Littérature scientifique sur le sujet « Musicians as politicians »
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Articles de revues sur le sujet "Musicians as politicians"
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Romanou, Katy. "Crisis concealing light." Muzikologija, no. 21 (2016): 63–70. http://dx.doi.org/10.2298/muz1621063r.
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In this article I discuss the blossoming of musical life in Greece that begun in 1974, simultaneously with the growth of the debt crisis. Communist musicians returned from exile and they were hailed as heroes while their music became indispensible to pre-electoral gatherings. Connected to the return to democracy, music and musicians became extremely important to politicians and loved by the people, and were offered a substantial portion of the money that poured in from the EU. Cold War cultural politics played their role in promoting avant-garde music as well. In comparison, today Greece has a great number of excellent musicians and the architectural infrastructure for the performance and study of music, but these are concealed by the daily hammering of crisis news.
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Popescu, Ana-Maria, and Marco Pennacchiotti. "“Dancing with the Stars,” NBA Games, Politics: An Exploration of Twitter Users’ Response to Events." Proceedings of the International AAAI Conference on Web and Social Media 5, no. 1 (2021): 594–97. http://dx.doi.org/10.1609/icwsm.v5i1.14193.
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Microblogging services such as Twitter offer great opportunities for analyzing the reactions of a wide audience with respect to current events. In this paper, we explore the correlation between types of user engagement and events centered around celebrities (e.g., personal or professional events involving Actors, Musicians, Politicians, Athletes).
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Soper, Christopher. "Rock and Roll Will Never Die: Using Music to Engage Students in the Study of Political Science." PS: Political Science & Politics 43, no. 02 (2010): 363–67. http://dx.doi.org/10.1017/s1049096510000296.
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AbstractPopular music is ubiquitous in the lives of our students, music is used by politicians at virtually every one of their campaign events, and musicians are increasingly active in politics, but music has never been considered as a pedagogical tool in teaching political science classes. This article describes the use of music in an introduction to American politics class. I argue that playing music in class can increase student interest, reinforce important concepts, and actively engage the students in the learning process. Finally, using popular culture connects meaningfully with the way that many of our undergraduate students are experiencing politics.
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STORHOFF, TIMOTHY. "Music, Politics, and the Liminality of the Havana Jazz Plaza Festival in the Obama Era." Journal of the Society for American Music 14, no. 1 (2020): 70–91. http://dx.doi.org/10.1017/s1752196319000555.
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AbstractAfter the Obama administration (2009–17) began authorizing musical exchanges with Cuba in 2009, Havana's music festivals became a primary site for transnational interactions and a public face for US-Cuban engagement while politicians worked towards normalization in secret. This article uses field research from the Havana International Jazz Festival, interviews with festival participants, and media coverage to explore Cuban music festivals as politically liminal spaces where musical and political life commingled to reflect the changing US-Cuban relationship. While diverse lineups attracted international tourists, artists faced bureaucratic challenges to legally traverse the Florida Straits and create music in the context of intercultural dialogue. Despite these difficulties, Havana as a festival space encouraged musicians to defy genre conventions, explore cultural commonalities, and negotiate social differences on stage during the Havana Jazz Plaza Festival. These transnational interactions culminated in Arturo O'Farrill's album Cuba: The Conversation Continues, which was recorded by US and Cuban musicians in Havana during the 2014 jazz festival and is characteristic of festival exchanges in its representation of a more harmonious international relationship.
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Barbour, Kim, and Michael Humphrey. "Domesticity and Persona." Persona Studies 8, no. 2 (2023): 1–6. http://dx.doi.org/10.21153/psj2022vol8no2art1716.
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Because personas are performances of identity, strategically enacted for an immediate or imagined audience, the study of personas to date has concentrated on the public realm of life. Professional personas enacted in workplaces have taken up much attention, whether for artists, comedians, scientists, actors, musicians, or politicians. Similarly (and often overlapping the professional persona), the performance of self online that is constituted in and through social media has proven a generative space for research. Mediatised personas generally open up a space for understanding persona performances, while the non-human, the institutional, the collectively constituted persona come as a logical extension of the theorisation of persona as strategic identity display.
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Yue, Xiao Dong. "Whoever is Influential is Creative: How Chinese Undergraduates Choose Creative People in Chinese Societies." Psychological Reports 94, no. 3_suppl (2004): 1235–49. http://dx.doi.org/10.2466/pr0.94.3c.1235-1249.
