Bibliografie tematiche / Rap musicians – united states

Letteratura scientifica selezionata sul tema "Rap musicians – united states"

Autore: Grafiati

Pubblicato: 26 luglio 2024

Ultima modifica: 27 luglio 2024

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Articoli di riviste sul tema "Rap musicians – united states"

Shirts, Peter. "The African American Collections Relating to Music at Emory University’s Rose Library". Notes 80, n. 4 (giugno 2024): 605–31. http://dx.doi.org/10.1353/not.2024.a928765.

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ABSTRACT: United States music history has for years privileged whiteness and largely ignored or disregarded the contributions of African Americans. The Stuart R. Rose Manuscript, Archives, and Rare Book Library at Emory University in Atlanta, Georgia, houses over thirty collections (and growing) related to African American musicians that could be used to both uncover and recover the critical role African Americans played in the music culture of the United States. This article presents a brief overview of these holdings to date, including the papers of composers (such as William Dawson, George Walker, and Undine Smith Moore), entertainers (such as Victoria Spivey, Bricktop, and Geoffrey Holder), and researchers (such as Rae Linda Brown, Geneva Southall, and Delilah Jackson). Types of materials held include manuscript letters and scores, photographs, and published music (both print and recorded) by and about African Americans.

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HAINES, JOHN. "Living troubadours and other recent uses for medieval music". Popular Music 23, n. 2 (maggio 2004): 133–53. http://dx.doi.org/10.1017/s0261143004000133.

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This essay aims to expand on existing narratives of medieval music performance by exploring recent interpretations of the troubadours. Recent advances in the field of ethnomusicology, popular music and medieval music reception suggest the need to view medieval music performance in ways other than the conventional narrative of early music performance. This article focuses on the troubadours, originally song-makers in the late medieval Midi, or South of France. Based on my interviews with recent ‘living troubadours’ in the United States and France, I present evidence for multifarious musical interpretations of the art de trobar, or medieval troubadour art. Living troubadours under consideration here include Eco-Troubadour Stan Slaughter from Missouri and Occitan rap group Massilia Sound System from Marseille. The latter claim a special distinction as living descendants of the original troubadours; the former views himself as more remotely related to medieval music. And while all the different musicians considered here offer widely contrasting interpretations of the medieval art de trobar, they do have in common certain recent musical influences, along with a view of folk music as an open-ended, and musically flexible category. All of these artists are also united in their belief that the essence of folk song is an urgent message which, though it may range from recycling to anti-centralist politics, consistently controls the musical medium. What the groups considered here have in common with traditional early music groups is their creative use of contemporary influences to evoke for their audience the Middle Ages.

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Jaffré, Maxime. "Decontextualizing Arabic Music in France and in the United States". Middle East Journal of Culture and Communication 12, n. 1 (29 marzo 2019): 35–67. http://dx.doi.org/10.1163/18739865-01201006.

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Abstract This paper traces the various steps of the redefinition process implemented by Arab musicians performing in France and in the United States. The assembling of Arabic music groups outside their institutional and national borders reveals new patterns and raises several questions: (1) While most Arabic countries do not share the same institutional music traditions, or the same repertoires (Arab-Andalusian vs. maqamat), how can Arabic musicians from different countries assemble outside their institutional and national borders? (2) How can we understand the heterogeneity of repertoires (scholarly and popular) when the musicians come from different traditions and institutions? Can musicians pursue the legacy—and legitimacy—of classical repertoires or do they necessarily have to embrace Arabic pop culture? Finally, (3) while they were part of the elite in their home countries, how are Arab musicians considered outside their musical institutions, in their new countries such as France and the United States? Have they remained elite musicians in the eyes of their new audiences? Or have they simply become ‘popular’ musicians, regardless of the repertoire they play?

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Revelli, Venkatsushanth, e Ayman Ali. "Understanding the State Agency Policies toward RAP Usage in the United States: State of Practice". Recycling 8, n. 6 (18 dicembre 2023): 100. http://dx.doi.org/10.3390/recycling8060100.

