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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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Chung, Brian Su-Jen. "Narrating Failure: MC Jin's Return to Rap in the United States". Biography 41, n. 3 (2018): 568–86. http://dx.doi.org/10.1353/bio.2018.0059.
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Mangelsen, Jordan. "Forgive Me, Your Honour, For I Have Sinned". Crossings: An Undergraduate Arts Journal 4, n. 1 (7 luglio 2024): 228–34. http://dx.doi.org/10.29173/crossings203.
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This paper explores the use of rap lyrics in criminal trials across the United States and Great Britain. Rap is a multibillion-dollar industry and has soared in popularity since its inception. In recent years, rap lyrics have been used to ascertain guilt or innocence through the perceived meaning of the specific lyrics. However, there have been no advancements toward appreciating the cultural significance of rap or its status as a legitimate art form. The criminal justice system has favoured treating lyrics as confessions and fails to consider the nuance of the socio-historical context of the rap industry or the implications of the street code. This paper does not argue that all rap lyrics are either exclusively true or false; it instead argues that the uncritical approach to examining rap lyrics in the context of the criminal justice system has replicated systems of harm that have disproportionately affected young Black men.
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Maddux, Kristy. "The Lyceum and Public Culture in the Nineteenth-Century United States (review)". Rhetoric & Public Affairs 10, n. 4 (2008): 752–54. http://dx.doi.org/10.1353/rap.2008.0037.
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Wang, Yi. "Hip-Hop Music and Social Identity - An Analysis on the Construction of Jim Smith in the Movie ‘8 Mile’". Asian Journal of Social Science Studies 6, n. 4 (18 novembre 2021): 13. http://dx.doi.org/10.20849/ajsss.v6i4.952.
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When it comes to American hip-hop music and rap music, people always think of the African American singers in loose clothes, the flashing lights on the dirty stage, all kinds of alcohol and cigarettes, as well as many drunken scenes. However, such a familiar scene is indeed an authentic portrayal of the United States. If you have heard about hip hop music, it is not difficult to find that many hip-hop lyrics are often full of dirty abuse, cold ridicule and sharp criticism. In a sense, hip hop music and rap music can be considered a kind of 'voice resistance' from the lower class of American society. However, it has not changed their current situation, and hip hop music and rap music are still regarded as inappropriate for children and teenagers. It is noteworthy that in recent years, with the popularity of hip-hop music, people from all over the world have gradually paid attention to this unique music style. At the same time, more and more people from the lower class of the United States are also be concerned by the U.S. government.
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Park, Bongsuk, Jian Zou, Reynaldo Roque, George Lopp e Zhengyu Wu. "Approach for Determination of Maximum Reclaimed Asphalt Pavement Content in Polymer-Modified Asphalt Mixture". Transportation Research Record: Journal of the Transportation Research Board 2674, n. 6 (26 maggio 2020): 420–30. http://dx.doi.org/10.1177/0361198120919403.
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Reclaimed asphalt pavement (RAP), commonly generated from the millings of damaged roads, contains recyclable asphalt and aggregate. Polymer-modified asphalt (PMA) binders have had proven success in mitigating rutting and cracking in asphalt pavements. However, benefits associated with PMA binder may be reduced by aged and more brittle RAP binder. Currently, the maximum usage of RAP in PMA mixture is limited to 10–20% by several Departments of Transportation in the United States. Other than maximum RAP content, no criterion related to RAP characteristics is used to limit RAP usage in PMA mixture. Recent studies showed RAP binder stiffness and RAP aggregate gradation appeared to be important characteristics related to cracking performance of PMA mixture containing RAP. Therefore, this research focused on determining maximum allowable RAP content in PMA mixture for individual RAP sources based on key RAP characteristics identified, that is, RAP stiffness and RAP fineness. Interstitial component direct tension (ICDT) test was conducted to determine fracture energy for interstitial component (i.e., the fine portion of PMA mixture containing RAP), which is known to be correlated well with the fracture energy of the corresponding mixture. Results showed introduction of coarser and less stiff RAP generally resulted in greater fracture energy, which allowed up to 40% RAP usage in PMA mixture. Integration of key RAP characteristics identified and the results of ICDT test provide a systematic approach for determination of maximum RAP content in PMA mixtures. Further research is recommended to evaluate additional RAP sources to verify the proposed approach.
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Fryer, Paul. "Musicians as heroes: Black singers in the United States and Jamaica". New Community 13, n. 2 (settembre 1986): 208–13. http://dx.doi.org/10.1080/1369183x.1986.9975969.
