Letteratura scientifica selezionata sul tema "Funk musicians"

This article reports long-term fieldwork on jamming funk musicians’ interaction from a combined anthropological, ethnographic, and grounded theory perspective. The study draws from over 20 years of data collection through personal interviews with New Orleans funk musicians, personal experiences with jamming and second-lining, and participant observation of funk jam sessions and second line parades. Also the author’s personal funk jam teaching experiences are included. The article is in four parts to mark the historical phases in the longitudinal research process towards a theoretical, empirical argument for how funk musicians think and act when they jam. The final theory suggests funk jamming to be guided by overarching notions of “making the music feel good” and “making them dance” and in an iterative spiral process of “open approach,” “prioritized focusing,” “categorical reflection,” and “artistic realization.” Based on this, some educational implications for learning and teaching how to jam conclude the article.

The working-class pedagogy, or ‘resistance education’ of Chris Searle; his identification of linguistic colonialism; his practice of critical literacy as embracing the lives, experiences and imaginations of his students; and the massive body of work, from Stepney Words onwards, in which he has set this down, comprise an unparalleled resource for radical educationalists seeking to develop the practice — and theory — of critical literacy and working-class pedagogy. Yet, while concepts such as linguistic colonialism have been elaborated to furnish the careers of more high-profile intellectuals and academics on the cultural Left, that same cultural Left, in its concern with a self-limiting identity politics, has sidelined the challenging, revolutionary implications of Searle’s approach and methods. In the process, Searle has been left ‘standing in the shadows’, much like the musicians who originally crafted the Motown sound — the Funk Brothers — and made that phenomenon possible.

The singular style of rhythm & blues (R&B) that emerged from New Orleans in the years after World War II played an important role in the development of funk. In a related development, the underlying rhythms of American popular music underwent a basic, yet generally unacknowledged transition from triplet or shuffle feel (12/8) to even or straight eighth notes (8/8). Many jazz historians have shown interest in the process whereby jazz musicians learned to swing (for example, the Fletcher Henderson Orchestra through Louis Armstrong's 1924 arrival in New York), but there has been little analysis of the reverse development – the change back to ‘straighter’ rhythms. The earliest forms of rock 'n' roll, such as the R&B songs that first acquired this label and styles like rockabilly that soon followed, continued to be predominantly in shuffle rhythms. By the 1960s, division of the beat into equal halves had become common practice in the new driving style of rock, and the occurrence of 12/8 metre relatively scarce. Although the move from triplets to even eighths might be seen as a simplification of metre, this shift supported further subdivision to sixteenth-note rhythms that were exploited in New Orleans R&B and funk.

MUSIC ELICITS PROFOUND EMOTIONS; HOWEVER, THE time-course of these emotional responses during listening sessions is unclear. We investigated the length of time required for participants to initiate emotional responses ("integration time") to 138 musical samples from a variety of genres by monitoring their real-time continuous ratings of emotional content and arousal level of the musical excerpts (made using a joystick). On average, participants required 8.31 s (SEM = 0.10) of music before initiating emotional judgments. Additionally, we found that: 1) integration time depended on familiarity of songs; 2) soul/funk, jazz, and classical genres were more quickly assessed than other genres; and 3) musicians did not differ significantly in their responses from those with minimal instrumental musical experience. Results were partially explained by the tempo of musical stimuli and suggest that decisions regarding musical structure, as well as prior knowledge and musical preference, are involved in the emotional response to music.

This article explores Jaco Pastorius’s efforts to legitimize himself as a jazz electric bassist. Even though the instrument had existed at the margins of jazz for decades, by the 1970s it was overwhelmingly associated with rock and funk music and therefore carried with it the stigmatized connotations of outsider status. Building on the work of Bill Milkowski, Kevin Fellezs, Lawrence Wayte, and Peter Dowdall, I situate Pastorius’s career within the broader context of 1970s jazz fusion. I then analyze how he deliberately used his public persona, his virtuosic technical abilities, the atypical timbre of his fretless electric bass, and his work as a composer and bandleader to vie for acceptance within the jazz tradition. As I argue, Pastorius specifically attempted to establish his jazz credibility through his first two solo albums, initially by disassociating himself from his own instrument, and then by eventually abandoning the musical style that had made him famous. Ultimately, Pastorius’s story serves as a useful case study of the tangible ramifications of authenticity disputes and the complicated ways in which musicians have attempted to navigate contested musical spaces within popular music.