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The usage of Reclaimed Asphalt Pavement (RAP) material is a highly resource-conservative, economical, and sustainable practice in flexible pavement construction. However, its usage in hot mix asphalt (HMA) is capped at 25% by the majority of state transportation agencies due to its aging levels, stiffness characteristics, and handling capabilities, which may result in early-age pavement distress. Though researchers suggest methodologies to increase RAP usage, higher RAP percentages in asphalt pavements require the support of state authorities. The main objective of this paper is to provide information on how different states design their mixtures with high RAP percentages. This study reviewed the current state of practice of fifty (50) state DOTs in the United States (US) with respect to RAP usage and the factors governing its regulations. It was observed that the limit of RAP content is mainly governed by traffic levels, gradation, binder content, and stiffness contributed by RAP and layer position in a pavement structure. The specifications also suggest that apart from volumetric and performance justification, blending charts, fractionation, and virgin binder grade selection would facilitate the use of higher RAP content in HMA. Controlled mixture design abiding by state specifications can increase the allowable RAP to 40–100%.

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Tomlinson, Brendan H. "The Censorship of Misogynistic Rap Music - A Consideration of Gender-Based Harms and Free Speech". Victoria University of Wellington Law Review 26, n. 3 (2 settembre 1996): 531. http://dx.doi.org/10.26686/vuwlr.v26i3.6152.

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The lyrics of gangster rap music have created a storm of controversy in the United States and elsewhere. This article considers the censorship of misogynistic rap music, analysing both the harm which it may do to women, and the way in which free speech principles apply to rap music. The criteria for works to be censored in New Zealand and the United States are analysed. Comments are made about how the New Zealand Classification Office should treat rap music works. It is argued that censorship of rap will rarely be justified. The article concludes by examining an interesting and fundamental difference between the free speech principles of the two jurisdictions: American free speech doctrine treats censorship based on the work's viewpoint with hostility, whereas New Zealand law advocates censorship of this kind.

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Boyer, Holly. "The Alert Collector: Hip Hop in the United States". Reference & User Services Quarterly 55, n. 3 (24 marzo 2016): 215. http://dx.doi.org/10.5860/rusq.55n3.215.

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Hip hop is a ubiquitous part of American society in 2015—from Kanye West announcing his future presidential bid to discussions of feminism surrounding Nikki Minaj’s anatomy, to Kendrick Lamar’s concert with the National Symphony Orchestra, to Questlove leading the Tonight Show Band, hip hop has exerted its influence on American culture in every way and form.Hip hop’s origin in the early 1970s in the South Bronx of New York City is most often attributed to DJ Kool Herc and his desire to entertain at a party. In the 1980s, hip hop continued to gain popularity and speak about social issues faced by young African Americans. This started to change in the 1990s with the mainstream success of gangsta rap, where drugs, violence, and misogyny became more prominent, although artists who focused on social issues continued to create. The 2000s saw rap and hip hop cross genre boundaries, and innovative and alternative hip hop grew in popularity.

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Patalano, Frank. "Psychosocial Stressors and the Short Life Spans of Legendary Jazz Musicians". Perceptual and Motor Skills 90, n. 2 (aprile 2000): 435–36. http://dx.doi.org/10.2466/pms.2000.90.2.435.

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Mean age at death of 168 legendary jazz musicians and 100 renowned classical musicians were compared to examine whether psychosocial stressors such as severe substance abuse, haphazard working conditions, lack of acceptance of jazz as an art form in the United States, marital and family discord, and a vagabond life style may have contributed to shortened life spans for the jazz musicians. Analysis indicated that the jazz musicians died at an earlier age (57.2 yr.) than the classical musicians (73.3 yr.).

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SullyCole, Althea. "Listening to Kora in New York City: Constructing Africa and Blackness in the United States". Ethnomusicology 66, n. 2 (1 luglio 2022): 319–40. http://dx.doi.org/10.5406/21567417.66.2.07.

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Abstract Drawing upon ethnographic fieldwork with New York City-based musicians, this article observes how the kora, a twenty-one stringed harp from the Mandé region of West Africa, has become integrated into a Black cultural expression in the United States. It highlights the disjunctures between migrant West African kora players and Black musicians and audiences in the United States that result from particular modes of listening. How these conflicts are manifest in the performance context, the author argues, reveals both who and what means, historically, have been authorized to organize a social imaginary around the idea of “Africa” and its traditions.

