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Libri sul tema "Men of the Deeps (Musical group)"

Autore: Grafiati

Pubblicato: 29 luglio 2024

Ultima modifica: 5 luglio 2025

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1

O'Donnell, John C. The Men of the Deeps: A journey with North America's only coal miners chorus. Cape Breton University Press, 2016.

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2

Hardy, James Earl. Boyz II Men. Chelsea House Publishers, 1996.

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3

Hardy, James Earl. Boyz II Men. Chelsea House Publishers, 1996.

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4

Henderson, Rita Elizabeth. The Boyz II Men success story: Defying the odds. Aynderson Press, 1995.

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5

Blayney, David. Sharp dressed men: ZZ Top behind the scenes from blues to boogie to beards. Hyperion, 1994.

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6

Thompson, Dave. Red Hot Chili Peppers: True men don't kill coyotes. Virgin, 1993.

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7

Dalton, Linda S. Playing in the sand with Boyz II Men: The making of the video Water runs dry. L.S. Dalton, 1996.

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8

Marten, Neville. The Kinks: Well respected men. Castle Communications, 1996.

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9

1960-, Wapshott Tim, ed. Mercury and Me. Bloomsbury, 1995.

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10

Morris, Nathan, Michael McClary, Shawn Stockman, and Wanya Morris. Boyz II Men: Us II You. Harpercollins, 1995.

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11

Morris, Nathan, Michael McClary, Shawn Stockman, and Wanya Morris. Boyz II Men: Us II You. Harpercollins, 1995.

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12

(Editor), Tom Gallagher, Michael Campbell (Editor), and Murdo Gillies (Editor), eds. All Men Have Secrets. Doctor Who Books, 1995.

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13

Dirksen, Rebecca. After the Dance, the Drums Are Heavy. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190928056.001.0001.

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Haitian carnival offers a lens into popular power and politics. Political demonstrations in Haiti often manifest as musical performances. Studying carnival and political protest side by side brings insight to the musical engagement that ordinary citizens and celebrity musicians often cultivate and revere in contemporary Haiti. This book explores how the self-declared president of konpa Sweet Micky (Michel Martelly) rose to the nation’s highest office while methodically crafting a political product inherently entangled with his musical product. It provides deep historical perspective on the characteristics of carnivalesque verbal play—and the performative skill set of the artist (Sweet Micky) who dominated carnival for more than a decade—including vulgarities and polemics. It moreover demonstrates that the practice of leveraging the carnivalesque for expedient political function has precedence in Haiti’s history. Yet there has been profound resistance to this brand of politics led by many other high-profile artists, including Matyas and Jòj, Brothers Posse, Boukman Eksperyans, and RAM. These groups have each released popular carnival songs that have contributed to the public’s discussions of what civic participation and citizenship in Haiti can and should be. Author Rebecca Dirksen presents an in-depth consideration of politically and socially engaged music and what these expressions mean for the Haitian population in the face of challenging political and economic circumstances. After the Dance, the Drums Are Heavy centers the voices of Haitian musicians and regular citizens by extensively sharing interviews and detailed analyses of musical performance in the context of contemporary events well beyond the musical realm.

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14

Archer, Mandy. 5 Seconds of Summer: Shoot for the stars. 2014.

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15

Fathomless riches: Or, How I went from pop to pulpit. Weidenfeld & Nicolson, 2014.

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16

Coles, Richard. Fathomless riches ; or how I went from pop to pulpit. 2015.

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17

Richards, Paul. Shifting Cultivation as Improvisation. Edited by George E. Lewis and Benjamin Piekut. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780195370935.013.22.

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Shifting cultivation is a type of farming without fixed boundaries. It obeys an ecological logic but requires constant improvisation and adaptation to fluid circumstances. The character of improvisation in shifting cultivation is explored with reference to an African case study (rice farming by the Mende people of Sierra Leone). Two elements are emphasized in particular—the management of fire (by men) and rice seeds (by women). A contrast, applicable not only to farming, but also to other activities such as military conflict and musical performance, is drawn between strategic planning and tactical improvisation. The relevance of Mary Douglas’s grid-group theory to the framing of the social skill sets required for improvisation is discussed.

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18

Beale, Charles. “A Different Kind of Goose Bump”. Edited by Frank Abrahams and Paul D. Head. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199373369.013.20.

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This chapter examines the musical practices and procedures of choruses such as the famous Gay Men’s Chorus within the LGBTQ (Lesbian, Gay, Bisexual, Transgender, Queer) communities of the United States and Europe, and more specifically the discourse in and around them. It focuses on choral pedagogy as it is found in such ensembles and communities, drawing on the literature and first-hand accounts from singers, conductors and audience members, and examines what they uniquely value in their singing. Specific questions include: what is a good sound for an early MTF (male to female) transgender singer? Is it good to have female tenors in your ensemble, and if so, how many? How does the meaning of a song change for singers and audience when sung by a group of 250 gay men? How does that inflect the way in which that song should be taught to the singers? In short, is there a queer choral pedagogy?

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19

Kartomi, Margaret. Four Sufi Muslim Genres in Minangkabau. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036712.003.0005.

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Abstract (sommario):

This chapter examines four genres of Muslim-associated performing arts in Minangkabau: indang, salawek dulang, dikia Mauluik, and dabuih. Indang is a song-dance performed by a row of men or women in duduak (“sitting,” actually half-kneeling) position with rhythmic body movement, clapping, and frame-drum playing. Salawek dulang is performed by a pair of alternating male solo singers, each of whom accompany themselves on a brass percussion tray (dulang). Dikia Mauluik is a group vocal-instrumental form with mostly Sufi-oriented Muslim song texts based on dikia texts that are sung with body exercises and frame-drum accompaniment in the month of the Prophet's birth. Dabuihis a ritual form involving acts of self-harm as a demonstration of one's faith and physical invulnerability from pain (and sometimes in the colonial era in Aceh, readiness for battle). The chapter first considers the early history of Minangkabau Islam before discussing the styles, content, and history of eachof the four musical genres.

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