This article explores Jaco Pastorius’s efforts to legitimize himself as a jazz electric bassist. Even though the instrument had existed at the margins of jazz for decades, by the 1970s it was overwhelmingly associated with rock and funk music and therefore carried with it the stigmatized connotations of outsider status. Building on the work of Bill Milkowski, Kevin Fellezs, Lawrence Wayte, and Peter Dowdall, I situate Pastorius’s career within the broader context of 1970s jazz fusion. I then analyze how he deliberately used his public persona, his virtuosic technical abilities, the atypical timbre of his fretless electric bass, and his work as a composer and bandleader to vie for acceptance within the jazz tradition. As I argue, Pastorius specifically attempted to establish his jazz credibility through his first two solo albums, initially by disassociating himself from his own instrument, and then by eventually abandoning the musical style that had made him famous. Ultimately, Pastorius’s story serves as a useful case study of the tangible ramifications of authenticity disputes and the complicated ways in which musicians have attempted to navigate contested musical spaces within popular music.

Statement of the problem. The globalization process of modern music art constantly creates new phenomena in the research field worthy of detailed study and scientific justification. The active expansion of Jazz in different parts of the world and its interaction with the local folklore and home music production led to the formation of such phenomena as Latin Jazz that presented the world a number of outstanding performers and composers who opened up new horizons for the further development of musical art. Among unique pearls of Latin-American Jazz, the creative personality of a Brazilian performer (piano, vocals) and composer Tania Maria should be highlighted. Analysis of recent research and publications showed that Tania Maria’s creative work in the context of Latin Jazz development has not been sufficiently studied at the present time, being limited mainly by short references to biographical articles and interviews with the artist in foreign online publications. Thus, Tania Maria’s work requires a much deeper study that determines the feasibility and scientific novelty of the proposed research, which aims to reveal the genre and stylistic specificity of Tania Maria’s work in the 80s of the 20th century, the period, when the complex of her individual compositional and performing characteristics was formed. The result of the study was the disclosure, based on historical-genetic, comparative, analytical methods, of the genre-stylistic origins of Tania Maria’s “intonation vocabulary”, where the metrorhythmic and melodic structures of Brazilian samba and the hot-jazz component closely interact with each other, as well as the intonation-textural features of some compositions of the 1980s from the albums “Piquant” and “Come With Me”. Conclusions. Tania Maria’s creative work in the 80s of the 20-th century exemplified by compositions “Yatra ta”, “It’s Not for Me to Say” and “Come With Me” is a combination of genre and stylistic features of funk, Latin-American samba and elements of pop music (jazz-Latin-pop-funk). The musical art of the second half of the 20th century demonstrates a variety of styles and trends that were quite quickly “re-intonated” in the jazz language, which testifies to the universality of jazz as a unique form of musical thinking, creativity and cooperation of musicians. The combination of these styles is organic in line with the trend of development of musical art of that period and at the same time is the basis of Tania Maria’s unique performance style as a representative of both, South American and European jazz music.

