspects of social evolutionary theory and archaeological reconnaissance surveys but also the structure of support for science in the United States and abroad. At the 1996 meetings of the Society for American Archaeology, Adams was awarded the Distinguished Service Medal. This essay traces the intellectual influences on Adams, the progress of his fieldwork, and the exposition and development of his ideas in his monographs and major essays. The significance of his work is assessed, and a bibliography of his principal archaeological writings is included.

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Ray, Daniel E. "Military Bands and Government Documents." DttP: Documents to the People 44, no. 4 (January 31, 2017): 27. http://dx.doi.org/10.5860/dttp.v44i4.6227.

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Since before the founding of the United States, musicians have been an integral part of the military. Throughout history armies have used trumpets and drums to enhance communication and assist the movement of mass forces. Over time, the military has influenced both the makeup of musical ensembles, and styles of popular music. The modern American wind band featuring brass, woodwinds and percussion, is modeled after British military bands. And the marches of John Phillip Sousa, who served as the director of the President’s Own Marine Band for twelve years, remain popular to this day. His “Stars and Stripes Forever” is considered our national march. Today, the US Army declares itself “the oldest and largest employer of musicians in the world.”

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Williams, Sarin. "Teaching Cultural Competency through Early New Orleans Jazz." Jazz Education in Research and Practice 5, no. 1 (January 2024): 128–41. http://dx.doi.org/10.2979/jazzeducrese.5.1.09.

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Abstract: Studying the inception of early jazz in 20th-century New Orleans can provide opportunities to address issues of diversity, equity, and inclusion by increasing cultural competency. Providing students with a historical framework for the creation of jazz may promote empathy with musicians of diverse races, cultures, and musical backgrounds while applying these lessons to students' lives today. Early jazz itself can be examined as a combination of African and European musical ancestry brought together by Black, White, and Creole musicians for the birth of a unique musical idiom to the United States. Along with historical information, this article integrates three suggested lessons connecting cultural competency to the National Association for Music Education's 2014 Music Standards through the creation of jazz for a diverse array of students.

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Rice, Timothy. "Schools of Music as Social Institutions in Service to Society." MUSICultures 50 (March 18, 2024): 111–31. http://dx.doi.org/10.7202/1110013ar.

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<p>Faculties and schools of music in Canada and the United States define their missions narrowly; their curricula continue to be devoted almost exclusively to a music culture created in Europe and exported to colonial and postcolonial settings around the world. These institutions teach an exclusionary aesthetic philosophy rooted in white supremacy, one that results in the unethical exclusion of musicians and musical cultures created by the communities and societies that universities are meant to serve. After analyzing the content of, and the ideas behind, various course syllabi, the author outlines pathways for creating aesthetically and ethically inclusive and anti-racist curricula in music history and music appreciation at music faculties and schools of music in Canada and the United States.</p>

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NIELSEN, KRISTINA F. "Forging Aztecness: Twentieth-Century Mexican Musical Nationalism in Twenty-First Century Los Angeles." Yearbook for Traditional Music 52 (November 2020): 127–46. http://dx.doi.org/10.1017/ytm.2020.18.

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Abstract (Spanish/English)Forjando el Aztecanismo: Nacionalismo Musical Mexicano del Siglo XX en el siglo XXI en Los ÁngelesHoy en día, un creciente número de músicos mexico-americanos en los Estados Unidos tocan instrumentos indígenas mesoamericanos y réplicas arqueológicas, lo que se conoce como “Música Azteca.” En este artículo, doy a conocer cómo los músicos contemporáneos de Los Ángeles, California, recurren a los legados de la investigación musical nacionalista mexicana e integran modelos antropológicos y arqueológicos aplicados. Al combinar el trabajo de campo etnográfico con el análisis histórico, sugiero que los marcos musicales y culturales que alguna vez sirvieron para unir al México pos-revolucionario han adquirido una nuevo significado para contrarrestar la desaparición del legado indígena mexicano en los Estados Unidos.Today a growing number of Mexican-American musicians in the United States perform on Indigenous Mesoamerican instruments and archaeological replicas in what is widely referred to as “Aztec music.” In this article, I explore how contemporary musicians in Los Angeles, California, draw on legacies of Mexican nationalist music research and integrate applied anthropological and archeological models. Pairing ethnographic fieldwork with historical analysis, I suggest that musical and cultural frameworks that once served to unite post-revolutionary Mexico have gained new significance in countering Mexican Indigenous erasure in the United States.

