Littérature scientifique sur le sujet « Popular music – social aspects – california »
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Articles de revues sur le sujet "Popular music – social aspects – california"
Handayani, Diah. « Political Identity, Popular Culture, and Ideological Coercion : The Discourses of Feminist Movement in the Report of Ummi Magazine ». Jurnal Pemberdayaan Masyarakat : Media Pemikiran dan Dakwah Pembangunan 5, no 1 (18 juin 2021) : 185–210. http://dx.doi.org/10.14421/jpm.2021.051-08.
Texte intégralJunko, Kitagawa. « Some aspects of Japanese popular music ». Popular Music 10, no 3 (octobre 1991) : 305–15. http://dx.doi.org/10.1017/s0261143000004669.
Texte intégralYasiuk, Tamara. « Ritualism in Ethnic and Popular Culture : Social and Historical Aspects ». Folk art and ethnology, no 4 (30 décembre 2022) : 89–94. http://dx.doi.org/10.15407/nte2022.04.089.
Texte intégralFAIRCHILD, CHARLES. « The medium and materials of popular music : ‘Hound Dog’, turntablism and muzak as situated musical practices ». Popular Music 27, no 1 (13 décembre 2007) : 99–116. http://dx.doi.org/10.1017/s0261143008001499.
Texte intégralPowell, Bryan. « Community music interventions, popular music education and eudaimonia ». International Journal of Community Music 00, no 00 (24 février 2021) : 1–23. http://dx.doi.org/10.1386/ijcm_00031_1.
Texte intégralJunior, Jeder. « Música popular massiva e gêneros musicais : produção e consumo da canção na mídia ». Comunicação Mídia e Consumo 3, no 7 (23 septembre 2008) : 31–47. http://dx.doi.org/10.18568/cmc.v3i7.69.
Texte intégralZmudzińska, Kamila, et Roman Matykowski. « Spatial and social aspects of the impact of Pol’and’Rock Festival and Jarocin Festival in Poland ». Journal of Geography, Politics and Society 13, no 2 (29 septembre 2023) : 46–66. http://dx.doi.org/10.26881/jpgs.2023.2.05.
Texte intégralAlvarenga, Claudia Helena Azevedo, et Tarso Bonilha Mazzotti. « Samba as Representation of Brazilianness in the Popular Songs Rhetoric ». Per Musi, no 39 (12 septembre 2019) : 1–12. http://dx.doi.org/10.35699/2317-6377.2019.15152.
Texte intégralTemperley, David. « Syncopation in rock : a perceptual perspective ». Popular Music 18, no 1 (janvier 1999) : 19–40. http://dx.doi.org/10.1017/s0261143000008710.
Texte intégralAnantia, Alviana Aslama, Yolanda Masnita et Kurniawati Kurniawati. « Effectiveness of Digital Music Platforms’ Social Media Interaction on Advertising Trust Using Cognitive Aspects ». Manajemen dan Bisnis 22, no 1 (20 mars 2023) : 1. http://dx.doi.org/10.24123/jmb.v22i1.624.
Texte intégralThèses sur le sujet "Popular music – social aspects – california"
Gautier, Alba. « Producing a popular music : the emergence and development of rap as an industry ». Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79768.
Texte intégralWong, Chi-chung Elvin, et 黃志淙. « Making and using pop music in Hong Kong ». Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1997. http://hub.hku.hk/bib/B29872583.
Texte intégralPolychronakis, Ioannis. « Song odyssey : negotiating identities in Greek popular music ». Thesis, University of Oxford, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.669839.
Texte intégralStraw, Will 1954. « Popular music as cultural commodity : the American recorded music industries 1976-1985 ». Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=39241.
Texte intégralMoore, Christopher Lee. « Music in France and the Popular front (1934-1938) : politics, aesthetics and reception ». Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=102813.
Texte intégralSympathetic to the Popular Front's larger political aims, a number of French musicians and composers became affiliated with the Communist-sponsored Maison de 1a Culture and its affiliated musical organizations, the most prominent of which was the Federation Musicale Populaire (FMP). They participated in the administrative, cultural and intellectual life of the FMP; they took part in conferences, wrote articles on the theme of "music for the people," and were advocates for the organization within French musical life at large. Furthermore, these composers wrote works for government-commissioned events, for amateur groups, and for spectacles designed for mass audiences.