Objectives, methodology and innovation of the study. The research aim is to identify of specifics of the saxophone “image” in light of esthetical and communicative paradigms of jazz. The paradigmatic approach to the objects of musical composition, including the art of jazz, allows reviewing the most general aspects of its development, including varietal instrumental (in particular, saxophone) stylistics. The appearance and strengthening of the position of saxophone in jazz that took place in the first decades of the 20th century heralded the general flourishing of this type of instrumental art, elevating it to the level of the most in-demand ones in the public music practice. This article puts forward and proves the thesis that the course of evolution of saxophone in jazz – traditional (before bebop) and modern (after it) – has synchronized, in terms of esthetical and communicative features, with the general movement and the changes of its paradigms: from realistic and transitional (conventional-autonomous), in terms by Aleksandr Soloviev (1990) to radical-phenomenal. This study outlines, for the first time, the path of movement of jazz saxophone from collective (ensemble and orchestral) forms toward free improvisation in the spirit of esthetics of the newest free jazz, which does not rule out retrospection of former paradigms realized via the styles of outstanding jazz saxophone players: from Coleman Hawkins, Lester Young and Charlie Parker to John Coltrane, Ornette Coleman and Sonny Rollins. The results of the study. It was noted that the sound image of saxophone, distinguishable for a paradoxical combination of certain “sweetness” and extremely expression, turned out to be the most consonant with the stylistics of jazz instrumentalism, where a number of aerophones tested by European academic practice, such as trumpet, clarinet, trombone and other, appeared in a fundamentally new light. The sources of saxophone’s penetration into jazz were entertainment dancing genres that were popular both in Europe and in the United States at the turn of the 20th century. The solo practice of saxophone improvisation, typical for jazz, was not used back then. An ensemble featuring several saxophones was used either in dance orchestras or in jazz bands that appeared later (the first example is the sweet-band founded by Arthur Hickman in San Francisco in 1914). The ensemble practice helped bring saxophone to the leading positions in solo instrumental jazz concerting. The first virtuoso jazz saxophone players were representatives of Chicago school of the 1920s: Lawrence “Bud” Freeman, Sidney Bechet, Benny Carter, Joe Poston, Don Redman, Jimmy Strong and Frankie Trumbauer. Decades later, saxophone improvisations in swing style became an unalienable component of swing choruses, an example of which is the works by such outstanding musicians as Coleman Hawkins and Lester Young who prepared the ground for bebop with its free improvisations of original tunes (an example is the works by Charlie Parker). The article notes that the taking of front stage by an improvising saxophone player in esthetical and communicative aspect was reflected in the formation of a sort of object paradigms (according to A. Soloviev), the first among which were “realistic” ones based on the syncretism (inseparable unity) of musicians and listeners. The “interchangeability” principle applied there, when any participant of communication was poly-functional in terms of the ruling function (the examples include saxophone sweet bands of the 1920s, communicatively related to blues). The conventional-autonomous paradigmatics in saxophone jazz art began developing in the bebop era, which saw the appearance of a clear demarcation line between musicians and the audience. Saxophone improvisations of such musicians as Charlie Parker and his followers heralded formation of the saxophone concert style, which in many aspects is close to academic practice. “Phenomenologization” of saxophone jazz performance became a direct continuation of “autonomization”, walking off via the complete freedom from any stylistic norms (an example is the works and esthetics by Ornette Coleman with his “no any wave” principle). In these conditions, the esthetics of the complete “freedom from…” were joined by the radical demand for “otherness”, i.e. the quality of a unique order when a jazz musician shows something new, something that “never existed” before in almost every improvisation. However, as we know, anything “new” most often means well-forgotten “old”, which is reflected in saxophone jazz stylistics via the combination of the “free” and “fusion” principles. Jazz, including its saxophone version, went quite a long way of development, and along this way, its paradigms were not historical “milestones” per se, but rather logical principles potentially preserved in the memory of jazzmen who think in the language of their art. There is another important point: continuous struggle that took place (and which still takes place) between elite and mass culture, concerning the language of this art in which one can expect the appearance of the most diverse elements, from the improvisation techniques created by the traditional folk cultures towards the academic avant-garde esthetics and writing techniques marked as collage and polystylistics. Such a “splitting” in saxophone jazz stylistics allows to identify a whole complex of means and techniques mirroring esthetical-communicative paradigms of jazz in their separate and interrelated combination: 1) the “free” principle that has appeared within the framework of jazz “realism”; 2) the idea of dramatization typical for “conventions”; 3) the category of “freedom from…” denying previous paradigms but at the same time having direction toward genetic origins. Conclusions. The saxophone in jazz has gone through a rather complicated path of formation, but has retained the status of one of the “title” instruments symbolizing this art. Like jazz in general, its saxophone “branch” developed in line with a kind of aesthetic “splitting”, in which the instrument was thought as belonging to pop culture (pop jazz), then used as part of an elitist style close to academic avant-garde (free jazz). The path of the saxophone in jazz is traced in connection with aesthetically communicative paradigms, in the context of which the attitude to this instrument was formed among the jazzmen themselves and the public. In the early stages (“realistic” paradigms), the “pop” role of the saxophone was cultivated; then there was “autonomy”, the main feature of which was the selection of virtuoso soloists; under the latest phenomenological paradigms, saxophone art is divided into various stylistic movements, from folk and funk trends to complete freedom from any style standards in individual solo improvisations. The prospects for further research of this theme are seen in the study of individual styles and patterns of jazz saxophone improvisation, both “schoolish” (the paradigm of a particular school of saxophone playing) and “personal” (the work of leading jazz saxophonists). The stylistic approach will make it possible to single out and correlate the “general” and “individual” in the sound image of this instrument, which has become one of the personifications of modern music.

ABSTRACTThis article presents an ethnographic analysis of the popular economy of informal musical production in the Venda region of South Africa. It focuses on the activities surrounding the Burnin' Shak Studio, a recording house that specializes in reggae music. Reliant on second-hand computers, pirated software, borrowed instruments, networks of trust and cycles of debt, musicians and producers in the Burnin' Shak occupy a distinctly peripheral position in South Africa's music industry. Unlike artists in the formal sphere of musical production, who sign deals with specific record labels, musicians in the informal sector seek out sponsors – usually young local businessmen – to fund their recordings with local producers. Marketing and distribution is the sole responsibility of the artist and the sponsor, who often develop a ‘patron–client’ relationship. And yet whilst the artists' entrepreneurial activity often earns them significant airplay on local radio stations, and associated cultural capital, the financial benefits are slim. In order to convert their cultural capital into cash, musicians in the informal sector must compete in the market for performances at government-sponsored shows. These shows are well funded by lucrative tenders, but they present musicians with a double-edged sword. To secure a contract with tender holders – or to entertain hopes of regular paid performances – musicians must ensure that these performances do not express critical political sentiment. As purveyors of a genre renowned for its critical social commentary, reggae musicians are particularly affected by this expectation of self-censorship. Informal musical production in the post-apartheid era thus affords musicians little artistic freedom. Rather, whilst the products of this culture industry may appear to be part of a ‘secondary’ economy, removed from the spheres of formalized production and control, they are in fact regulated and standardized through the process of tender allocation.