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Shelemay, Kay Kaufman. "Ethiopian Musical Invention in Diaspora: A Tale of Three Musicians". Diaspora: A Journal of Transnational Studies 15, n. 2-3 (marzo 2011): 303–20. http://dx.doi.org/10.3138/diaspora.15.2-3.303.
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This essay, based on ethnographic interviews and observation, discusses the lives and careers of three prominent Ethiopian musicians from sacred, folkloric, and popular musical domains (Moges Seyoum, Tesfaye Lemma, and Mulatu Astatke, respectively) whose individual initiatives have shaped the musical life of the Ethiopian diaspora during its formative years in the United States. These three careers provide an overview of musical activity within the Ethiopian American diaspora community since its inception and shed light on concepts of creativity as conceived both in the Ethiopian homeland and among the immigrant musicians profiled. The conclusion suggests that the ability of each man to negotiate the transition to diaspora life varied according to the musical domain in which he was engaged, his personal background, and the moment and circumstances of his arrival in the United States. (January 2009)
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Prévos, André J. M. "Hip‐hop, rap, and repression in France and in the United States". Popular Music and Society 22, n. 2 (giugno 1998): 67–84. http://dx.doi.org/10.1080/03007769808591706.
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Gregory A. Olson. "A Time for War: The United States and Vietnam, 1941-1975 (review)". Rhetoric & Public Affairs 1, n. 1 (1998): 133–35. http://dx.doi.org/10.1353/rap.2010.0173.
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Ray, Angela G. "The Right to Vote: The Contested History of Democracy in the United States (review)". Rhetoric & Public Affairs 4, n. 4 (2001): 766–68. http://dx.doi.org/10.1353/rap.2001.0068.
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Suwadi, Pujiyono, Andi Chaerul Sofyan e Rifqi Setia Ramdhani. "Legal Comparison Between National Collective Management Institutions in Indonesia and United States". Revista de Gestão Social e Ambiental 18, n. 4 (11 gennaio 2024): e04572. http://dx.doi.org/10.24857/rgsa.v18n4-015.
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Purpose: This Study aims to find out about the role of the Indonesian National Collective Management Institution in providing protection for the economic rights of musicians compared to the United States Collective Management Organization on digital era development. Methods: This research method uses normative and empirical legal research methods by using empirical facts from human behavior, both behavior through direct observation or verbally obtained from interviews. Data collection techniques were carried out by conducting interviews with informants and studying documents from written data. Results and Conclusion: The results of the study show that in carrying out its duties the National Collective Management Institute has fulfilled the royalty rights of musicians in accordance with what is mandated in the applicable regulations. Research implications: the development of the Digital world which should have had many positive impacts on Economic Progress and the quality of Human Resources in the Indonesian nation actually had a negative impact due to a lack of understanding which would hinder this process. Originality/value: The Indonesian government must be encouraged to create regulations regarding copyright in digital media and provide education to the public regarding understanding copyright.
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Turner, Diane. "Black Music Traditions of Central Avenue". Practicing Anthropology 20, n. 1 (1 gennaio 1998): 21–24. http://dx.doi.org/10.17730/praa.20.1.b06g13202633r087.
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Because of the early development of an African American community on Central Avenue, the city of Tampa, Florida provides an excellent environment to document Black music traditions in the southeastern region of the United States. By the late nineteenth century, an urban Black working class had formed on Central Avenue. Black musicians were part of a distinct cultural community, including divergent lifestyles, which were organically linked to the rural and urban life experiences of Black people in the United States and the Caribbean.
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Spears, Amy, Danelle Larson e Sarah Minette. "Informal music-making among piano bar musicians: Implications for bridging the gap in music education". Journal of Popular Music Education 4, n. 3 (1 novembre 2020): 371–88. http://dx.doi.org/10.1386/jpme_00019_1.
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Recent research in music education has sought to bridge the gap between formal music-making and informal music-making done by many musicians who may have little or no formal musical training. Piano bar musicians fall under the category of musicians who may or may not have had formal musical training but are able to perform covers of a variety of pop songs for live and interactive audiences. Many of them also play multiple instruments. Participants we observed and interviewed in this qualitative study were eight piano bar musicians from various regions of the United States. Key findings include that the primary method participants used to learn songs was listening and learning by ear; ‘reading’ music took multiple forms; music theory and chord functionality were useful and allowed for flexible musicianship; and that a participatory culture was important for learning the songs the musicians chose to learn.
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Patalano, Frank. "Psychosocial Stressors in the Lives of Great Jazz Musicians". Perceptual and Motor Skills 84, n. 1 (febbraio 1997): 93–94. http://dx.doi.org/10.2466/pms.1997.84.1.93.