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WELLS, PAUL F., e SALLY K. SOMMERS SMITH. "Irish Music and Musicians in the United States: An Introduction". Journal of the Society for American Music 4, n. 4 (19 ottobre 2010): 395–99. http://dx.doi.org/10.1017/s1752196310000349.

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“The Irish came early and often to America,” quipped musicologist Charles Hamm in his landmark book Yesterdays: Popular Song in America. Although the largest waves of immigration occurred during the years of the potato famines in the 1840s and 1850s, the process began long before then and continues to the present day, albeit with many ebbs and flows in the stream. Today nearly 36.5 million people in the United States claim Irish ancestry.

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Koegel, John. "Mexican Musicians in California and the United States, 1910-50". California History 84, n. 1 (2006): 6–29. http://dx.doi.org/10.2307/25161856.

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Tesi sul tema "Rap musicians – united states"

Franklin, Serena. "Ill beats : black women rap artists and the representations of women in hip hop culture". Honors in the Major Thesis, University of Central Florida, 2004. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/336.

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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.
Bachelors
Arts and Sciences
Anthropology

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Patel, Parag. "We live this shit rap as a reflection of reality for inner city youth". Master's thesis, University of Central Florida, 2011. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4818.

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Rap is an extremely popular form of modern music that is notorious for incorporating themes of guns and violence into the lyrics. Early rap was mainly party or dance music until the mid-80s when structural shifts in social conditions brought feelings of hopelessness and frustration into black inner city communities and youth culture. These feelings now find expression in rap lyrics. This thesis uses rap lyrics as qualitative data to understand the plight of urban black youth. Rap music can be seen as a form of resistance for young African Americans who have historically never had such a medium to express their lived experiences and frustrations with society. The rap performance becomes a stage where the powerless become powerful by using the microphone as a symbolic AK-47 and words as weapons in the form of symbolic hollow point cartridges. This Thesis examines the contemporary African American experience, its reflection in the lyrics of rap music, and its fascination with guns, violence and death. A key theme is while rap lyrics sometimes seem radical and frightening to the mainstream, they often express lines of analysis and understanding that have been widely discussed in conventional sociological literature.
ID: 030646183; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Thesis (M.A.)--University of Central Florida, 2011.; Includes bibliographical references (p. 59-66).
M.A.
Masters
Sociology
Sciences
Applied Sociology

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Hubbs, Holly J. "American women saxophonists from 1870-1930 : their careers and repertoire". Virtual Press, 2003. http://liblink.bsu.edu/uhtbin/catkey/1259304.

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The late nineteenth century was a time of great change for women's roles in music. Whereas in 1870, women played primarily harp or piano, by 1900 there were all-woman orchestras. During the late nineteenth century, women began to perform on instruments that were not standard for them, such as cornet, trombone, and saxophone. The achievements of early female saxophonists scarcely have been mentioned in accounts of saxophone history. This study gathers scattered and previously unpublished information about the careers and repertoire of American female saxophonists from 1870-1930 into one reference source.The introduction presents a brief background on women's place in music around 1900 and explains the study's organization. Chapter two presents material on saxophone history and provides an introduction to the Chautauqua, lyceum, and vaudeville circuits. Chapter three contains biographical entries for forty-four women saxophonists from 1870-1930. Then follows in Chapter four a discussion of the saxophonists' repertoire. Parlor, religious, and minstrel songs are examined, as are waltz, fox-trot, and ragtime pieces. Discussion of music of a more "classical" nature concludes this section. Two appendixes are included--the first, a complete alphabetical list of the names of early female saxophonists and the ensembles with which they played; the second, an alphabetical list of representative pieces played by the women.The results of this study indicate that a significant number of women became successful professional saxophonists between 1870-1930. Many were famous on a local level, and some toured extensively while performing on Chautauqua, lyceum, and vaudeville circuits. Some ended their performing careers after becoming wives and mothers, but some continued to perform with all-woman swing bands during the 1930s and 40s.The musical repertoire played by women saxophonists from 1870-1930 reflects the dichotomy of cultivated and vernacular music. Some acts chose to use popular music as a drawing card by performing ragtime, fox-trot, waltz, and other dance styles. Other acts presented music from the more cultivated classical tradition, such as opera transcriptions or original French works for saxophone (by composers such as Claude Debussy). Most women, however, performed a mixture of light classics, along with crowd-pleasing popular songs.
School of Music

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Gaines, Adam W. "Work of Art : the life and music of Art Farmer". Virtual Press, 2005. http://liblink.bsu.edu/uhtbin/catkey/1317924.