The easiest part of running a new music group in Britain is probably the beginning. You gather some like-minded musicians, make a programme, find a venue and perform. After that it gets harder: establishing a reputation, persuading someone to fund you, negotiating with promoters, maintaining the commitment of your musicians, keeping going year after year. But EXAUDI have done much more than just keep going: they have established new standards for what an ensemble of solo voices can achieve and championed a host of spectacularly ambitious, beautiful, challenging works, both their own commissions and revivals of music waiting for a group of this quality to come along. Their fifteenth birthday is, then, something to celebrate, and the Wigmore Hall an ideal venue in which to celebrate a consort of beautifully blended voices.

This thesis is concerned with popular music's working of time. It takes the experience of time as crucial to the negotiation of social, political or, more simply, existential, conditions. The key example analysed is the funk style invented by legendary musician James Brown. I argue that James Brown's funk might be understood as an apprehension of a minor temporality or the musical expression of a particular form of negotiation of time by a minor culture. Precursors to this idea are found in the literature of the stream of consciousness style and, more significantly for this thesis, in the work of philosopher Gilles Deleuze on the cinema in his books Cinema 1: The Movement-Image and Cinema 2: The Time-Image. These examples are all concerned with the indeterminate unfolding of lived time and where the reality of temporal indeterminacy will take precedence over the more linear conventions of traditional narrative. Deleuze???s Cinema books account for such a shift in emphasis from the narrative depiction of movement through time the movement-image to a more direct experience of the temporal the time-image, and I will trace a similar shift in the history of popular music. For Deleuze, the change in the relation of images to time is catalysed by the intolerable events of World War II. In this thesis, the evolution of funk will be seen to reflect the existential change experienced by a generation of African-Americans in the wake of the civil-rights movement. The funk groove associated with the music of James Brown is discussed as an aesthetic strategy that responds to the existential conditions that grew out of the often perceived failure of the civil rights movement in the 1960s. Funk provided an aesthetic strategy that allowed for the constitution of a minor temporality, involving a series of temporal negotiations that eschew more hegemonic, common sense, compositions of time and space. This has implications for the understanding of much of the popular music that has followed funk. I argue that the understanding of the emergence of funk, and of the contemporary electronic dance music styles which followed, would be enhanced by taking this ontological consideration of the experiential time of minorities into account. I will argue that funk and the electronic dance musics that followed might be seen as articulations of minority expression, where the time-image style of their musical compositions reflect the post-soul eschewing of a narratively driven, common sense view of historical time.

The goal of this research project was to develop and validate a new measure that establishes the extent to which highly stressful performance situations affect self-perceived levels of Music Performance Anxiety (MPA) in popular musicians. The Performance Anxiety Inventory for Musicians (PerfAIM), a self-report measure demonstrating appropriate psychometric properties, was developed. The specific objectives of this research project were to estimate the validity of the questionnaire and to assess its reliability. Content validity and face validity were established using focus groups and interviews with experts. A sample of 69 popular professional musicians and music students completed the inventory, with which we established the internal consistency, the test-retest reliability, the concurrent criterion-related validity and the construct validity (convergent and divergent). Among the sample, 66 participants completed the Performance Anxiety Inventory (PAI, Nagel, Himle, & Papsdorf, 1989), and 61 respondents, the revised Kenny Music Performance Anxiety Inventory (revised K-MPAI, Kenny, 2009a). A test-retest was done at a one-week interval using a sample of 21 musicians. The PerfAIM demonstrated an excellent internal consistency (Cronbach's alpha=0.93), a very good reliability (ICC=0.89 with 95% CI), and a satisfactory concurrent criterion-related validity and convergent validity (Pearson product-moment correlation coefficient). No significant difference was found between men and women's scores on the PerfAIM. In conclusion, the PerfAIM is an adequate measure for assessing self-perceived levels of MPA, enabling musicians to develop self-awareness of the causes, temporal occurrence, direction, and cognitive, somatic, affective and behavioral manifestations of MPA.
Ce projet de recherche visait à développer et à valider un nouveau questionnaire permettant d'évaluer dans quelle mesure les performances hautement stressantes affectent la perception du niveau d'anxiété de performance musicale (APM) des musiciens populaires. À cet effet, nous avons créé le «Performance Anxiety Inventory for Musicians » (PerfAIM), un questionnaire auto-administré démontrant des propriétés psychométriques satisfaisantes. Les objectifs spécifiques de ce projet consistaient à évaluer la validité et la fidélité du questionnaire. La validité de contenu et la validité apparente ont été établies avec des groupes focus et des entrevues auprès d'experts. Un échantillon de 69 musiciens populaires (professionnels et étudiants) ont complété le questionnaire, ce qui a permis d'établir la consistance interne, la fidélité test-retest, la validité de critère concomitante ainsi que la validité de construit (convergente et divergente). Parmi l'échantillon, 66 participants ont complété le « Performance Anxiety Inventory » (PAI, Nagel, Himle, & Papsdorf, 1989), et 61 répondants, le « Kenny Music Performance Anxiety Inventory » révisé (revised K-MPAI, Kenny, 2009a). Le test-retest a été fait à une semaine d'intervalle auprès d'un échantillon de 21 musiciens. Le PerfAIM démontre une excellente consistance interne (alpha de Cronbach=0.93), une très bonne fidélité (CCI=0.89 avec un IC à 95%), et une validité de critère concomitante et de construit convergente satisfaisantes (calculées à l'aide d'une corrélation de Pearson). Aucune différence significative n'a été démontrée entre les résultats des hommes et des femmes dans le PerfAIM. En conclusion, le PerfAIM est un questionnaire approprié pour l'évaluation de la perception du niveau d'APM des musiciens, permettant à ces derniers de prendre conscience des causes, des occurrences temporelles, de la direction, et des manifestations (cognitives, somatiques, affectives et comportementales) de l'anxiété de performance.