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Brief biographical information on four great jazz tenor saxophone players of the past is presented to illustrate the similar psychosocial stressors these men seemed to experience, namely, severe substance abuse, haphazard working conditions, lack of acceptance of their art form in the United States, marital and family discord, and a vagabond life style. Ages at death of 80 great jazz musicians may indicate that the stressful life style of jazz musicians may be reflected in a shortened life span, but a control group is needed.
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CRANITCH, MATT. "Paddy Cronin: Musical Influences on a Sliabh Luachra Fiddle Player in the United States". Journal of the Society for American Music 4, n. 4 (19 ottobre 2010): 475–89. http://dx.doi.org/10.1017/s1752196310000398.
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AbstractIn the world of Irish traditional music, Paddy Cronin from Sliabh Luachra in the southwest of Ireland is regarded as one of the tradition's exceptional fiddle players. Although his music exhibits many characteristics of the Sliabh Luachra tradition, it also has other elements and features, primarily from the Sligo style. A pupil of Pádraig O'Keeffe (the “Sliabh Luachra Fiddle Master”), Cronin emigrated to Boston in 1949 and lived there for approximately forty years. Before he left Ireland, he had been familiar with the music of the Sligo masters, such as Michael Coleman and James Morrison, who had gone to the United States many years before him. In Boston Paddy met and played with many of the great Sligo musicians, and also had the opportunity to hear music in other styles, including that of Canadian musicians, whose use of piano accompaniment he admired greatly. This article considers his music before and after he left Ireland, and compares him to Coleman and Morrison by considering their respective performances of the reel “Farewell to Ireland.”
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Elnihum, Ahmed, Qing Lu, Mohammad Alharthai, Mohammed Alamri, Can Chen e Asad Elmagarhe. "Evaluation of an Asphalt Mixture Containing a High Content of Reclaimed Asphalt Pavement (RAP) Materials with Epoxy Asphalt". Sustainability 16, n. 12 (11 giugno 2024): 4988. http://dx.doi.org/10.3390/su16124988.
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The average content of reclaimed asphalt pavement (RAP) materials in asphalt mixtures for new pavements is around 22% in the current paving practices in the United States. Increasing this content has significant economic and environmental benefits. This study explored the approach of producing asphalt mixtures with 100% RAP materials by adding a small percentage of epoxy asphalt. Specimens of 100% RAP mixtures with low contents of epoxy asphalt were fabricated and evaluated in the laboratory for their properties related to pavement performance, including Marshall stability and flow, indirect tensile strength, resistance to moisture damage, resistance to fatigue damage, and fracture resistance. The results showed that the specimens made of 100% RAP materials selected in this study without a new binder or rejuvenator had low workability and high Marshall stability and indirect tensile strength but poor resistance to moisture damage and fatigue damage. A low percentage (0.5 to 2%) of epoxy asphalt significantly improved the resistance to moisture and fatigue damage of the 100% RAP mixture, and this improvement increased with the epoxy asphalt content. The fracture resistance of the 100% RAP mixture was also significantly improved by a low dosage of epoxy asphalt at a low temperature (8 °C), but the improvement was less significant at a moderate temperature of 25 °C.
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Saunders, Grant Leigh, e Rachael Gunn. "Australia". Global Hip Hop Studies 3, n. 1 (1 dicembre 2022): 23–32. http://dx.doi.org/10.1386/ghhs_00060_1.
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In this contribution, we provide a brief overview of the development of Hip Hop culture in Australia, looking specifically at rap and breaking (breakdancing). We show how Australian rap has for a long time been dominated by white Australian artists attempting to solidify an Aussie Hip Hop identity distinct from the United States. Because rap from Indigenous and Culturally and Linguistically Diverse (CaLD) communities did not fit the tropes of dominant (white) Australian culture, and were instead disregarded as simple mimicry of African American rap, the gatekeepers of Aussie Hip Hop for a long time locked out these minority artists. This created a divide in the rap scene that reflected broader Australian racial politics. In contrast, the breaking community has historically been more inclusive and reflective of a multicultural Australia, and has been more connected with the breakers of North America, Europe and Asia. In this contribution, we demonstrate how Australian Hip Hop has evolved over the past two decades to be more culturally inclusive, supported by key Australian artists, community radio, social media and finally validated by the Australian music industry as a distinct musical genre worth celebrating.
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McManus, Emily J. "The Tango in Translation: Intertextuality, Filmic Representation, and Performing Argentine Tango in the United States". TranscUlturAl: A Journal of Translation and Cultural Studies 5, n. 1-2 (25 marzo 2014): 194. http://dx.doi.org/10.21992/t9w34w.