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Guerini, Andréia, Antonia de Jesus Sales, and Odile Cisneros. "Clarice Lispector’s translators in the United States." Revista Brasileira de Literatura Comparada 24, no. 47 (December 2022): 85–104. http://dx.doi.org/10.1590/2596-304x20222447agajsoc.

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ABSTRACT Clarice Lispector’s entry as an author into the United States happens at different moments, beginning in the 1950s, with the translation of several short stories, carried out among others by Elizabeth Bishop, culminating with a biography of the author written in English by Benjamin Moser in 2009, and a little later, with the publication of the short stories and other pieces, in the emblematic edition entitled The Complete Stories, in 2015, edited by Benjamin Moser and translated by Katrina Dodson. These publications put the translators in the spotlight, as they were responsible for renewing Clarice’s presence on American soil. This paper aims to research the translators of Clarice Lispector’s works in the English-speaking cultural system, considering only the American context. The aim is to highlight these professional figures who contributed to the dissemination of this important Brazilian writer abroad, analyze their profile, and also examine their presence and imprint on some of the translations performed, such as prefaces, postscripts, notes, etc., assessing the degree of visibility and invisibility (Venuti 2021). By considering the relevance of translators as social actors/dialogical bodies (Robinson, 1991, 2012) and as “translating subjects” (Berman, 1995) and the fact that English translations of Clarice’s works have influenced and stimulated the circulation of this author in other literary systems, by examining the biobibliographical profile, verifying its presence or not in the paratexts (Genette, 2009/Batchelor, 2018) of Clarice Lispector’s English-language translators and their translation position, as well as their project and horizon (Berman, 1995), we gain an understanding of the translation policies of a given cultural polysystem.

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Fernandez, Raul A. "Music from Cuba: Mongo Santamaria, Chocolate Armenteros, and Cuban Musicians in the United States (review)." Cuban Studies 34, no. 1 (2003): 207–8. http://dx.doi.org/10.1353/cub.2004.0008.

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Norgaard, Martin, Matthew G. Dunaway, and Steven P. Black. "Descriptions of Improvisational Thinking by Expert Musicians Trained in Different Cultural Traditions." Bulletin of the Council for Research in Music Education, no. 237 (July 1, 2023): 45–66. http://dx.doi.org/10.5406/21627223.237.03.

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Abstract Research about improvisation often focuses on one musical tradition. The current study investigated experts’ descriptions of thinking behind improvisation in different cultural traditions through interviews with advanced improvisers residing in a metropolitan area in the United States. The participants were rigorously trained in their tradition and have performance experience within it. However, as residents of the United States, they are experienced in communicating with Western audiences and conversant in Western ways of thinking about music. Immediately after completing the improvisation, each participant listened to a recording and looked at its visual representation while describing the underlying thinking. The visual representation showed pitch contour and note length without reference to any notational system. A thematic analysis by researchers trained in Western classical music and jazz revealed eight main themes: Licks and Conventions describe how prelearned material and convention guided creation; Reaction, Forward Looking, and Repetition and Variety outline various processes that shape creation in the moment; and Aesthetics, Communication, and Emotion provide clues to the improvisers’ motivation behind choices. Interestingly, the use of prelearned patterns appears to facilitate improvisations in all the traditions represented. This and other identified strategies appearing cross-culturally may be indicative of shared underpinning cognitive processes. Identification of these shared strategies from a classical/jazz viewpoint may aid educators in broadening their curricula to include other musical traditions of improvisation.

