Academic literature on the topic 'White Lion (Musical group)'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Contents
Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'White Lion (Musical group).'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Journal articles on the topic "White Lion (Musical group)"
1
Barton, Jintana T. "A Comparative Study of Chinese Musical Activities in Chinese and Thai Cultural Contexts." MANUSYA 10, no. 2 (2007): 1–13. http://dx.doi.org/10.1163/26659077-01002001.
Full textAbstract:
This research explores the influence of Chinese music as it is reflected in cultural activities in China and Thailand. In China, music has been used since long before the time of Confucius (551-479 BC) as a learning tool, and the Chinese who migrated into Southeast Asia and ultimately Thailand brought their music with them. In Thai society, Chinese music has been used in traditional ways. Although the music remains closer to what was brought with the immigrants, it has been adopted into Thai society in ways that go far beyond the original Chinese use. This research found that some Chinese musical activities have become ingrained into Thai culture and society such as Lion Dance group performances in the processions for the ceremonial candle (Tian Phansa), the Khan Mak procession, and the Songkran Festival procession. The Lion Dance group also has a photo of a famous Thai monk on the front of a big drum. We also found that the khim is the most popular Chinese musical instrument among Thai people.
2
Morrison, Steven J. "A Comparison of Preference Responses of White and African-American Students to Musical versus Musical/Visual Stimuli." Journal of Research in Music Education 46, no. 2 (July 1998): 208–22. http://dx.doi.org/10.2307/3345624.
Full textAbstract:
The purpose of this study was to examine the role of same- and other-group identification in musical preference decision-making. Subjects were African-American (n = 189) and white (n = 280) music students in Grades 6, 7, and 8. Each subject responded along a 9-point Likert scale to 10 instrumental music excerpts, five performed by African-American jazz artists and five performed by white jazz artists. Examples were presented according to one of three conditions: (1) music only, (2) music accompanied by a photograph of the performers, or (3) music accompanied by a photograph of different performers representing a different ethnicity. Results indicated that white subjects preferred examples by white performers regardless of presentation condition. African-American subjects preferred examples by white performers when presented with music alone, but preferred examples believed to be by African-American performers under the musical/visual conditions.
3
MOOK, RICHARD. "White Masculinity in Barbershop Quartet Singing." Journal of the Society for American Music 1, no. 4 (November 2007): 453–83. http://dx.doi.org/10.1017/s1752196307070423.
Full textAbstract:
AbstractThis article explores the cultural work of white masculinity in barbershop quartet singing in two historical contexts: the barbershop revival of the 1920s and 1930s and barbershop's struggle for survival in twenty-first century Philadelphia. It first details how revivalists attempted to re-create Victorian white masculinity by codifying and promoting a barbershop musical style and repertory that fostered closeness between men. By performing their musical style in public, masculine spaces, and admitting only white men to their gatherings, the organizers of the Barbershop Harmony Society opposed a number of contemporary social changes in the United States, including shifting gender roles, a rise in immigration, the economic instability of the Great Depression, and New Deal liberalism. The article then documents how and why barbershoppers in Philadelphia at the turn of the twenty-first century still perform this “close,” neo-Victorian mode of white masculinity. In this new context, barbershop whiteness enabled a group of white men to claim belonging in their racially divided city despite years of migration and displacement caused by deindustrialization and urban decay. In both historical moments, barbershoppers used whiteness to challenge social and economic change and to assert the continued relevance of their musical style.
4
Sebesta, Judith A. "Just another Puerto Rican with a knife? Racism and reception on the Great White Way." Studies in Musical Theatre 1, no. 2 (August 31, 2007): 183–97. http://dx.doi.org/10.1386/smt.1.2.183_1.
Full textAbstract:
In the January/February 1998 issue ofHispanicmagazine, Robert Dominguez called the upcoming musicalThe Capemana historic event, predicting that it would precipitate more Latino-themed Broadway productions (Dominguez 1998: 84). His prediction has proven inaccurate. Musicals such asIn the Heightsnotwithstanding, this group has continued to be under-represented or misrepresented on and behind the Broadway stage. This essay explores the roles (or lack of) Latinos have played on and off the Broadway stage and contextualizes their presence/absence within larger issues of reception and race in musical theatre, leading to new hypotheses regarding the failure ofThe Capemanand pointing towards new directions for the future of Latino/a musical theatre.