Some of the FMP's most prominent proponents (Darius Milhaud, Georges Auric, and Arthur Honegger) were former members of Les Six, a group that had been particularly interested in borrowing music derived from "popular" sources like the music hall and the circus following World War I. This study argues that the aesthetic approach of Les Six, which found support in FMP presidents Albert Roussel and Charles Koechlin, was reinvigorated during the Popular Front for a much more clearly defined political purpose. While the general interest in "popular" sources was still maintained, composers at the FMP now sought to integrate folklore and revolutionary music into their works "for the people" in an attempt to create and underline cultural links between workers and intellectuals---a compositional approach for which this dissertation coins the expression "populist modernism."
This study, the first book-length examination of French musical culture in light of Popular Front politics, concentrates on some of the period's most significant populist modernist works and draws upon contemporaneous journalistic coverage and archival documents that in many cases have hitherto never been the object of musicological study. The research shows that in 1936, following an initial infatuation with the genres and styles of socialist realist Soviet works, French left-wing composers developed a more inclusive view of what constituted music "for the people." Composers continued to write music indebted to politically resonant popular sources like folklore and revolutionary songs, but they also drew upon these genres in works (like the collaborative incidental music for Romain Rolland's Le 14 Juillet) that employed modernist compositional techniques. Though this approach was most obviously felt in the numerous works composed for organizations like the FMP, populist modernism also emerged in works performed at the Theatre de l'Opera-Comique and the 1937 Paris Exposition. By cutting across musical genres as well as institutional and social contexts, populist modernism emerges as the dominant aesthetic trend in French music during the years of the Popular Front.
Man, Oi-kuen Ivy. « Cantonese popular song in Hong Kong in the 1970s : an examination of musical content and social context inselected case studies ». Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B31221476.
Texte intégralWong, Chi-chung Elvin, et 黃志淙. « The working of pop music culture in the age of digital reproduction ». Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2010. http://hub.hku.hk/bib/B44140101.
Texte intégralJeppie, Shamil. « Aspects of popular culture and class expression in inner Cape Town, circa 1939-1959 ». Thesis, University of Cape Town, 1990. http://hdl.handle.net/11427/24109.
Texte intégralCHINCOLI, Veronica. « Black North American and Caribbean music in European metropolises : a transnational perspective of Paris and London music scenes (1920s-1950s) ». Doctoral thesis, European University Institute, 2019. http://hdl.handle.net/1814/62230.
Texte intégralExamining Board: Professor Stéphane Van Damme, European University Institute; Professor Laura Downs, European University Institute; Professor Catherine Tackley, University of Liverpool; Professor Pap Ndiaye, SciencesPo
This thesis examines black music circulation in the urban spaces of London and Paris. It shows the complexity of the evolutionary processes of black musical genres, which occurred during the late imperial period (1920s-1950s) within the urban music scenes of two imperial metropolises, and how they played an important role on the entertainment circuit. Both cities functioned as sites of crossfertilisation for genres of music that were co-produced in a circulation between empires and Europe. Musicians of various origins met in the urban spaces of the two cities. The convergence and intermingling of musical cultures that musicians had brought with them produced new sounds. This process was influenced by a minority group (blacks), but had a significant and lasting influence on the musical world. By creating an historical account of the encounters and exchanges between people of different origins within the music scenes, this thesis examines music development and the complexity of processes of racialisation according to their historical locality and meaning. Using a variety of sources including police reports, government documents, interviews, guidebooks and newspapers, this work contributes to widen the perspective of historical studies on music developments, emphasising their social and spatial dimensions, which are fundamental for the exploration of music scenes, in general, and for the spread of black genres of music in particular. Black music styles spread internationally, but were produced in several specific locations where music industry infrastructure was developing. In the urban spaces of the music scenes of London and Paris social networks were formed by various actors - both blacks and whites - and were crucial for music production and reception; different perceptions of blackness, processes of competition, and debates on authenticity emerged; and processes of regulation and negotiation underpinned the intervention of public authorities.
Chapter 4 'Black Music Styles as Vehicles for Trans-racial Interplay: Practices of Learning, Perceptions of Blackness and Commercialisation of Music' of the PhD thesis draws upon an earlier version published as an article “Black Music Styles as Vehicles for Transnational and Trans-Racial Exchange: Perceptions of Blackness in the Music Scenes of London and Paris (1920s-1950s),” (2017) in the journal 'Zapruder world'
Gitonga, Priscilla Nyawira. « Music as social discourse : the contribution of popular music to the awareness and prevention of HIV/AIDS in Nairobi, Kenya ». Thesis, Nelson Mandela Metropolitan University, 2009. http://hdl.handle.net/10948/962.
Texte intégralLivres sur le sujet "Popular music – social aspects – california"
Yang, Mina. California polyphony : Ethnic voices, musical crossroads. Urbana : University of Illinois Press, 2008.