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Maxwell, William J., and Bill V. Mullen. "James Baldwin in the Fire This Time." James Baldwin Review 7, no. 1 (September 28, 2021): 159–65. http://dx.doi.org/10.7227/jbr.7.9.

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William J. Maxwell, editor of James Baldwin: The FBI File (2017), interviews Bill V. Mullen on his 2019 biography, James Baldwin: Living in Fire, along the way touching on both Baldwin’s early internationalism and his relevance to the current wave of racial discord and interracial possibility in the United States.

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FOSLER-LUSSIER, DANIELLE. "Cultural Diplomacy as Cultural Globalization: The University of Michigan Jazz Band in Latin America." Journal of the Society for American Music 4, no. 1 (January 14, 2010): 59–93. http://dx.doi.org/10.1017/s1752196309990848.

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AbstractFrom January to May 1965 the University of Michigan Jazz Band traveled extensively in Latin America for the State Department's Cultural Presentations Program. This tour serves as a case study through which we can see the far-reaching effects of cultural diplomacy. The State Department initially envisioned its cultural and informational programs as one-way communication that brought ideas from the United States to new places; yet the tours changed not only audiences, but also the musicians themselves and even the communities to which the musicians returned. Both archival and oral history evidence indicate that the Michigan jazz band's tour succeeded in building vital imagined connections across international borders. The nature of these connections demonstrates that the cold war practice of pushing culture across borders for political purposes furthered cultural globalization—even though the latter process is often regarded by scholars as a phenomenon that began only after the end of the cold war. The jazz band's tour highlights the essential role of music and musicians in fostering new transnational sensibilities in the politicized context of the cold war.

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WARFIELD, PATRICK R. "SOUNDS TO ESTABLISH A CORPS: THE ORIGINS OF THE UNITED STATES MARINE BAND, 1798–1804." Eighteenth Century Music 16, no. 2 (August 20, 2019): 115–32. http://dx.doi.org/10.1017/s1478570619000046.

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AbstractThe Jeffersonian rise to power in 1801 ushered in sweeping political changes for the United States of America. It also focused attention on the newly established United States Marine Corps, as a group of hostile Congressmen sought to audit the service, dismiss many of its officers and do away with the executive function of its commandant. But Thomas Jefferson (1743–1826) was also a supporter of the new capital's growing cultural life, and no organization better defined the connection between music and the federal government than the United States Marine Band. While this ensemble was not officially authorized by Congress until 1861, Commandant William Ward Burrows had already transformed his small group of sanctioned field musicians into an ensemble that could provide ceremonial and entertainment music for Washington, DC. This article traces the earliest history of the Marine Band, documents its development from eighteenth-century signalling traditions and suggests the ways in which its presence in the capital helped to stem the growing Republican tide against the Marine Corps itself.

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PARK, HYE-JUNG. "Musical Entanglements: Ely Haimowitz and Orchestral Music under the US Army Military Government in Korea, 1945–1948." Journal of the Society for American Music 15, no. 1 (February 2021): 1–29. http://dx.doi.org/10.1017/s1752196320000450.

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AbstractShortly after Japan's surrender to Allied forces, the Soviet Union occupied the northern part of Korea, and the United States moved into the south, where it established the US Army Military Government in Southern Korea (USAMGIK, 1945–1948). In the American zone, music played a unique role in forging US hegemony over Korea. Young American pianist Ely Haimowitz (1920–2010) was the central figure in shaping that policy. Associated with “highbrow” culture, Western orchestral music helped restore Koreans’ ethnic pride damaged by Japanese colonial rule, while countering the Soviet emphasis on indigenous music. By fostering Western orchestral music in Korea, and supporting many individual musicians, Haimowitz succeeded in gaining widespread admiration and trust among Korean musicians. Based on unique access to Haimowitz's private archival collection, as well as diverse historical records from Korea, this article develops a complex picture of Haimowitz not merely as a cold-blooded US military officer and propagandist but also as an individual musician who shared friendships with Korean musicians, suffered ethical dilemmas, and often supported Korean voices against the USAMGIK. The relationships he forged provide indispensable context in understanding USAMGIK music policy, Korean musicians’ responses to it, and the post–World War II Korean reception of Western orchestral music overall.