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Kenny, Sara York. "Predicting Failure in the Savings and Loan Industry: a Comparison of RAP and GAAP Accounting". Thesis, University of North Texas, 1989. https://digital.library.unt.edu/ark:/67531/metadc330922/.

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The financial crisis facing the United States savings and loan industry has been steadily escalating over the last decade. During this time, accounting treatments concerning various thrift institution transactions have also attracted a great deal of attention. The specialized accounting treatments used in the thrift industry, known as regulatory accounting practices (RAP) have been blamed as one of the culprits hindering the regulators' ability to detect serious financial problems within many institutions. Accordingly, RAP was phased out, and all federally insured savings and loan associations began preparing their financial statements in accordance with generally accepted accounting principles (GAAP) as of January 1, 1989. The purpose of this dissertation is to compare the relative predictive values of the two historical cost based accounting conventions (RAP and GAAP) available to the savings and loar? industry during the 1980's. For purposes of this dissertation, predictive value is defined as the usefulness in assessing future financial health and viability. The sample consisted of all the institutions reporting to the Federal Home Loan Bank of Dallas between 1984 and 1989. Year-end thrift financial report data, obtained from Sheshunoff Information Services, Inc. (Austin, Texas) was used to calculate several financial ratios. The Federal Home Loan Bank of Dallas provided a comprehensive listing of all institutions that failed between January 1, 1985 and March 31, 1989. The null hypothesis tested in this study was: no significant differences existed between the predictive values of RAP and GAAP financial statements. Using a dichotomous dependent variable (failed/not failed) and independent variables from prior research, several multinomial logistic models were developed to test the null hypothesis. All models developed failed to reject the null hypothesis.

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McCall, Sarah B. "The Musical Fallout of Political Activism: Government Investigations of Musicians in the United States, 1930-1960". Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc277608/.

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Government investigations into the motion picture industry are well-documented, as is the widespread blacklisting that was concurrent. Not nearly so well documented are the many investigations of musicians and musical organizations which occurred during this same period. The degree to which various musicians and musical organizations were investigated varied considerably. Some warranted only passing mention, while others were rigorously questioned in formal Congressional hearings. Hanns Eisler was deported as a result of the House Committee on Un-American Activities' (HUAC) investigation into his background and activities in the United States. Leonard Bernstein, Marc Blitzstein, and Aaron Copland are but a few of the prominent composers investigated by the government for their involvement in leftist organizations. The Symphony of the Air was denied visas for a Near East tour after several orchestra members were implicated as Communists. Members of musicians' unions in New York and Los Angeles were called before HUAC hearings because of alleged infiltration by Communists into their ranks. The Metropolitan Music School of New York, led by its president-emeritus, the composer Wallingford Riegger, was the subject of a two day congressional hearing in New York City. There is no way to measure either quantitatively or qualitatively the effect of the period on the music but only the extent to which the activities affected the musicians themselves. The extraordinary paucity of published information about the treatment of the musicians during this period is put into even greater relief when compared to the thorough manner in which the other arts, notably literature and film, have been examined. This work attempts to fill this gap and shed light on a particularly dark chapter in the history of contemporary music.

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Johnson, Alfred B. "Fascination machine : a study of pop music, mass mediation, and cultural iconography". Virtual Press, 1998. http://liblink.bsu.edu/uhtbin/catkey/1185429.

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The mediation of popular musicians in the twentieth century results in the construction of cultural formations-mass mediated pop musician icons-that are, to various degrees, weighted down by the ideologies and concerns of those who receive them as mediated texts. In passing judgment on these cultural icons, the public engages in a massive act of reading, and in the process the icons become sites of personal and cultural signification. This study examines the nature of signification in and through mass mediated popular music icons by exploring the processes by which popular music icons are produced, circulated, and read as texts; and it examines, when appropriate, the significant content of these icons.