5
Kim, Ji-Youn. "The Iconography and Characteristic of Wall Paintings of Daeungjeon Hall at Jangyuksa Temple in Yeongdeok." RESEARCH INSTITUTE FOR THE MAHAN-BAEKJE CULTURE 39 (June 30, 2022): 280–301. http://dx.doi.org/10.34265/mbmh.2022.39.280.
Full textAbstract:
As a building of Joseon Dynasty, Daeungjeon Hall at Jangyuksa Temple has jusimpo type gable roof with three bays in the front and three bays on the side, and inside the Hall, it attracts the attention of wall paintings and dancheong drawn on the wall and ceiling as well as Buddha statues and Buddhist paintings. Wall paintings and dancheong which make the interior of the Hall look majestic are usually drawn small because they are painted in the sense to focus attention on Buddha statues or Buddhist paintings as the main object of worship and form a religious atmosphere, but it receives attention since the east and west wall of Daeungjeon Hall at Jangyuksa Temple show unique iconography that is not seen in wall paintings of other temples.
This paper looked into the layout focusing on wall paintings the inside of Daeungjeon Hall at Jangyuksa Temple and examined the iconographic origin of the iconography that is distinguished from wall paintings of other temples, such as Munsudongja(Child Majusri) on a lion, Bohyeondongja(Child Samantabhadra) on a white elephant, and Bicheon(aprasas) playing a musical instrument, etc. as well as the development process. This iconography was established as solo iconography in earlier period of wall paintings, and it was found that it had an influence on banner Buddhist paintings of Seoul&Gyeonggi area be drawn at the bottom from the end of the 19th century to the early 20th century. However, Arhat paintings and Portraits of Great Masters on Pobyeok wall show characteristics after the 19th century in the iconography, coloration, and detailed expression, so it is believed that they were repainted after a rebuilding.
Then, based on the records handed down to the temple, the creation period of the wall paintings was examined. Most of the wall paintings the inside of Daeungjeon Hall were created in 1764 during a ceremony of Buddhist paintings, in which leading monk painters Doohoon(斗訓) and Jaeok(再玉) participated, and it can be said that they have great material value as representative works showing the iconography of Gisamunsudongja(Child Majusri on a lion) and Gisangbohyeondongja(Child Samantabhadra on a white elephant) in the mid-18th century.
6
Stacks, Stephen. "Bernice Johnson Reagon's Musical Coalition Politics, 1966–81." Journal of the Society for American Music 18, no. 1 (February 2024): 1–17. http://dx.doi.org/10.1017/s1752196323000469.
Full textAbstract:
AbstractIn 1981, Bernice Johnson Reagon gave a talk at the West Coast Women's Festival, challenging the group of mainly white feminists to embrace coalition politics—a political praxis theorized and advocated by Black and Israeli feminists that sought to build coalitions only after distinct group identities were embraced and nurtured. Long before she articulated this concept as the future of the Movements within which she worked, Reagon piloted it in her post-Civil Rights Movement music making. In her work with the Harambee Singers and the Southern Folk Cultural Revival Project between 1966 and 1974, Reagon developed a musical coalition politics that would inform her later interventions. Not only were Reagon's musical coalition politics during this period a musical embodiment of the vanguard of feminist theory, but they also shed light on how one of the most important musician-scholar-activists of the twentieth century approached the crafting of a new political identity in conversation with the shifting front of the Black Freedom Movement in the immediate wake of the classical phase of the Civil Rights Movement. This little-known period of Reagon's output offers scholars of Black music, scholars of American music, feminists/Black feminists, and activists much to contemplate and incorporate into our work.
7
Parsonage, Catherine. "A critical reassessment of the reception of early jazz in Britain." Popular Music 22, no. 3 (October 2003): 315–36. http://dx.doi.org/10.1017/s0261143003003210.