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This article analyzes representations of the Argentine tango by the U.S. media utilizing Farzaneh Farahzad’s theory of “translation as intertextual practice” and Lawrence Venuti’s theory of translated “adaptations.” I argue that the juxtaposition of Latin American and European cultural stereotypes within filmic representations of the tango has created and reinforced a highly racialized master discourse (Said Faiq) that continues to influence how the Argentine tango is perceived in the United States today. Because cultural translation occurs between a hegemonic culture and a marginalized culture, representations of the tango in the United States both create and reinforce a master discourse that inextricably ties the tango to an exoticized and eroticized Latin “Other.”
I conclude by discuss how the racialized and sexualized narratives discussed throughout this paper are integrated into contemporary performance of the tango. I draw on ethnographic research with tango communities throughout the United States to illustrate how 20th century filmic representations of the tango continue to motivate, influence, and inform how, when, and why the Argentine tango is performed by U.S. dancers and musicians. Films analyzed include Four Horsemen of the Apocalypse, Some Like it Hot, Last Tango in Paris, and The Scent of a Woman, as well as a variety of lesser-known films and television advertisements. Although a large variety of 20th century films feature the tango, the films discussed in this paper were selected for analysis due to the frequency with which they are referenced by tango aficionados and contemporary tango dancers, musicians, and deejays performing throughout the United States today.
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Omerbas, Ali Cagil. "A Specter is Haunting the Hood: Traces of Socialism in Rap Music". Journal of Communication 2, n. 1 (3 agosto 2018): 1–12. http://dx.doi.org/10.47941/jcomm.237.
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This article aims to demonstrate the links between the Hip Hop Culture -especially rap music- and the ideas of philosophers, politicians and activists of the left view. Although rap music has turned into a multi-million dollar industry in United States, Hip Hop artists maintain the revolutionary world view of the black freedom movement, which has not ceased since the early days of slavery. Starting from the mid-20th century, the movement became much more organized and aimed to equip black people with socialist ideas, hoping to create an extremely educated and self-sufficient community. The ideas formed by Karl Marx, Friedrich Engels, Mao Tse-tung, Malcolm X, Dr. Martin Luther King Jr. and especially Black Panthers Party are still embraced by the Hip Hop Culture and can be traced in various songs and performances. This paper tries to draw attention to such examples, especially in rap songs.
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Stanek, Jeremy L., Kevin D. Komes e Fred A. Murdock. "A Cross-Sectional Study of Pain Among U.S. College Music Students and Faculty". Medical Problems of Performing Artists 32, n. 1 (1 marzo 2017): 20–26. http://dx.doi.org/10.21091/mppa.2017.1005.
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OBJECTIVES: Studies over recent decades have demonstrated significant performance-related pain among professional musicians. However, there have been no large-scale studies to evaluate pain among college musicians. The aim of this study was to determine the prevalence and anatomical locations of performance-related pain among students and faculty at the college level and learn what musicians do when they have pain. METHODS: Cross-sectional data were collected using an online survey distributed to colleges across the United States. Data were analyzed using REDCap electronic data capture tools and Microsoft Excel. RESULTS: We received 1,007 survey responses and found that 67% of musicians at colleges experienced performance-related pain. The highest prevalence of pain was in woodwind musicians, with 83% reporting performance-related pain. The most common locations of pain were upper back (27%), lower back (26%), and fingers of the right hand (25%). Many student musicians with pain seek help from their teacher, but almost as many do not seek help at all. Less than 25% see a medical professional. CONCLUSIONS: Most musicians at colleges experience performance-related pain in a variety of anatomical locations depending upon instrument/voice. Performing arts health organizations can increase awareness of treatment options for musicians suffering from performance-related pain, which may lead to improved quality of life and increased career longevity for college musicians.
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Gilbers, Steven, Nienke Hoeksema, Kees de Bot e Wander Lowie. "Regional Variation in West and East Coast African-American English Prosody and Rap Flows". Language and Speech 63, n. 4 (4 novembre 2019): 713–45. http://dx.doi.org/10.1177/0023830919881479.