The objective of the study was to determine if repeated exposure to a virtual reality (VR) audience environment would desensitize musicians suffering from performance anxiety when subsequently performing in front of a live audience. Sixteen university music students participated in the study. They performed in pretest and posttest concerts with live audiences. Each was assigned either to the VR condition or to a control waiting-list group. VR participants played during five weekly VR sessions, and were measured on a state anxiety inventory (SAI), heart rate and cortisol levels. Performances were recorded and evaluated by two professional musicians blindly. Other measures included a performance anxiety inventory (PAI) and the SAI. Results indicated that VR sessions elicited anxiety, as measured by cortisol levels. Also, mean PAI scores for both groups were lower at the posttest concert than at the pretest concert. Results suggest that VR exposure was not successful in helping musicians with performance anxiety.
Cette recherche avait comme objectif de déterminer si des expositions répétées à un auditoire virtuel (réalité virtuelle) pouvait désensibiliser des musiciens souffrant d'anxiété de performance à jouer devant un auditoire réel. Seize étudiants en musique de niveau universitaire ont participé à la recherche. Ils ont participé à deux concerts devant des auditoires réels, à titre de prétest et de postest. Chaque participant fut assigné soit au groupe de contrôle ou au groupe exposé à l'auditoire virtuel. Les étudiants exposés à la réalité virtuelle ont joué une fois semaine pour un total de cinq sessions durant lesquelles les fréquences cardiaques et les taux de cortisol furent mesurés. Un questionnaire d'auto évaluation sur l'anxiété (State Anxiety inventory (SAI)) fut également administré. Les concerts furent enregistrés et évalués à l'aveugle par deux musiciens professionnels. Le questionnaire d'auto évaluation sur l'anxiété (SAI) et le questionnaire sur l'anxiété de performance (Performance Anxiety Inventory (PAI)) furent administrés. Les résultats ont démontré que les sessions de réalité virtuelle ont engendré de l'anxiété chez les participants, tel qu'indiqués par les taux de cortisol. Par ailleurs, les deux groupes ont eu des scores plus bas sur le questionnaire de l'anxiété de performance (PAI) lors du concert de contrôle (postest). Les résultats semblent suggérer que l'exposition à la réalité virtuelle n'a pas aidé les musiciens avec l'anxiété de performance.

This thesis attempts to gauge the strengths and limitations of the Java programming language in terms of its use in the production of multimedia compositions: in particular, the ways in which Java supports the creation of interactive, non-deterministic musical works. An original solution to the problem of multimedia design is presented: a hierarchically defined, basic, yet flexible scripting language that is interpreted using Java. This scripting language allows the user to incorporate his/her own media into a coherent and interactive form using a small set of simple keywords and basic operators. It also allows new functionality to be added by advanced users with a basic knowledge of Java. By investigating how such a scripting language may be implemented, the extent to which Java may be applied towards multimedia applications in general is revealed.

This thesis presents a multimodal sonification system that combines video with sound synthesis generated from motion capture data. Such a system allows for a fast and efficient exploration of musicians' ancillary gestural data, for which sonification complements conventional videos by stressing certain details which could escape one's attention if not displayed using an appropriate representation. The main objective of this project is to provide a research tool designed for people that are not necessarily familiar with signal processing or computer sciences. This tool is capable of easily generating meaningful sonifications thanks to dedicated mapping strategies. On the one hand, the dimensionality reduction of data obtained from motion capture systems such as the Vicon is fundamental as it may exceed 350 signals describing gestures. For that reason, a Principal Component Analysis is used to objectively reduce the number of signals to a subset that conveys the most significant gesture information in terms of signal variance. On the other hand, movement data presents high variability depending on the subjects: additional control parameters for sound synthesis are offered to restrain the sonification to the significant gestures, easily perceivable visually in terms of speed and path distance. Then, signal conditioning techniques are proposed to adapt the control signals to sound synthesis parameter requirements or to allow for emphasizing certain gesture characteristics that one finds important. All those data treatments are performed in realtime within one unique environment, minimizing data manipulation and facilitating efficient sonification designs. Realtime process also allows for an instantaneous system reset to parameter changes and process selection so that the user can easily and interactively manipulate data, design and adjust sonifications strategies.