Full textAbstract:
The Original Dixieland Jazz Band's visit in 1919–1920 has been well documented as the beginning of jazz in Britain. This article illuminates a more complex evolution of the image and presence of jazz in Britain through consideration of the cultural and musical antecedents of the genre, including minstrel shows and black musical theatre, within the context of musical life in Britain in the late nineteenth to early twentieth centuries. The processes through which this evolution took place are considered with reference to the ways in which jazz was introduced to Britain through imported revue shows and sheet music.It is an extremely significant but often neglected fact that another group of American musicians, Will Marion Cook's Southern Syncopated Orchestra, also came to Britain in 1919. Remarkably, extensive comparisons of the respective performances and reception of the ODJB and the SSO have not been made in the available literature on jazz. Examination of the situation of one white and one black group of American musicians performing contemporaneously in London is extremely informative, as it evidences the continuing influence of the antecedents of jazz and the importance of both groups in shaping perceptions of jazz in Britain.
8
Said, Shannon. "White Pop, Shiny Armour and a Sling and Stone: Indigenous Expressions of Contemporary Congregational Song Exploring Christian-Māori Identity." Religions 12, no. 2 (February 16, 2021): 123. http://dx.doi.org/10.3390/rel12020123.
Full textAbstract:
It has taken many years for different styles of music to be utilised within Pentecostal churches as acceptable forms of worship. These shifts in musical sensibilities, which draw upon elements of pop, rock and hip hop, have allowed for a contemporisation of music that functions as worship within these settings, and although still debated within and across some denominations, there is a growing acceptance amongst Western churches of these styles. Whilst these developments have taken place over the past few decades, there is an ongoing resistance by Pentecostal churches to embrace Indigenous musical expressions of worship, which are usually treated as token recognitions of minority groups, and at worst, demonised as irredeemable musical forms. This article draws upon interview data with Christian-Māori leaders from New Zealand and focus group participants of a diaspora Māori church in southwest Sydney, Australia, who considered their views as Christian musicians and ministers. These perspectives seek to challenge the relationship between Indigenous and non-Indigenous relations within a church setting and create a more inclusive philosophy and practice towards being ‘one in Christ’ with the role of music as worship acting as a case study throughout. It also considers how Indigenous forms of worship impact cultural identity, where Christian worship drawing upon Māori language and music forms has led to deeper connections to congregants’ cultural backgrounds.
9
Marcus, Kenneth H. "Dance Moves." Pacific Historical Review 83, no. 3 (November 2012): 487–527. http://dx.doi.org/10.1525/phr.2014.83.3.487.
Full textAbstract:
This article argues that a group of young African Americans in the 1940s and 1950s used ballet as a means of crossing racial and class barriers of an art form in which few blacks had until then participated. Founded in 1946 by white choreographer Joseph Rickard (1918–1994), the First Negro Classic Ballet was one of the first African American ballet companies in the country's history and the first black ballet company known to last over a decade. With the goal of multiethnic cooperation in the arts, the company created a series of original “dance-dramas,” several with musical scores by resident composer Claudius Wilson, to perform for white and black audiences in venues throughout Southern and Northern California during the postwar era.
10
Driscoll, Christopher. "Constructing 'The Day After'." Bulletin for the Study of Religion 40, no. 3 (September 22, 2011): 20–25. http://dx.doi.org/10.1558/bsor.v40i3.005.
Full textAbstract:
Based out of Atlanta, GA, rap group Goodie Mob emerged in 1995 and gained critical and commercial success in large part through their ability to maintain a lyrical and musical balance between prophetically biting social commentaries concerning racism, poverty, violence, and sexism with an overtly theistic (and often Christian) metaphysical program responsive to these concerns. One way Goodie Mob maintains this balance is through the heuristic of death. Often, the group suggests death - the fear or exaggeration of it - is responsible for the individual and social sufferings that offer a starting platform for their prophetic critiques. At other times, death is deemed the only real solution to suffering. During these moments, death offers an end to suffering and the discovery of a response to the absurdity and arbitrariness of death and suffering. Using Goodie Mob's lyrics, this essay explores the relationship between metaphysical constructions and social injustices like white supremacy, and ultimately concludes that white supremacy might be thought of as a metaphysical system.
Books on the topic "White Lion (Musical group)"
1
Daneskov, Lars. Vagabonden: Historien om Mike Tramp. København: People's Press, 2005.
Find full text
2
Lemmy. White line fever. London: Simon & Schuster, 2002.
Find full text
3
Lemmy. White line fever: The autobiography. New York: Citadel Press, 2002.
Find full text
4
The MC5 and social change: A study in rock and revolution. Jefferson, N.C: McFarland, 2009.
Find full text
5
GROUP, GALE, and Escamilla. Contemporary Musicians. Thomson Gale, 1996.