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Regional variation in African-American English (AAE) is especially salient to its speakers involved with hip-hop culture, as hip-hop assigns great importance to regional identity and regional accents are a key means of expressing regional identity. However, little is known about AAE regional variation regarding prosodic rhythm and melody. In hip-hop music, regional variation can also be observed, with different regions’ rap performances being characterized by distinct “flows” (i.e., rhythmic and melodic delivery), an observation which has not been quantitatively investigated yet. This study concerns regional variation in AAE speech and rap, specifically regarding the United States’ East and West Coasts. It investigates how East Coast and West Coast AAE prosody are distinct, how East Coast and West Coast rap flows differ, and whether the two domains follow a similar pattern: more rhythmic and melodic variation on the West Coast compared to the East Coast for both speech and rap. To this end, free speech and rap recordings of 16 prominent African-American members of the East Coast and West Coast hip-hop communities were phonetically analyzed regarding rhythm (e.g., syllable isochrony and musical timing) and melody (i.e., pitch fluctuation) using a combination of existing and novel methodological approaches. The results mostly confirm the hypotheses that East Coast AAE speech and rap are less rhythmically diverse and more monotone than West Coast AAE speech and rap, respectively. They also show that regional variation in AAE prosody and rap flows pattern in similar ways, suggesting a connection between rhythm and melody in language and music.
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Beasley, Gerald. "Curatorial Crossover: Building Library, Archives, and Museum Collections". RBM: A Journal of Rare Books, Manuscripts, and Cultural Heritage 8, n. 1 (1 marzo 2007): 20–28. http://dx.doi.org/10.5860/rbm.8.1.272.
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I tend to associate the word “crossover” with popular music. I think of crossovers as being those artists whose music has successfully crossed over from a smaller market to a bigger one, like Mexican musicians making it big in the United States, or black musicians making it big with white audiences. And I frankly love the idea that I, as a librarian, might be able to make a curatorial crossover into a bigger market, much as Ricky Martin or Otis Redding made a musical crossover. Of course, I would have to address the two most common criticisms that are made . . .
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COLLINS, TIM. "'Tis Like They Never Left: Locating “Home” in the Music of Sliabh Aughty's Diaspora". Journal of the Society for American Music 4, n. 4 (19 ottobre 2010): 491–507. http://dx.doi.org/10.1017/s1752196310000404.
Testo completoAbstract (sommario):
AbstractThis article, which builds on research in the fields of Irish traditional music, place, and diaspora, focuses on a community of diasporic musicians from Sliabh Aughty, an upland region of approximately 250 square miles that encompasses the musical storehouses of east Clare and southeast Galway in the West of Ireland. It examines the importance of home for these musicians, who have been resident in the United States for many decades. Their personal music geographies are explored to ascertain how traditional Irish music plays a critical role in transcending their sense of dislocation and reconnecting them with “home.”
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Dunbar, Adam. "Art or Confession?: Evaluating Rap Lyrics as Evidence in Criminal Cases". Race and Justice 10, n. 3 (23 gennaio 2018): 320–40. http://dx.doi.org/10.1177/2153368717749879.
Testo completoAbstract (sommario):
For decades, scholars have studied mechanisms that might explain racial disparities in the criminal justice system. One novel example of a practice that may contribute to continuing disparities is the introduction of defendant-authored rap lyrics as evidence in criminal trials. Across the United States, prosecutors are introducing rap lyrics as confession evidence to establish guilt. Concerns about this practice have been articulated by scholars and others but rarely empirically examined. This study begins to address this lacuna. In particular, this study examines how lyrics are evaluated when presented in a trial context and determines how individuals change their evaluations of the lyrics to support their verdict. Participants were tasked with evaluating evidence, including rap lyrics, independently and in the context of a trial and then rendering a verdict. Results indicate that rap lyrics are viewed as interdependent with other evidence when presented at trial. Furthermore, although evaluations of lyrics did not predict determinations of guilt, verdict affected whether the lyrics were evaluated as a confession, and this effect was stronger for participants who believed the defendant was guilty. These findings highlight how introducing rap lyrics might disproportionately advantage prosecutors and contribute to our understanding of racial disparities in the criminal justice system.
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Puppala, Anand J., Aravind Pedarla, Bhaskar Chittoori, Vijay Krishna Ganne e Soheil Nazarian. "Long-Term Durability Studies on Chemically Treated Reclaimed Asphalt Pavement Material as a Base Layer for Pavements". Transportation Research Record: Journal of the Transportation Research Board 2657, n. 1 (gennaio 2017): 1–9. http://dx.doi.org/10.3141/2657-01.