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Forman, Murray W. ""The ‘hood comes first" : race, space and place in Rap music and Hip Hop, 1978-1996". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/NQ50163.pdf.

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Hall, Toby. "Tony Williams: rhythmic syntax in jazz drumming". Thesis, The University of Sydney, 2004. http://hdl.handle.net/2123/19736.

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Sugg, Andrew Norman. "Tracking the trane: comparing selected improvisations of John Coltrane, Jerry Bergonzi and David Liebman : a thesis presented to the Elder Conservatorium, Adelaide University, in fulfillment of the requirements of the degree of Doctor of Philosophy". Title page, abstract and contents only, 2001. http://web4.library.adelaide.edu.au/theses/09PH/09phs947.pdf.

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Includes bibliographical references (leaves 350-359). Investigates the influence of Coltrane's music on the improvising of post-Coltrane saxophonists by inspecting selected improvisations of Jerry Bergonzi and David Liebman and comparing them to improvisations by Coltrane on the same repertoire piece. The comparision also demonstrates how two current jazz saxophonists have drawn on the past - the legacy of Coltrane - to create innovative music in the present.

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Libri sul tema "Rap musicians – united states"

Schaller, Bob. Kanye West: A biography. Santa Barbara, Calif: Greenwood Press, 2009.

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Denton, Sandra. Let's talk about Pep. New York: Gallery Books, 2010.

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Hilton, Als, e Turner Darryl A, a cura di. White noise: The Eminem collection. New York: Thunder's Mouth Press, 2003.

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Afeni, Shakur, Hoye Jacob, Ali Karolyn e Einenkel Walter, a cura di. Tupac: Resurrection, 1971-1996. New York: Atria Books, 2006.

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Shakur, Tupac. Tupac: Resurrection, 1971-1996. A cura di Shakur Afeni, Hoye Jacob, Ali Karolyn e Einenkel Walter. New York: Atria Books, 2003.

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Ice, Vanilla. Ice. New York: Avon Books, 1991.

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Lazerine, Cameron. Rap-Up. New York: Grand Central Publishing, 2008.

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Common. One day it'll all make sense: A memoir. New York: Atria Books, 2011.

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Dyson, Michael Eric. Holler if you hear me: Searching for Tupac Shakur. New York: Basic Civitas Books, 2003.

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Dee, Kool Moe. There's a god on the mic: The true 50 greatest MCs. New York: Thunder's Mouth Press, 2003.

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Capitoli di libri sul tema "Rap musicians – united states"

Angelucci, Margherita, e Wissal Houbabi. "Chapter 4: From Pimpology to Pimpologia: A Comparative Analysis of Pimp Rap in the United States and Italy". In Misogyny, Toxic Masculinity, and Heteronormativity in Post-2000 Popular Music, 73–93. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-65189-3_5.

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Bendrups, Dan. "Commercial Connections". In Singing and Survival, 133–64. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190297039.003.0006.

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This chapter considers Rapanui music in relation to global commercial influences, especially those emanating from the United States from the 1960s onward. It reveals how Rapanui performers over two generations have made sense of global cultural influences, and how these have in turn been represented in Rapanui music. It considers the capacity for Rapanui performers to extend beyond the confines of Chilean folklore performance contexts and into mainstream global popular culture, providing key examples of groups and individuals who have achieved some level of national or international popularity. It also considers the impact of the development of a local recording industry on Rapa Nui and how Rapanui musicians have responded to sound recording opportunities.

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Storhoff, Timothy P. "The Politics of Cuban Music in the United States". In Harmony and Normalization, 55–80. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496830876.003.0003.

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The third chapter describes the history of Cuban politics in the United States, their recent transformations, and how they have impacted musical production and interaction. The politics and musical prominence of Cuban exiles in Miami has resulted in a range of reactions to Cuban musicians in South Florida ranging from controversy to acceptance. Divisive Florida performances are contrasted with appearances by Cuban artists elsewhere in the country. The National Symphony Orchestra of Cuba’s first tour of the United States in 2012 featured a range of repertoire by Cuban artists, European romantic composers, Gershwin, and more that represented a call for increased US-Cuban musical interaction.