Find full text
6
Contemporary musicians: Profiles of the people in music. Detroit, MI: Thomson Gale, 2006.
Find full text
7
Contemporary musicians: Profiles of the people in music. Detroit, MI: Gale Research, Inc., 2004.
Find full text
8
Contemporary Musicians: Profiles of the People in Music : Includes Cumulative Indexes (Contemporary Musicians). Thomson Gale, 2002.
Find full text
9
Sullivan, Denise, and The White Stripes. White Stripes - Sweethearts of the Blues. Backbeat Books, 2004.
Find full text
10
White LightWhite Heat Genuine Jawbone Books. Jawbone Press, 2009.
Find full textBook chapters on the topic "White Lion (Musical group)"
1
Johnson, Jake. "Promised Valley, Integration, and the Singing Voice." In Mormons, Musical Theater, and Belonging in America, 55–82. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042515.003.0004.
Full textAbstract:
While Mormons as a group have always been distinctly white, practicing polygamy and forming quasi-socialist communities made them seem more in line with problematic races and ethnic groups than with respectable white Americans. Mormons consequently were characterized as an ethnic minority in musical comedies throughout the late nineteenth and early twentieth centuries. This chapter documents the remarkable path Mormons took to gain white, middle-class acceptability in the mid-twentieth century, using musical theater to transition from fringe polygamist sect to quintessential Americans. In examining the 1947 Mormon musical Promised Valley, which was modeled on the integrated musical model of Rodgers and Hammerstein’s Oklahoma! from three years earlier and the vocal ideology inscribed within Kurt Weill’s musical Lady in the Dark, this chapter shows how Mormon leaders used the concept of singing to position themselves as exemplars of American ideals of discipline, community, and family values. Collective and disciplined singing, therefore, becomes a metaphor for unity in postwar America. Mormons proved themselves American using what had by that time become a bastion of white, middle-class respectability in America--musical theater.
2
Payne, Leah. "“Jesus Freaks”." In God Gave Rock and Roll to You, 91–116. Oxford University PressNew York, 2024. http://dx.doi.org/10.1093/oso/9780197555248.003.0006.
Full textAbstract:
Abstract Chapter 5 demonstrates how Contemporary Christian Music’s biggest youth-group bands created a post–Cold War soundscape for conservative white evangelical social action in the 1990s. Utilizing Billy Graham’s longstanding media networks and energized by fresh articulations of end-times urgency, CCM became the musical accompaniment for evangelical public action. Youth-group bands provided rock-centric articulations of white evangelical ideals, fueled by an expansive network of white evangelical denominations, parachurch organizations, media makers, and activists. For some of the young people raised in the “bubble” of CCM, the music provided an enduring sense of identity and meaning. In other cases, CCM came to signify a form of suffocating suburban evangelicalism that young people sought to escape. Some evangelical Christian bands and artists in that decade tried to avoid the CCM label, but escaping the evangelical brand was often easier said than done.
3
Decker, Todd. "The “Most Distinctive and Biggest Benefit that Broadway Has Ever Known”." In Rethinking American Music, 221–46. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042324.003.0011.
Full textAbstract:
Decker examines how the “color line” in the twentieth century crucially impacted Broadway up to the onset of the Great Depression. He finds a “surprising group portrait” of participants--including such figures as Walter White, an early African American leader of the NAACP, and Carl Van Vechten, a popular white novelist and cultural gadfly--who “together [meet] at a site where questions of musical style, race relations, and cultural and social history intersect in provocative ways” and offers a case study of how popular entertainment across the racial spectrum could work to enhance interracial understanding in the penumbral days of the Jazz Age.
4
Booker, Vaughn A. "Jazz Communion." In Lift Every Voice and Swing, 187–204. NYU Press, 2020. http://dx.doi.org/10.18574/nyu/9781479892327.003.0008.
Full textAbstract:
This chapter charts Mary Lou Williams’s decision to become a Roman Catholic. As she made this religious journey, she engaged in several critical conversations with God, with close friends, with two jazz-loving white Catholic priests, and with several other jazz musicians. Williams also engaged in conversations with various publics: a black public, through African American print publications; and the professional jazz public, whose musicians she claimed had lost their creativity in the modern musical era. This first group of conversation partners compelled her return to performing and composing music. Aiding them were her new Catholic clergy friends, who urged her to reconsider the jazz profession as remaining worthy of her divine musical talents. Williams expressed the hope that her conversations with the professional jazz world would prompt meaningful conversions for them. She argued that the fruits of this labor would be the revival of black musical creativity. To safeguard what Williams defined as God’s gifts of creative African American music and musicians, she called for practices of care and accountability within the jazz community.