Testo completoAbstract (sommario):
For several years reclaimed asphalt pavement (RAP) material has been used as a construction material in hot-mix asphalt (HMA) to reduce material costs and stabilize pavements. Of the 45 million tons of RAP produced every year in the United States, only 33% is being used in HMA. Recent studies have demonstrated that RAP can be used effectively in base layers when it is blended with aggregate base materials and stabilized with cement or fly ash additives. This adoption in the pavement base layer helps maximize the reutilization of RAP material and minimize its disposal in landfills, thereby making it an environmentally friendly practice. However, studies reported so far addressed only the strength and stiffness characteristics of stabilized RAP in base layers in the short term, and not many studies have addressed its long-term behavior. In this study the long-term durability of untreated as well as stabilized specimens was tested by conducting standard durability testing to replicate the moisture fluctuations in the field from seasonal variations. In addition, leachate studies were conducted to examine the effect of rainfall infiltration on the leachability of the cement or fly ash stabilizer from stabilized RAP mixtures. Durability studies revealed a very low volumetric change and good retaining strength at the end of three, seven, and 14 cycles for RAP material from the El Paso, Texas, area, and leachate tests proved that the leaching of cement or fly ash stabilizer from RAP mixes cannot be considered to be a concern for long-term performance. However, approximately 2 years of field infiltration were replicated in the laboratory in this study. Of the several RAP mixtures studied, the mixture composed of 60% RAP and 40% base material with 2% cement was identified as an effective long-term-performing mixture.
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Symes, Colin. "A sound education: the gramophone and the classroom in the United Kingdom and the United States, 1920–1940". British Journal of Music Education 21, n. 2 (24 giugno 2004): 163–78. http://dx.doi.org/10.1017/s0265051704005674.
Testo completoAbstract (sommario):
The advent of the gramophone transformed the cultural conditions of contemporary music, including the way it was taught. For a considerable period of time, musicians and music educators disparaged the gramophone. The members of the musical appreciation movement were more sympathetic and helped transform the gramophone's educational image during the 1920s and 1930s. They argued that the gramophone, contrary to its detractors, might stem the appeal of popular music. As is clear from the sentiments of those espousing the pedagogic uses of the gramophone – which are analysed in this paper – their advocacy went far beyond music and was part of a broader cultural agenda, which included arresting the moral dangers associated with popular music.
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Benjamin, Stanley G., John M. Brown e Tatiana G. Smirnova. "Explicit Precipitation-Type Diagnosis from a Model Using a Mixed-Phase Bulk Cloud–Precipitation Microphysics Parameterization". Weather and Forecasting 31, n. 2 (23 marzo 2016): 609–19. http://dx.doi.org/10.1175/waf-d-15-0136.1.
Testo completoAbstract (sommario):
Abstract The Rapid Refresh (RAP) and High-Resolution Rapid Refresh (HRRR), both operational at NOAA’s National Centers for Environmental Prediction (NCEP) use the Thompson et al. mixed-phase bulk cloud microphysics scheme. This scheme permits predicted surface precipitation to simultaneously consist of rain, snow, and graupel at the same location under certain conditions. Here, the explicit precipitation-type diagnostic method is described as used in conjunction with the Thompson et al. scheme in the RAP and HRRR models. The postprocessing logic combines the explicitly predicted multispecies hydrometeor data and other information from the model forecasts to produce fields of surface precipitation type that distinguish between rain and freezing rain, and to also portray areas of mixed precipitation. This explicit precipitation-type diagnostic method is used with the NOAA operational RAP and HRRR models. Verification from two winter seasons from 2013 to 2015 is provided against METAR surface observations. An example of this product from a January 2015 south-central United States winter storm is also shown.
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Werb, Bret Charles, e Maria V. Lebedeva. "The Aleksander Kulisiewicz Collection at the United States Holocaust Memorial Museum: An Introduction". Observatory of Culture 17, n. 5 (12 novembre 2020): 478–95. http://dx.doi.org/10.25281/2072-3156-2020-17-5-478-495.
Testo completoAbstract (sommario):
Envisioned by its founders as a storehouse of historical evidence — material artifacts, written and oral testimonies, photographs and films — the U.S. Holocaust Memorial Museum in Washington DC is the repository of a significant archive of music salvaged from the Nazi ghettos and camps. This paper focuses on the Museum’s single largest music collection, that of the Polish camp survivor Aleksander Kulisiewicz (1918—1982). A native of Kraków, Poland, who spent over five years as a political prisoner in Sachsenhausen, Kulisiewicz in later life grew obsessed with documenting the repertoire that his fellow Poles and an international cadre of musicians, authors, and artistes created and performed while captives of the Germans. The collection he amassed during his final decades consists of hundreds of songs, choral works and instrumental pieces gathered from survivor memoirs, manuscripts, and multiple recorded interviews with former inmates. Approximately 70,000 pages of documentation encompass music-related artworks, biographical details of camp poets and composers, and copious additional corroborating material. Apart from providing an overview of the collection, the paper will discuss Kulisiewicz’s cultural and intellectual background in interwar Poland, and postwar career as a performer, activist and author. Music illustrations will be drawn from Kulisiewicz’s archive of sound recordings, including selections from his own series of autobiographical songs written in Sachsenhausen. A final set of musical examples demonstrates the collection’s utility as a resource for musicians and programmers seeking overlooked, yet revivable repertoire, and for composers inspired to create new works based on “rescued” music preserved in the Museum’s archive.