Trouver le texte intégralYang, Mina. California polyphony : Ethnic voices, musical crossroads. Urbana : University of Illinois Press, 2008.
Trouver le texte intégralYang, Mina. California polyphony : Ethnic voices, musical crossroads. Urbana : University of Illinois Press, 2008.
Trouver le texte intégralMichael, Ochs, dir. Waiting for the sun : The story of the Los Angeles music scene. London : Viking, 1996.
Trouver le texte intégralKortaba, Joseph. Popular music and society. New York : Routledge, 2009.
Trouver le texte intégralCouncil, Scottish Arts. Contemporary popular music. Edinburgh : Scottish Arts Council, 2001.
Trouver le texte intégralInternational Conference on Popular Music Studies (7th 1993 Stockton, California). Popular music--style and identity : International Association for the Study of Popular Music Seventh International Conference on Popular Music Studies. Montreal : Centre for Research on Canadian Cultural Industries and Institutions, 1995.
Trouver le texte intégralBennett, Andy. Popular music and youth culture : Music, identity, and place. Basingstoke : Palgrave, 2002.
Trouver le texte intégralJames, Lull, dir. Popular music and communication. 2e éd. Newbury Park, Calif : Sage Publications, 1992.
Trouver le texte intégralHamm, Charles. Putting popular music in its place. Cambridge : Cambridge University Press, 1995.
Trouver le texte intégralChapitres de livres sur le sujet "Popular music – social aspects – california"
Chow, Yiu Fai, Jeroen de Kloet et Leonie Schmidt. « Documenting the Past, Sustaining the Present, Making the Future ». Dans Contemporary East Asian Visual Cultures, Societies and Politics, 1–34. Singapore : Springer Nature Singapore, 2024. http://dx.doi.org/10.1007/978-981-99-6710-0_1.
Texte intégralBrackett, David. « The Newness of Old-Time Music ». Dans Categorizing Sound. University of California Press, 2016. http://dx.doi.org/10.1525/california/9780520248717.003.0004.
Texte intégralLelwica, Michelle M. « Losing Their Way to Salvation ». Dans Religion and Popular Culture in America, Third Edition. University of California Press, 2017. http://dx.doi.org/10.1525/california/9780520291447.003.0014.
Texte intégralNorth, Adrian C., et David J. Hargreaves. « Experimental aesthetics and everyday music listening ». Dans The Social Psychology of Music, 84–104. Oxford University PressOxford, 1997. http://dx.doi.org/10.1093/oso/9780198523840.003.0005.
Texte intégralCohen, Annabel J. « Music As A Source Of Emotion In Film ». Dans Music And Emotion, 249–72. Oxford University PressNew York, NY, 2001. http://dx.doi.org/10.1093/oso/9780192631886.003.0011.
Texte intégralGeoffroy-Schwinden, Rebecca Dowd. « Social Privilège and Musician-Masons ». Dans From Servant to Savant, 51–76. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780197511510.003.0003.
Texte intégralAgawu, Kofi. « Rethinking Music Theory, with African Aid ». Dans On African Music, 105—C5N48. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780197664063.003.0005.
Texte intégralFletcher, Stella. « Religion ». Dans The Oxford History of the Renaissance, 87–122. Oxford University PressOxford, 2023. http://dx.doi.org/10.1093/oso/9780192886699.003.0003.
Texte intégralHansen, Kai Arne. « A Different Country ? » Dans Pop Masculinities, 66–99. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190938796.003.0004.
Texte intégralSilvanto, Satu. « How to Flow ». Dans Focus On Festivals. Goodfellow Publishers, 2015. http://dx.doi.org/10.23912/978-1-910158-15-9-2647.
Texte intégralActes de conférences sur le sujet "Popular music – social aspects – california"
Jucu, Ioan Sebastian. « WHEN LIVE PERFORMANCES, SHOWS AND CONCERTS OF LEGENDARY ICONIC ARTISTS MARK THE HISTORY OF THE CITIES ». Dans 9th SWS International Scientific Conferences on SOCIAL SCIENCES - ISCSS 2022. SGEM WORLD SCIENCE, 2022. http://dx.doi.org/10.35603/sws.iscss.2022/s14.126.
Texte intégralROMAN, Diana. « The Actor, Between the Self from Theatre and the Other from Music ». Dans The International Conference of Doctoral Schools “George Enescu” National University of Arts Iaşi, Romania. Artes Publishing House UNAGE Iasi, 2023. http://dx.doi.org/10.35218/icds-2023-0021.
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