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This study surveyed 994 undergraduates in Guangzhou, Hong Kong, Nanchang, Nanjing and Xian about their nomination and evaluation of the most creative people in Chinese societies as well as their valuation of collectivistic and individualistic goals of creativity. Politicians and scientists/inventors were mostly nominated and were generally rated higher on social contribution than on creativity. Artists/musicians and writers/poets were rarely nominated and were mostly rated higher on creativity than on social contribution. Collectivistic goals of creativity were significantly more valued than individualistic goals of creativity. There appears to be a social validation of creativity such that meritorious salience of creativity and social influence of the creator were greatly emphasized. Merit-based attribution of creators may have a detrimental effect on perception and promotion of general creativity in Chinese societies.
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Alexeev, Alexander B. "Politainment and the influence of its strategies on the language personality of the politician." NSU Vestnik. Series: Linguistics and Intercultural Communication 18, no. 2 (2020): 91–102. http://dx.doi.org/10.25205/1818-7935-2020-18-2-91-102.
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The article dwells on the notion of the language personality of the politician-as-actor interpreted within the framework of the politainment theory: the term used in the paper does not indicate the previous profession of a politician but rather describes one of the peculiarities of the political discourse, viz. its theatricality. The paper argues that when political communication is being transformed into politainment, theatricality becomes its key component. Politainment is interpreted here as a hybrid type of political discourse including elements of mass-media and everyday spheres of communication, allowing to orient them at entertainment. Since the language of politainment performs a ludic function, it has often recourse to language game. For the communicative approach of the politician-as-actor it is typical to avoid serious consideration of political topics, to make use of communicative techniques which allow to simplify political problems. It is normal for him to recourse to vulgar language, offensive or otherwise insulting devices such as hyperboles, exaggerations, grotesque. The politician using techniques of politainement is a resourceful individual who can easily give metalinguistic comments, employ puns, euphemisms, dysphemisms, similes, hyperboles and other rhetoric means. Just like a traditional politician, the ‘actor’ is manipulative: he plays out different roles but, first and foremost, he is a star, a celebrity and a glamorous person. In this sense, the politician-as-actor has something in common with musicians and professional sportsmen. It is not unusual for the politainment to borrow their vocabulary: sports, musical instruments, names of musical groups and performers may be mentioned. Such a political actor “sets records”, “competes” with his political opponents, “knocks them out”, etc. To conclude, we may say that ‘actors’ take initiative to dominate on the contemporary political scene and to set a new trend in political communication. In this sense, politainment is not a phenomenon which is represented by orations of only several “linguistically creative” politicians; it is much wider, it influences the whole standard of political communication.
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Cannady, Kimberly D. "Beyond ‘puffins and moss’: Iceland Airwaves and post-crash musical tourism." Popular Music 39, no. 3-4 (2020): 539–53. http://dx.doi.org/10.1017/s0261143020000525.
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AbstractThis article explores relationships between the significant growth of foreign tourism to Iceland, following the 2008 economic crash, and the popular music festival Iceland Airwaves. I consider the effects of Iceland Airwaves on popular music in Reykjavík during the festival and outside of the festival season. My focus is primarily on how the local population experiences Iceland Airwaves and musical tourism in general. Based on ethnographic fieldwork conducted in Iceland between 2010 and 2018, I examine how musicians, politicians, festival management, tourism sector workers, business people, and other music industry workers approach and negotiate the rising role of popular music in Iceland's new tourism economy. This research contributes to broader understandings of how music festivals and musical tourism shape local musical life year-round, and it also offers insight into Iceland's internationally renowned popular music industry.
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LIU, BESS XINTONG. "‘The Timpani Beats Just Hit on My Heart!’ Music, Memory, and Diplomacy in the Philadelphia Orchestra's 1973 China Tour." Twentieth-Century Music 18, no. 3 (2021): 395–418. http://dx.doi.org/10.1017/s1478572221000189.