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Quigley, Nicholas Patrick, e Tawnya D. Smith. "The educational backgrounds of DIY musicians". Journal of Popular Music Education 00, n. 00 (9 luglio 2021): 1–21. http://dx.doi.org/10.1386/jpme_00053_1.
Testo completoAbstract (sommario):
In this qualitative, exploratory study we examined the music education backgrounds and current creative practices of thirteen self-described do-it-yourself (DIY) musicians from around the United States. A growing community of scholars within and outside of education have noted the relative inclusionary nature of DIY communities as compared to mainstream society. Several themes have emerged in DIY music participation literature, including social influences and isolation, and music making for self care and self expression. DIY music-making can offer a potentially liberating space for those marginalized by traditional schooling, providing students with social, educational and musical opportunities they could not find or participate in at school. Through an analysis of interviews and participation-observations of creative practices such as band rehearsals and improvisation sessions, we found that similar themes emerged in our own data. Implications for music education include the importance of more individualized instruction and opportunities for self care and self expression.
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Cooks, Leda M. "Not Just Black and White: Historical and Contemporary Perspectives on Immigration, Race, and Ethnicity in the United States (review)". Rhetoric & Public Affairs 9, n. 2 (2006): 344–47. http://dx.doi.org/10.1353/rap.2006.0038.
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Bhatt, Alkesh, e Sanjeev Suman. "Evaluation of the Effect of RAP and Lime on Geotechnical Properties of Clayey Soil". International Journal for Research in Applied Science and Engineering Technology 10, n. 4 (30 aprile 2022): 2531–41. http://dx.doi.org/10.22214/ijraset.2022.41839.
Testo completoAbstract (sommario):
Abstract: Road network plays a large role in the rapid development of the economy of a country, providing connectivity to remote areas for various transportation activities. India ranks second in the world in terms of length of road network after the United States. The major road network in the urban locality consists of bituminous pavements periodically resurfaced during maintenance. From the milling process, reclaimed asphalt pavement (RAP) is obtained. Additionally, RAP can be used for the utilization of recycled asphalt pavement (RAP) materials in subgrade soil. Reclaimed Asphalt Pavement (RAP) is being used in this case study to stabilize the subgrade soil collected from Crop Research Center (CRC), Govind Ballabh Pant University, Tanda Range, Uttarakhand (29°01'09.7"N, 79°28'55.9"E). To conduct the experimental program, a variable amount of RAP percentages viz., 5, 10, 15, and 20%, and different percentages of lime i.e., 2, 4, 6, and 8% were mixed with natural soil. Based on gradation, Standard Proctor Test (SPT), Unconfined Compressive Strength (UCS), California Bearing Ratio (CBR), and Specific gravity, the characteristics of RAP-soils with added lime were evaluated. For soil mixture including 10% RAP and 4% lime, a maximum MDD of 19.04 and a percentage increase in compaction of 11.93% was observed. OMC value was observed as 11.35%, which further decreased as RAP content increased. Due to RAP containing coarse aggregate, a higher CBR value was obtained due to the harder sample surface. For all soil mixers of 15% RAP and 4% lime, unsoaked CBR and soaked CBR values were found to be 31.39% and 18.69% respectively. Percentage increases in their respective CBR values were 868.83% and 662.86%. for every percentage of lime variation, maximum CBR was obtained at 15% RAP, and maximum CBR value for soaked CBR was obtained for soil with 15% RAP and 2% lime, whereas for unsoaked CBR, it was obtained for soil with 15% RAP and 4% lime. Maximum UCS values of 412.45 kN/m2 , 606.81 kN/m2 and 857.62 kN/m2 were observed on 3rd, 7th and 14th days for soil mix with 15% RAP and 4% lime, with percentage increase of 291.17%, 249.40% and 387.78% respectively. Based on the results of the study, RAP materials can be effectively used in the soil subgrade, sub-base, and base of flexible pavements, reducing the cost of construction. Keywords: Reclaimed Asphalt Pavement (RAP), Lime, CBR, SPT, UCS, OMC, MDD.
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Gregory, Dianne. "Analysis of Listening Preferences of High School and College Musicians". Journal of Research in Music Education 42, n. 4 (dicembre 1994): 331–42. http://dx.doi.org/10.2307/3345740.