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Lapidus, Benjamin. "The Musical Impact of the Mariel Boatlift on the Latin Music Scene of New York City and Interethnic Collaboration among Puerto Ricans and Cubans". In Cuba and Puerto Rico, 256–66. University Press of Florida, 2023. http://dx.doi.org/10.5744/florida/9781683403302.003.0014.

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Cubans and Puerto Ricans have interacted musically throughout history, yet their collaborations were greatly impacted by the 1980 Mariel boatlift. As Benjamin Lapidus notes, few scholarly works have focused on the musical impact of Cubans who arrived during the Mariel exodus. Existing scholarship on Cuban music in the United States has centered on the period before and immediately after 1959 and has overlooked important musicians who brought the newest Cuban musical information to the United States in the late twentieth century. Lapidus discusses the immediate musical effects of the Mariel boatlift by examining some of the dancers and musicians who arrived in New York City at that time. The activities of these and other musicians had long-term effects on the folkloric and Latin popular dance music scenes in New York and the United States, not only as performers but in many cases also as teachers for subsequent generations of Cuban and non-Cuban musicians. These interactions produced hybrid forms of both Cuban and Puerto Rican genres. Mariel immigrants served as important points of connection for musicians and dancers who arrived in the early 1990s during the era of the balseros (rafters) and would fit into established networks of Cuban and Puerto Rican musicians.

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Clark, Maribeth. "Agnes Woodward’s Whistling School and White Women’s Musical Labor in the United States". In Hidden Harmonies, 24–52. University Press of Mississippi, 2023. http://dx.doi.org/10.14325/mississippi/9781496845375.003.0003.

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This essay considers Agnes Woodward’s development of the California School of Artistic Whistling, founded in 1909 to provide students structures to interpolate birdsong into their musical performances of songs, brief instrumental pieces, nature presentations, and readings. As director of this school, Woodward served as a mentor to countless young, middle-class women whistlers. Because of Woodward and the bird whistling method that she developed, and her commitment to mentoring young musicians, numerous women experienced artistic and financial success as public performers.

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"Crossing Borders Mexicana, Tejana, and Chicana Musicians in the United States and Mexico". In From Tejano to Tango, 103–31. Routledge, 2013. http://dx.doi.org/10.4324/9780203055670-12.

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Goldschmitt, K. E. "From Fusion to Funk". In Bossa Mundo, 76–105. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190923525.003.0004.

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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.

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Goldschmitt, K. E. "Copying the Bossa Nova". In Bossa Mundo, 24–51. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190923525.003.0002.

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This chapter analyzes the initial proliferation of bossa nova in the United States and United Kingdom in the early 1960s, primarily as a jazz and dance fad. By using material culled from top English-language periodicals of the era, it traces the popularity of bossa nova in the United States from its adoption by jazz musicians in the early 1960s, the invention of a dance to accompany the musical trend, and the ultimate rejection of bossa nova by purists in the jazz press. It also shows how the style’s initial popularity was partially due to the divisive racial politics that had overtaken jazz in that era, allowing the Otherness of bossa nova to temporarily offer an alternative for jazz musicians and fans.

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Glocer, Silvia. "Jewish Émigré Musicians in Buenos Aires". In The Oxford Handbook of Jewish Music Studies, 144–64. Oxford University Press, 2023. http://dx.doi.org/10.1093/oxfordhb/9780197528624.013.26.

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Abstract In the 1930s and 1940s, totalitarian regimes forced the exodus of artists and intellectuals to an extent unprecedented in the history of Europe. After the United States, Argentina was the country in the Americas that received the largest number of Jewish refugees, and about 140 of them were musicians. The vast majority settled in Buenos Aires, where different social networks provided the new arrivals with opportunities to integrate into the local musical scenes and the growing cultural industries. The local Jewish community helped with contacts and links to social and professional networks. These networks not only facilitated integration, but also led to reciprocity in that the émigré musicians and their cultural heritage would leave their permanent mark on the musical life of Buenos Aires.

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"Appendix B. Musicians and Teachers of Music in the United States and Los Angeles". In Making Music in Los Angeles, 245–50. University of California Press, 2019. http://dx.doi.org/10.1525/9780520933835-019.