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AbstractThis article examines the underexplored history of the 1973 Philadelphia Orchestra China tour and retheorizes twentieth-century musical diplomacy as a process of ritualization. As a case study, I consult bilingual archives and incorporate interviews with participants in this event, which brings together individual narratives and public opinions. By contextualizing this musical diplomacy in the Cold War détente and the Chinese Cultural Revolution, I argue for the complex set of relations mobilized by Western art music in 1973. This tour first created a sense of co-dependency between musicians and politicians. It also engaged Chinese audiences by revitalizing pre-Cultural Revolution sonic memories. Second, I argue that the significance of the 1973 Orchestra tour lies in the ritualization of Western art music as diplomatic etiquette, based on further contextualization of this event in the historical trajectory of Sino-US relations and within the entrenched Chinese ideology of liyue (ritual and music).
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Bianchi, Emily C., Erika V. Hall, and Sarah Lee. "Reexamining the Link Between Economic Downturns and Racial Antipathy: Evidence That Prejudice Against Blacks Rises During Recessions." Psychological Science 29, no. 10 (2018): 1584–97. http://dx.doi.org/10.1177/0956797618777214.
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Scholars have long argued that economic downturns intensify racial discord. However, empirical support for this relationship has been mixed, with most recent studies finding no evidence that downturns provoke greater racial animosity. Yet most past research has focused on hate crimes, a particularly violent and relatively infrequent manifestation of racial antipathy. In this article, we reexamine the relationship between economic downturns and racial acrimony using more subtle indicators of racial animosity. We found that during economic downturns, Whites felt less warmly about Blacks (Studies 1 and 2), held more negative explicit and implicit attitudes about Blacks, were more likely to condone the use of stereotypes, and were more willing to regard inequality between groups as natural and acceptable (Study 2). Moreover, during downturns, Black musicians (Study 3) and Black politicians (Study 4) were less likely to secure a musical hit or win a congressional election.
Thèses sur le sujet "Musicians as politicians"
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Aparicio, Villalonga Catalina. "El ejemplo de los oficios en los diálogos de Platón: una vía de acceso a su filosofía." Doctoral thesis, Universitat de les Illes Balears, 2014. http://hdl.handle.net/10803/283187.
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Un dels trets més característics del Sòcrates platònic és la constant menció dels diferents artífexs, característica compartida per l’Estranger i l’Atenès, els altres personatges mitjançant els quals Plató expressa el seu pensament. Són les analogies amb els distints treballadors i les seves tècniques o pràctiques les que serveixen per posar de manifest diferents tipus d’acció: una orientada a fins racionals, productora d’un bé i avalada per un camp teòric de coneixement tècnic; una altra irracional, orientada a plaers i sense cap coneixement que la sustenti. Els exemples d’oficis no només li serveixen a Plató per posar de manifest aquesta important distinció, necessària per erigir la política en tècnica suprema, sinó que li són molt útils per donar consistència i validesa a nombrosos aspectes fonamentals del seu pensament. L’anàlisi d’aquest ús és una via d’accés a la filosofia de Plató.
Livres sur le sujet "Musicians as politicians"
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Semedo, Manuel Brito. A morna-balada: O legado de Renato Cardoso. Instituto de Promoção Cultural, 1999.
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A morna-balada: O legado de Renato Cardoso. 2nd ed. Instituto da Biblioteca Nacional e do Livro, 2008.
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Mikēs Theodōrakēs: Synthetēs, politikos, stochastēs. Hidryma tēs Voulēs tōn Hellēnōn, 2009.
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Alemán, Victorino Velázquez. Epifanio Méndez Fleitas: El paladín de la democracia. Servilibro, 2017.
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Gkrosdanēs, Giannēs. Hoi 25 spoudaioteroi hellēnes tou 20ou aiōna. Ekdoseis Archetypo/Metaekdotikē A.E., 2009.
Trouver le texte intégralChapitres de livres sur le sujet "Musicians as politicians"
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Johnson, Mark A. "Introduction." In Rough Tactics. University Press of Mississippi, 2021. http://dx.doi.org/10.14325/mississippi/9781496832825.003.0001.
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IN 1902, BLACK BANDLEADER WILLIAM CHRISTOPHER HANDY, WHO HAD NOT yet achieved fame as the Father of the Blues, settled in Clarksdale, Mississippi. Before he became a famous musician and music producer, he took whatever work he could find to make ends meet, which sometimes resulted in seemingly unlikely alliances with white supremacists. “We were frequently hired … to furnish music for political rallies,” recalled Handy. At these rallies, Handy and his band of Black musicians had to “absorb a ‘passel’ of oratory of the brand served by some Southern politicians.” At this time, Mississippi’s race relations had grown especially violent as vigilante groups, like the Whitecaps, terrorized and murdered Black farmers. During Handy’s brief stay in Mississippi, white terrorists lynched hundreds of African Americans, seventeen of them within a small radius around Clarksdale. In this climate, Mississippians propelled politician and notorious white supremacist James K. Vardaman to prominence and the governorship....