This study examined the ways in which exceptional jazz musicians develop a unique voice within academia. The perceptions of unique musicians with respect to the current call for change in jazz education was also investigated. Ten subjects, considered 'exceptional jazz musicians' with a 'unique voice', participated in a semi-structured interview to gain insight into these issues. Results revealed a consistency in responses relating to the current status of jazz education and call for change, learning experiences in jazz, and the development of a unique voice. Results indicated that (a) the jazz discourse overstates the gravity of the call for change; (b) exceptional jazz musicians engage in additional learning experiences based on the jazz tradition; (c) a unique voice develops concurrently with learning about jazz music generally; (d) institutions provide a viable option for learning about jazz and developing an individual style if students supplement their formal education with self-directed learning.
Le but de cette étude est d'examiner comment les musiciens jazz exceptionnels peuvent démontrer leur voix unique au milieu académique. L'étude vise à recueillir les perceptions de dix musiciens jazz exceptionnels face aux réformes envisagées dans l'enseignement du jazz. Ces musiciens jazz exceptionnels, ayant chacun une voix unique, ont participé à une entrevue semi-structurée afin de mieux comprendre la situation. Les résultats ont révélé une uniformité dans les réponses concernant l'état actuel de l'enseignement du jazz, des réformes envisagées, de l'apprentissage du jazz et de l'évolution d'une voix unique. Les résultats ont démontré que (a) les discussions exagèrent l'importance des réformes; (b) les musiciens jazz exceptionnels perfectionnent volontairement leurs connaissances comme le veut la tradition jazz; (c) une voix unique se développe simultanément à l'étude de la musique de jazz; (d) les établissements d'enseignement procurent une option viable à l'étude du jazz et au développement d'un style individuel si les étudiants complémentent leur éducation officielle par un apprentissage indépendant.

ABSTRACT Musicians and Intelligence Operations, 1570-1612: Politics, Surveillance, and Patronage in the Late Tudor and Early Stuart Years by Rachelle C.-Taylor The problem of musicians’ involvement in intelligence operations during the late Tudor and early Stuart years has to date remained relatively unexplored. There is convincing evidence, however, that artists from different disciplines were particularly targeted for recruitment in intelligence operations, designed by Elizabeth I’s councillors, Willam Cecil, Lord Burghley and Francis Walsingham, to infiltrate and disable Catholic oppositional networks on the Continent and in England in the aftermath of the Elizabethan settlement on religion. The Scottish revolt that preceded the arrival of Mary, Queen of Scots in England (1568), the Northern Rising of Catholic Earls (end of 1569), the excommunication of Elizabeth I (1570), and the so-called “Ridolfi” plot to assassinate Elizabeth and raise the Queen of Scots to the English throne (uncovered in 1571) combined to create a large-scale political crisis that galvanized the fledgling intelligence operations, dubbed by scholars as the first “modern” secret service. Religious and political upheavals in late Tudor England had marked consequences on artistic patronage. Although this dissertation is not a comprehensive study of music patronage as it shifted with changing networks of power, I will propose that a form of alternative patronage did emerge with the growth industry in intelligence operations. By the 1580s, large numbers of university students and artists, among them the great Eizabethan dramatist Christopher Marlowe, were recruited to serve in the covert war that mirrored mounting overt hostilities in the Netherlands and in France. By the 1590s, after Walsingham’s death, the Earl of Essex created his own intelligence service, which gradually became an instrument of Essexian aspiration to royal favour. Robert Cecil, Burghley
RESUME ANALYTIQUE Musiciens et services de renseignements élisabéthains et jacobéens, 1570-1612 : politique, contrôle, et mécénat Le phénomène de l’implication de musiciens dans les services de renseignements aux confins des époques élisabéthaine et jacobéenne n’a pas été beaucoup exploré jusqu’à date. Il existe cependant des preuves tangibles démontrant que des artistes de différentes disciplines étaient bel et bien concernés lorsqu’ il était question de recrutement au sein de ces services. Deux conseillers à la cour d’Elizabeth Ière, William Cecil, Lord Burghley, et son protégé Sir Francis Walsingham, conçurent un système d’espionnage qui avait comme objet d’infiltrer et d’affaiblir les réseaux d’opposition catholiques en pleine croissance autant sur les fronts étranger que domestique. Dès 1570, la réforme protestante avait cédé à une crise politico-religieuse de très grande envergure qui eut l’effet de galvaniser les services de renseignements de Burghley et Walsingham, services dont on dit qu’ils furent les premiers d’envergure « moderne ». Cette crise eut également un effet profond sur le mécénat artistique. Dès 1580, les services de renseignements constituaient ni plus ni moins qu’une industrie en pleine expansion. Artistes et académiques étaient recrutés pour servir dans une guerre secrète à l’image des hostilités ouvertes qui sévissaient sur le continent. Après la mort de Walsingham en 1590, le Baron Essex créa lui-même ses propres services de renseignements qui rivalisèrent avec ceux que gérait Burghley. Essex saisit également l’occasion de se servir de l’appareil secret qu’il avait érigé dans le but de se promouvoir auprès de la reine et au sein de la cour, où les luttes intestines s’intensifiaient durant l’ultime décennie du XVIe siècle. Des études de cas font la structure de la présente thèse. En examinant des documents d’archives$