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Ferguson, Robert. "Remembering Tom Heck and His Legacy." Soundboard Scholar 7, no. 1 (2021): 1–9. http://dx.doi.org/10.56902/sbs.2021.7.18.

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An obituary of Thomas Heck (1943–2021), outlining his contributions to guitar scholarship, especially with reference to his seminal biography of Giuliani and his research into musical iconography. This article also describes his contribution to the classical guitar community in the United States, as the founding visionary of the Guitar Foundation of America.

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Murphy, John W., Steven L. Arxer, and Linda L. Belgrave. "The Life Course Metaphor: Implications for Biography and Interpretive Research." Qualitative Sociology Review 6, no. 1 (December 27, 2021): 4–15. http://dx.doi.org/10.18778/1733-8077.6.1.02.

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This paper reviews qualitative research in the United States, highlighting the ways research has changed in the era of the third age. With growing attention to positive and uplifting aspects of aging, qualitative research has played a critical role in the exploration of the ways in which older adults are engaging in meaningful ways with others. We describe two key methodological approaches that have been important to examining positive aspects of aging and exploring the extent to which a growing number of years of healthy retirement are redefining the aging experience: ethnographic research and grounded theory research. We also review key topics associated with qualitative research in the era of the third age. These topics fit within two dominant frameworks – research exploring meaningmaking in later life and research exploring meaningful engagement in later life. These frameworks were critically important to raising attention to meaningful experiences and interactions with others, and we propose that the agenda for future qualitative research in the United States should continue contributing to these frameworks. However, we note that a third framework should also be developed which examines what it means to be a third age through use of a phenomenological approach, which will assist in the important task of theory building about the third age.

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Newmark, Jonathan. "Military Bands as a Population for Studying Musicians' Health." Medical Problems of Performing Artists 24, no. 1 (March 1, 2009): 50. http://dx.doi.org/10.21091/mppa.2009.1011.

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The largest employer of full-time musicians in the United States is the Department of Defense. There are, within the Department, four separate full-time band programs (Army, Air Force, Marines, and Navy), of which the Army is by far the largest. Not only are these musicians employed full-time, but they have completely free health care and a uniform, electronic, world-wide health record that follows them for the length of their careers. They also have to adhere to the physical fitness standards of their services, including both height and weight standards and biannual physical fitness tests; in the Army, the latter includes pushups, sit-ups, and 2-mile runs every 6 months. It has always occurred to me that this population is uniquely suited to the sort of study that the Editorial in the September 2009 issue describes.

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Jackson, Michael D. "Between Biography and Ethnography." Harvard Theological Review 101, no. 3-4 (October 2008): 377–97. http://dx.doi.org/10.1017/s0017816008001910.

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My point of departure in this essay is Davíd Carrasco's Convocation Address at the Harvard Divinity School in September 2006. Speaking of the borderlands between Mexico and the United States, Carrasco projects an image of a vexed and ambiguous zone that is not merely geographic or political; it defines an existential situation of being betwixt and between, of struggle and suffering, that Karl Jaspers sums up in the term Grenzsituationen (borders/limit situations). The frontier throws up images of borderline experiences, of a destabilized and transgressive consciousness in which “dreams, repressed memories, psychological transferences and associations” possess greater presence than they do in ordinary waking life, and religious experiences emerge from the unconscious like apparitions. This interplay between borderlands and borderline phenomena—between “the differences we have with others and the conflicts within ourselves” also finds expression in the work of Gloria Anzaldúa. “Mestiza consciousness,” she observes, may be identified with a “juncture … where phenomena collide.” This implies “a shock culture, a border culture, a third country” where migrants find themselves at the limits of what they can endure, border patrol agents are stretched beyond the limits of what they can control, and intellectuals find that orthodox ways of describing and analyzing the world do not do justice to the experiences involved.

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