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Helbig, Adriana N. "Transitions." In ReSounding Poverty. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780197631768.003.0002.
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Abstract Chapter 1 offers a historical overview of Romani experiences in today’s eastern and western Ukraine. It contextualizes the role of Romani musicians in the Austrian and Russian Empires and charts the trajectory of such roles from the Soviet period to the present day. It also analyzes how different state policies have contributed to distinct economic, political, and social experiences for various Roma groups. This chapter paints a historical overview of non-Rom perceptions about Roms and how Romani politicians engage with such narratives in Ukraine today through examples from literature, poetry, and art.
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Stark, David. "The Performance Complex." In The Performance Complex. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198861669.003.0001.
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Musicians, dancers, and actors perform. Politicians, doctors, and teachers do also. Millions perform their everyday selves on social media. And while some perform, others keep score. We live in a performance society, saturated with performances of many and various kinds, with a wide range of attendant capacities, techniques, and creativities—but also anxieties. This chapter introduces the book’s central focus; the assemblage of metrics, networks, and their attendant emotional pathologies referred to as the performance complex. It takes the reader through the general structure and elaborates on the broad themes of the book, outlining the important distinctions between competition and competitions, ratings and rankings, and performances and performance.
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Hudson, Berkley. "Seven Bellhops and Gilmer Hotel Manager, circa 1930." In O. N. Pruitt's Possum Town. University of North Carolina Press, 2022. http://dx.doi.org/10.5149/northcarolina/9781469662701.003.0013.
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The Gilmer Hotel was a central spot for white power brokers, women’s club luncheons, and visiting travelers. Pruitt often took pictures there, whether it was politicians making speeches or white women eating in the Gardenia Room. The four-story hotel was made from clay hand-dug by Black slaves in 1860. During the Civil War, the hotel was converted into a hospital. The cast of characters visiting the Gilmer was remarkable. These included President William Taft, boxer Jack Dempsey, and actors Clark Gable and Doris Day. William Faulkner, an occasional visitor, captured the hotel’s spirit. in an April 1954 Holiday magazine essay. Faulkner wrote about leaving the Gilmer to get moonshine whiskey at a bootlegger’s in nearby Alabama hills. A decade after Pruitt photographed seven bellhops and hotel manager J.O. Slaughter, Slaughter helped bellhop Edward C. Bush and his wife Bessie secure a loan to renovate a hotel in a Black neighborhood. In 1947 the Bushes reopened the Queen City Hotel, one of the few Mississippi hotels for Blacks and listed in the Negro Travelers’ Green Book. Musicians B. B. King, Count Basie, and Marian Anderson and baseball player Jackie Robinson were among the Queen City’s guests.
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Berry, Jason. "After the Flood." In City of a Million Dreams. University of North Carolina Press, 2018. http://dx.doi.org/10.5149/northcarolina/9781469647142.003.0015.
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Hurricane Katrina devastated New Orleans in 2005, killing over 1,000 people and displacing over 1 million. As the rebuilding process began, musicians, Mardi Gras Indians, and Social Aid and Pleasure Club members began trickling back. Culture prevailed as politics failed. The life force of music and memory, determined to survive, came back to the shattered city. The hurricane wasn’t the only devastating force: the city had undertaken many urban development projects in Tremé throughout the second half of the 20<sup>th</sup> century, demolishing historical areas and displacing people. New Orleans has also long suffered from government corruption, and several politicians were arrested throughout the 2000s. Yet hope and vibrancy abound. The 2014 funeral for Larry Bannock, Big Chief of the Golden Starhunters, drew a large gathering of black Indians in a magnificent cultural spectacle. Amidst much political and social controversy, Mayor Mitch Landrieu removed the Robert E. Lee statue from the city in 2017. As New Orleans begins its fourth century, it faces issues of gun violence, poverty, and gentrification, but opportunities from a flourishing digital economy, resurgent music scene, and cultural mecca as well. It is still the vibrant, diverse society composed of people whose roots lie across the world, whose resilience has been a rudder through the storms and violent upheavals throughout the centuries.