Twenty-five years of independent, underground, or punk rock music-making in St. John's, Newfoundland, have been defined by geographic isolation. In tracing a historical record of the small city's punk/indie scene, this project seeks to evaluate recent academic discussion surrounding the role of collectivity in artistic 'independence' and examine the impact of prevailing international aesthetics and changing communication technologies on local practice. The self-containment and self-sufficiency of the St. John's music community, largely the product of the city's isolated position on the extreme eastern tip of a large island off the east coast of North America, provide a unique backdrop against which to foreground a discussion of the distance between indie/punk rhetoric and reality. I contend that 'scene' in popular and academic use refers to the casual aggregation occasioned by similar interest and shared location, while 'community' hints at effort, co-operation and productive support.

This thesis argues that in North America since the late 1980s, young women's interest in feminism has been expressed through participation in feminist music subcultures. The project provides an overview of the studies of culture, musical subculture, and gender and music making, as well as an historical context of feminism and a discussion of the relationship between second and third wave feminism.
The first case study explores Riot Grrrl's roots in the DIY activism of DC hardcore punk, its links to the female-oriented indie music scene of Olympia, Washington, and the subculture's use of alternative media. The second study examines efforts to integrate queer politics into third wave feminism through lesbian punk rock music subculture. The final study of electronic feminist punk rock examines how young feminists use alternative media such as zines, internet message boards, web sites, music making, and performance to educate young women about sexual abuse and homophobia.
Analysis of the Riot Grrrl, lesbian punk rock, and electronic feminist punk rock subcultures demonstrates how young women claim spaces for their own feminist politics, even if they have gone relatively undetected by the mainstream culture.

This chapter investigates how Brazilian musicians adjusted their approach to appealing to audiences in the United States and the United Kingdom once the Brazilian military dictatorship descended into the “Leaden Years.” Many Brazilian musicians sought to affiliate themselves with sounds that more directly linked them to the African diaspora and the Otherness of Brazilian indigeneity. Drawing on the coverage of this music in major music periodicals of the era, it shows the ways that attention to Brazilian music changed after the height of bossa nova. It features close discussions of the penetration of Brazilian musicians into the jazz fusion and funk scenes, including analyses of landmark recordings by Milton Nascimento, Sérgio Mendes, Airto Moreira, Flora Purim, and Deodato.

This chapter examines the development of funk as a distinct concept in black vernacular culture, and explains how blues artists, modern jazz musicians, and political attitudes during the civil rights movement combined to establish the foundation for the musical genre of funk as well as the non-conformist aesthetics and attitudes the music expressed. The central argument is therefore two-fold: that blues artists formulated the concept now known as funk, and that funk became the epistemic centerpiece of a broader cultural aesthetics in black working-class environments. As with the previous chapter, “Blue Funk: The Ugly Beauty of Stank ” foregrounds the central role of kinesthesia in blues-oriented approaches to music-making. Using insights and methods from multiple areas of scholarship, including musicology, ethnomusicology, philosophy, literary criticism, dance criticism, and art history, Bolden explains how the concept of funk and/or precepts associated with funk were not only exemplified in several black musical genres but also dancing, literature, and visual art as well. In this way, black artists working in several mediums contributed to the transformation of “funky” from a stigmatizing signification, that is, a negative, stereotypical expression into a metaphor of black cultural affirmation.