5
Klotz, Kelsey. "“Any Jackass Can Swing”." In Dave Brubeck and the Performance of Whiteness, 31—C1N123. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780197525074.003.0002.
Full textAbstract:
Abstract Chapter 1 focuses on how jazz critics performed race in their musical discussions of Brubeck’s music. In a series of debates appearing in Down Beat magazine in 1955, critics assessed the merits of the Dave Brubeck Quartet in direct comparison with the Modern Jazz Quartet, an all-Black group, in terms of counterpoint, spontaneity, swing, and commercial success. While many studies in jazz focus on the relationship between blackness, rhythm, and authenticity, this chapter introduces the concept of white intellectual privilege to examine a specific privilege granted to white cool jazz musicians like Brubeck—that is, critics’ assumptions that his music is uniquely intellectual by virtue of its connections to European classical music, particularly through counterpoint. By comparing the music of each quartet through critics’ descriptions, I describe how critics inscribed Brubeck’s sound within a rhetoric of white intellectual privilege while denying the same association to the Modern Jazz Quartet, who also extensively included counterpoint in their music.
6
Bailey, Candace. "Introduction." In Unbinding Gentility, 1–16. University of Illinois Press, 2021. http://dx.doi.org/10.5622/illinois/9780252043758.003.0001.
Full textAbstract:
Locating women’s musical practices in the performance of gentility provides one path forward in reconciling archival evidence (binder’s volumes and other aspects of material culture that are often labeled ephemera) with existing music histories because gentility, unlike social status, belonged to no single group of people. Gentility crossed class boundaries and allowed black and white women to define or redefine their status during a time of great social change. The Introduction clarifies the use of the term gentility in this book and contextualizes its role in the performance of culture by amateur musicians in the parlor.
7
Klotz, Kelsey. "“We Want to Play in the South”." In Dave Brubeck and the Performance of Whiteness, 157—C4N111. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780197525074.003.0005.
Full textAbstract:
Abstract Chapter 4 focuses on the activities surrounding Brubeck’s 1960 tour of the South. In January 1960, Brubeck made headlines after twenty-two segregated colleges and universities across the American South refused to allow his interracial quartet to perform on their campuses. Brubeck had been quietly rehearsing his activism leading up to the scheduled southern tour; he had previously canceled concerts in Dallas (1957) and at the University of Georgia (1959), refused to entertain a South African tour when organizers required an all-white group (1958), and had a near miss at East Carolina College (1958). New details in his steps toward race activism highlight the ways in which he leveraged his whiteness to support integration efforts. Ultimately, Brubeck adopted a new musical and promotional strategy aimed directly at southern audiences, a strategy that married commercial interests with political ideology by banking on his ability to draw new audiences to jazz. At the same time, the broader music industry’s placement within racial capitalism ensured that no matter what Brubeck’s individual efforts were, the market would continue to support white supremacy.
8
Lott, Eric. "Introduction." In Love and Theft, 3–12. Oxford University PressNew York, NY, 1995. http://dx.doi.org/10.1093/oso/9780195096415.003.0001.
Full textAbstract:
Abstract It was at this epoch that Mr. T. D. Rice made his debut in a dramatic sketch entitled “Jim Crow,” and from that moment everybody was “doing just so,” and continued “doing just so” for months, and even years afterward. Never was there such an excitement in the musical or dramatic world; nothing was talked of, nothing written of, and nothing dreamed of, but “Jim Crow.” The most sober citizens began to “wheel about, and turn about, and jump Jim Crow.” It seemed as though the entire population had been bitten by the tarantula; in the parlor, in the kitchen, in the shop and in the street, Jim Crow monopolized public attention. It must have been a species of insanity, though of a gentle and pleasing kind. . . . Despite their billings as images of reality, these Negroes of fiction are counterfeits. They are projected aspects of an internal symbolic process through which, like a primitive tribesman dancing himself into the group frenzy necessary for battle, the white American prepares himself emotionally to perform a social role.