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Kildea, Paul. "Carrying Music to the Masses." In Selling Britten. Oxford University PressOxford, 2002. http://dx.doi.org/10.1093/oso/9780198167150.003.0002.
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Abstract There is no sign as yet of the one man who is both of sufficient character and sufficient inventive genius to alter the stream of music today definitely and conclusively. This is perhaps only to be expected; nature is not in the habit of throwing up a Titan every 50 years or so ... ... I have completed the Canadian work which I suggested to you a long time ago and about which Heinsheimer has always seemed so keen I dare sayyou will hear from him direct whether he thinks it will suit the American market or not. You see how commercially minded I am growing. The last century was a good time for children of shopkeepers. Politicians, intellectuals, Olympic athletes, and musicians of every kind emerged from behind the most unlikely counters. Edward Elgar, for example, died in 1934, whiskered, well fed, ennobled, and financially secure. His humble Worcester background was usually hidden behind his considerable achievements, although it was given the occasional airing---the gesture of a self-made man. To Siegfried Sassoon, Elgar ‘s appearance was that of a retired Victorian army officer, and his outlook that of an aristocrat-‘the Due D ’Elgar ‘. Although Elgar never became prime minister, the fate and fortune of one woman of background similar to Elgar ‘s, he did once consider becoming a Tory candidate for parliament and he met with Edward VII ‘s warm approval. He was appointed Master of the King ‘s Musick in 1924-a suitably archaic title for a position occupied by this status-conscious composer.
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Nguyen, Phuong Tran. "Conclusion." In Becoming Refugee American. University of Illinois Press, 2017. http://dx.doi.org/10.5622/illinois/9780252041358.003.0008.
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This short chapter reflects on the limits of an exile identity, especially for two refugee giants, musician Pham Duy and politician Nguyen Cao Ky, whose disavowal of their refugee pasts in exchange for easy entry for them and their children to Vietnam was read by the refugee community as an act of surrender. It also reflects on further efforts in Little Saigon to institutionalize refugee collective, and also new, progressive developments that prove both past and future are far from settled.
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North, Michael. "Tourists in the Age of the World Picture." In Reading 1922. Oxford University PressNew York, NY, 1999. http://dx.doi.org/10.1093/oso/9780195127201.003.0004.
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Abstract Sometime in the mid-19 20s, two creatures were born who have come to be more commonly recognized than any movie star, politician, or rock musician. Unfortunately, these creatures cannot be named or described, only depicted, because they were created to circumvent language, with all its inconsistencies and disparities. They are, of course, the male and female silhouettes visible on public facilities all over the world, symbols first formulated by Otto Neurath as part of his attempt to create an international pictorial language to be called Isotype. Neurath, a founding logical positivist, hoped to extend the concept script of Frege and Wittgenstein into public life by formulating a set of minimal, logical, and culturally unspecific symbols that would facilitate international communication. By the mid-1950s, he was collaborating with C. K. Ogden and had translated Ogden’s Basic English into Isotype, thus producing a complete, if limited, system of international pictorial communication.
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Giddins, Gary. "Heroes at Work (“Made in America”)." In Weather Bird. Oxford University PressNew York, NY, 2006. http://dx.doi.org/10.1093/oso/9780195304497.003.0102.
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Abstract A new organization called Jazz Alliance International produced “Made in America,” a jazz concert to benefit “the heroes and victims of September 11,” on December 5 at Town Hall. No financial details were supplied about the poorly publicized and sparsely attended evening, except that it raised—obviously not from ticket sales—$260,000, which was given to the Robin Hood Foundation to aid “lower income victims.” Save one mercifully brief speech by the JAI’s president and an equally brief intermission, the program provided three hours of music, as each performer or band appeared for one number and then disappeared or remained on stage to play with the next configuration. None of the music was shabby, which is pretty impressive for an event of this kind; more amazing was the presentation’s overall smoothness. However successful JAI may or may not be at raising money, it already knows how to organize a show; the only failing was the overmiked sound. Rhetoric was reserved for a playbill with musician bios, lists of board members (some 40) and absentee politicians, and a statement of purpose. The musical numbers were permitted to turn like pages in a novel, breezily unmolested, and it was impossible to reenter the night without thinking that jazz is a lot healthier than it’s usually made out to be.