This chapter explains the meaning of funk as a concept and introduces readers to salient precepts and characteristics. The chief argument is that (a) the phenomenon known as the funk/spirit—or, more simply, the funk—operates as a distinct form of black vernacular epistemology, and that (b) funk comprises the secular counterpart of “the spirit”—what Albert Murray calls “paroxysms of ecstasy”—in black church worship. This sensation, which is usually generated by the interplay between motion and emotion, has been a vital aspect of the production of knowledge in music-making within African American working-class performance venues. Funk foregrounds the body and sensuality as indispensable aspects of a musician’s ability to play certain notes and to create desired timbres and soundscapes. This sort of psychosomatic epistemological modality calls into question the normative mind-body split; and, as such, it stands at variance with the prototypical notions of knowledge in the Western tradition. It points up the limits of reason, and constitutes a recognition of other ways of knowing, multiple ways of knowing. Combining musicology, literary scholarship, and elements of philosophy, the chapter examines song lyrics in conjunction with musicians’ memoirs, fiction, and interviews. In doing so, Bolden creates a philosophical approach to funk as he examines recordings by James Brown, Parliament-Funkadelic, Stevie Wonder, and others.

This chapter examines Sly Stone as an organic intellectual, that is, a poet-songwriter, imaginative thinker, and visionary artist whose band, Sly and the Family Stone, played a foundational role in creating funk music and the broader cultural aesthetic that exemplified funk. In this regard, the chapter demonstrates how Stone’s approach to music-making, which was largely determined by his extensive background in gospel, played a vital role in his construction of funk. Combining gospel, blues, jazz, and rock, the Family Stone created a new sound that not only fascinated listeners of rock and rhythm and blues but such acclaimed musicians as Miles Davis and Herbie Hancock as well. In addition, the chapter provides biographical information that contextualizes the artists’ development and illuminates the band’s aesthetic. Finally, the chapter provides key information on groundbreaking bass player Larry Graham and trumpeter Cynthia Robinson as well as detailed commentary on momentous recordings and live performances.

This chapter presents interviews with some of the prolific Latin American session musicians in Los Angeles. These include Abraham Laboriel Sr., Justo Almario, Paulinho Da Costa, Alex Acuña, Airto Moreira, Luis Conte, and Ray Yslas. Between them, they have played on thousands of recordings for some of the world's most influential and most popular artists. Their contributions—delivered through percussion, bass, saxophone, and clarinet—helped shape songs that became international hits and albums that are still studied as masterpieces of jazz, funk, rock, pop, and R & B. Among musicians, they are legends, indispensable and reliable shape-shifting experts who can be counted on to play anything, produce any sound, slide into any groove, and lock into any genre.

While musicians such as Creedence Clearwater Revival, Grand Funk Railroad, Aerosmith, and Ted Nugent took rock ‘n’ roll back to the masses, Willie Nelson, Johnny Cash, Waylon Jennings, and Merle Haggard, were transforming the genre of country music, making the medium more original and more relevant as America’s cultural center of gravity was shifting south and west. Country now expressed its own forms of rebellion, against both the strictures of its industry and the condescension of outsiders. As country became a little bit cooler, it was inevitable that cool rock ‘n’ roll in turn would become a little bit country.

With bands like Grand Funk Railroad, Bachman-Turner Overdrive, Aerosmith, Ted Nugent, and Alice Cooper plying their trade around the stadiums and arenas of midwestern America, it was clear that a new clientele for rock ‘n’ roll had appeared and become viable. Who were the fans of these artists, and what were they getting from the music? How did the music industry cater to these fans among the populations of the heartland and the mill towns? In what ways were the musicians connecting with their public? And why did the players mean so much more to the punters than to the critics?

Michael Maletta, the megaparty pioneer, was the first person to die of an AIDS-related illness in the San Francisco dance music scene. But by the time of his death on August 4, 1982, at the age of thirty-nine, many others had been diagnosed with what was being dubbed the “gay cancer.” Within three years, HIV/AIDS would ravage the Bay’s gay community to such an extent that nothing would ever be the same. It saw the mass extermination of musicians, producers, and, indeed, the very patrons that kept the scene going. This chapter traces the responses to the emergence of HIV/AIDS in the dance music community, with clone culture serving as a scapegoat for a pathetic national response to the epidemic. It also tells the parallel story of Patrick Cowley’s final album and his hugely successful collaboration with Sylvester, “Do Ya Wanna Funk?,” before Cowley’s AIDS-related death in November 1982.

The Introduction explains the purpose and method of the book: to improve the musical imagination through creative, fun exercises based on improvisational theater games that have been reimagined for musicians. A sense of playfulness and spontaneity is central to this approach. The primary goal of developing the mind’s ear is to improve the ability to imagine and remember music in silence and to be able to hear in the mind music that is printed on the page without the aid of instrument. It is essential to attend to the musician’s inner life, to explore emotions in relation to musical expression, rather than only emphasize the physical challenges of instrumental technique. Strengthening emotional memory as actors are trained to do, as well as deliberately exercising the imagination and the mind’s ear will lead to more meaningful performances, more personal compositions, and will enrich the listening experience. The introduction also addresses related concepts in subsections: Something to Say; On Interpretation; On Performing New Music; Hearing in Silence.