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Atti di convegni sul tema "Rap musicians – united states"

Zhen, Ying. "Career Challenges Musicians Face in the United States". In MEIEA Summit 2020. Music and Entertainment Industry Educators Association, 2020. http://dx.doi.org/10.25101/20.37.

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Rugg, Allyson, Julie Haggerty, Daniel Adriaansen, David Serke e Scott Ellis. "Significant Updates for the Current Icing Product (CIP) and Forecast Icing Product (FIP) Following the 2019 In-Cloud ICing and Large-drop Experiment (ICICLE)". In International Conference on Icing of Aircraft, Engines, and Structures. 400 Commonwealth Drive, Warrendale, PA, United States: SAE International, 2023. http://dx.doi.org/10.4271/2023-01-1487.

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<div class="section abstract">The Current Icing Product (CIP; Bernstein et al. 2005) and Forecast Icing Product (FIP; Wolff et al. 2009) were originally developed by the United States’ National Center for Atmospheric Research (NCAR) under sponsorship of the Federal Aviation Administration (FAA) in the mid 2000’s and provide operational icing guidance to users through the NOAA Aviation Weather Center (AWC). The current operational version of FIP uses the Rapid Refresh (RAP; Benjamin et al. 2016) numerical weather prediction (NWP) model to provide hourly forecasts of Icing Probability, Icing Severity, and Supercooled Large Drop (SLD) Potential. Forecasts are provided out to 18 hours over the Contiguous United States (CONUS) at 15 flight levels between 1,000 ft and FL290, inclusive, and at a 13-km horizontal resolution. CIP provides similar hourly output on the same grid, but utilizes geostationary satellite data, ground-based radar data, Meteorological Terminal Air Reports (METARS), lightning data, and voice pilot reports (PIREPs) in addition to the RAP model output to provide near-realtime icing guidance. This paper presents recent enhancements to the prototype versions of CIP and FIP (CIP v2.0 and FIP v2.0, respectively). The enhancements described are intended to take better advantage of enhanced model resolution and microphysics parameterization as well as state-of-the-art observations for icing diagnosis and forecasting. </div>

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Shea, Brendan Sullivan, e Neal Lucas Hitch. "School’s Out: Exploring Learning By Doing Methods In On-Site Design Build Architecture Workshops". In 2022 AIA/ACSA Intersections Research Conference. ACSA Press, 2022. http://dx.doi.org/10.35483/acsa.aia.inter.22.18.

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The paper details current endeavors by the authors to explore and expand notions of sustainable design through two design-build festivals hosted during the summer of 2022 that each re-engaged historical architectural sites in ecologically diverse contexts. The paper first outlines the history of design-build pedagogies in the United States, from the founding of some of the country’s first colleges of design to contemporary manifestations of festival architecture as seen in pop-culture contexts. Next, the authors detail how this history impacts the site, structure, and organization of the two research projects presented in the paper: one in a temperate forest ecoregion of North America located on the historic site of the 1969 Woodstock festival, appropriating research into laminate wood construction previously conducted by the authors; and the other in the Błędowska Desert of Poland, an area of anthropogenic desertification in Central Europe, which aims to expand research in silt-casting conducted in labs at Arcosanti, Arizona, onto rapidly transforming sites across the Atlantic. The following projects and observations provide a lens into the participatory research methods and engagement strategies unique to the design-build festival model and argue for the festival model’s capacity to adapt to site conditions, transform contemporary forms of architectural production, and engender a framework of community resilience; all the while amplifying contact and collaboration among groups of interdisciplinary experts through hands-on exploration at a construction site. As an illustration of how festivals allow designers to rethink the materials that are used to build, the paper examines the development of generative material processes and robust construction systems (in particular, laminated wood and silt-cast composites) as both a pre-festival site of research and a means of hands-on, on-site design exploration, invention, and evolution. The paper specifically addresses the relationship between structure and infrastructure in the context of the design-build festival, describing the application of the aforementioned principles and prototypes as implemented in two pavilion-scaled structures—in each case, a site-specific and environmentally-sensitive design—conceived as part of a larger communal infrastructure intended to galvanize resilient, even if temporary, communities of artists, architects, writers, researchers, and musicians during the festivals.

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