Littérature scientifique sur le sujet « Shakers (Musical group) »

It is almost impossible to listen to a current hip-hop song that does not bear Dr. Dre's influence. With innovations in style that started with the hip-hop group N.W.A., and, later, as a solo rapper and producer, Dre's influence and lasting impact on hip-hop music and culture is undeniable. He pioneered a new style of music that in the early 1990s would come to be known as gangsta rap, and his proteges - Snoop and Eminem - are both considered some of the top rappers to emerge since rap was born on the streets of New York three decades ago. This biography traces Dre's rise to fame, a story that parallels the rise of hip-hop as one of the most dominant cultural forces in America. Dre came of age at the time when hip-hop culture (rapping, breakdancing, Deejaying, and Graffiti art) began an underground trend in urban America. Chapters take the reader from Dre's childhood in Los Angeles through his friendships, early influences, and the birth of his music career. Also discussed is the tragic tale of Death Row Records, which culminates in the high-profile murders of rap artists Tupac Shakur and the Notorious B.I.G. and serves as a lesson on what can go wrong when people in the rap business believe their own gangsta hype. Dre's ability to survive in the rough-and-tumble rap industry is a testament to the power of artistic vision and the payoff of sheer persistence.

Abstract Thombell, Through Mighty Three Music, was now affiliated with Kenny Gamble and Leon Huff, but the affable and strong-willed maestro, regarded by industry movers and shakers as one of its hottest creative talents in the business, continued his independent production work. The bulk of it was with the Stylistics, whose lush, sweet-soul recordings had, after just one album, established the group as the leading practitioners of that genre.

Abstract In studies of musical parenting, researchers have found parents to have a natural tendency to share musical experiences with their infants and young children. Conrad provides a comparative analysis of Darwin’s diary and his published scientific report of his own infant’s development. In his diary, there was a change from “detached observer” to “embodied participant” that involved reciprocal actions and acknowledgment. This exchange with young children produces an unmasking of the objective, distantly academic, and controlled persona, revealing a vulnerability to surprise and delight. Such a response may perhaps best be described as enchantment, which, Bennett writes, is “to be struck and shaken by the extraordinary that lives amid the familiar and every day.” A case study of the Scottish Opera’s creation for infants called BambinO draws from interviews and focus groups with the composer, director, stage manager, instrumentalists, and singers. Their experiences of mutuality and enchantment provide support for the impact of being with children.

Abstract MUCH has been written about Vienna, yet no one has been wholly successful in explaining the charm that has endeared the city to so many artists; no one has clearly defined the forces that attracted so many composers and for so long made it the musical capital of Europe. It is the meeting place for north and south, for east and west, for a rich profusion of widely different ethnic groups and influences, all of which have contributed to the unique and vigorous blend of Viennese culture. In 1900 Vienna already had a long history as a cosmopolitan city and an imperial capital, while Germany had only recently shaken off the last vestiges of medieval Kleinstaaterei to achieve unification. Vienna was both loved and hated, but its name was never mentioned without admiration and a touch of envy. Gustav Mahler, a provincial boy from a simple family background, had first encountered this enchanting world at the age of 15 and had never completely recovered from the shock of his discovery. It is easy therefore to imagine his secret pride when, now aged 36, he arrived in 1897 to take up a key position in the capital of Germanic music.

This chapter traces the tactics used by the art Slovenian collective, Neue Slowenische Kunst (NSK), specifically the art section, Irwin and the music group, Laibach, to criticise the socialist state of Yugoslavia. The chapter offers a brief overview of the political climate at the time leading up to and during the Yugoslavian wars (1980s and ‘90s). Closely analysed is NSK’s use of ambiguity and parody to hold a mirror up to authoritarianism and Irwin’s appropriation of early Russian avant-garde motifs to criticise socialist-realism and the State’s ‘misuse’ of art. As protection against retaliation by the state, NSK never prescribed their intentions, so audiences and viewers needed to bring their own context and perspective to events. Once Slovenia left the Yugoslavian Federation to enter into free-market capitalism, NSKs tactics seemed far less potent, flowing neatly into a 1980s western art context (a moment in history) that embraced ambivalence and indeterminacy. As an approach that hides a work’s political intent, allowing its viewers to have their own political views affirmed, it is argued that such a tactic fails to shake the political aesthetic. [181]