Testo completoAbstract (sommario):
Undergraduate college music majors, high school musicians in performance groups, and sixth-grade students in eight sites across the United States listened to brief excerpts of music from early contemporary compositions, popular classics, selections in the Silver Burdett/Ginn elementary music education series, and current crossover jazz recordings. Each of the classical categories had a representative keyboard, band, choral, and orchestral excerpt. Self reports of knowledge and preference were recorded by the Continuous Response Digital Interface (CRDI) while subjects listened to excerpts. Instrumental biases were found among high school and college musicians' preferences for relatively unfamiliar classical music. College music majors' preferences, in general, were less “own-instrument-based” than were those of high school musicians. In addition, the results suggest training broadens receptivity within and across music genres. There seems, however, to be no predictable connection between the degree to which one “knows ” an excerpt and preference for the excerpt.
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Drane, Gregory. "The Role of African-American Musicians in the Integration of the United States Navy". Music Educators Journal 101, n. 3 (marzo 2015): 63–67. http://dx.doi.org/10.1177/0027432114565132.
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Benjamin, Stanley G., Stephen S. Weygandt, John M. Brown, Ming Hu, Curtis R. Alexander, Tatiana G. Smirnova, Joseph B. Olson et al. "A North American Hourly Assimilation and Model Forecast Cycle: The Rapid Refresh". Monthly Weather Review 144, n. 4 (1 aprile 2016): 1669–94. http://dx.doi.org/10.1175/mwr-d-15-0242.1.
Testo completoAbstract (sommario):
Abstract The Rapid Refresh (RAP), an hourly updated assimilation and model forecast system, replaced the Rapid Update Cycle (RUC) as an operational regional analysis and forecast system among the suite of models at the NOAA/National Centers for Environmental Prediction (NCEP) in 2012. The need for an effective hourly updated assimilation and modeling system for the United States for situational awareness and related decision-making has continued to increase for various applications including aviation (and transportation in general), severe weather, and energy. The RAP is distinct from the previous RUC in three primary aspects: a larger geographical domain (covering North America), use of the community-based Advanced Research version of the Weather Research and Forecasting (WRF) Model (ARW) replacing the RUC forecast model, and use of the Gridpoint Statistical Interpolation analysis system (GSI) instead of the RUC three-dimensional variational data assimilation (3DVar). As part of the RAP development, modifications have been made to the community ARW model (especially in model physics) and GSI assimilation systems, some based on previous model and assimilation design innovations developed initially with the RUC. Upper-air comparison is included for forecast verification against both rawinsondes and aircraft reports, the latter allowing hourly verification. In general, the RAP produces superior forecasts to those from the RUC, and its skill has continued to increase from 2012 up to RAP version 3 as of 2015. In addition, the RAP can improve on persistence forecasts for the 1–3-h forecast range for surface, upper-air, and ceiling forecasts.
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Chunnu, Winsome. "Under the Eagles Wings: America, God Shed a Tear on Thee". Cultural Studies ↔ Critical Methodologies 20, n. 5 (25 novembre 2019): 468–70. http://dx.doi.org/10.1177/1532708619885401.
Testo completoAbstract (sommario):
Bob Marley says one good thing about music—when it hits you, you feel no pain. So hit me with music. On the transition of Aretha Franklin, and the vitriolic trolling of her funeral and Childish Gambino 2019 Grammy award winning song and record of the year for “ This is America,” this piece is using music as a conceptual frame for understanding the pain of Black people in the United States. Recently, musicians Beyoncé, Childish Gambino, Kendrick Lamar, Pink, and many others have used their music to contest inequality in America. I grew up in Jamaica on Motown, Country, and Reggae music. This is what Aretha and many other musicians have meant to me.
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Nugroho, Dwi Mifta, Muhammad J. B. Firdaus e Adam J. Wijaya. "The Anti-War Movement through Romanticism of the Hippies Culture on Vietnam War 65-73". Jurnal Hubungan Internasional 13, n. 2 (28 novembre 2020): 295. http://dx.doi.org/10.20473/jhi.v13i2.21290.
Testo completoAbstract (sommario):
In this paper, the authors try to provide an overview of the new socialmovement variant, which is the anti-war movements initiated by hippies.The hippie culture developed rapidly in the 1960s in the United Statesand now has spread to the whole world through cultural globalization.Hippie Movement itself is a subculture movement that has a significantrole in forming a counter-culture in the United States. This movement’ssuccess cannot be separated from the support of the musicians ofthe world through popular culture that will be discussed in this paper throughcultural globalization.
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Ray, Daniel E. "Military Bands and Government Documents". DttP: Documents to the People 44, n. 4 (31 gennaio 2017): 27. http://dx.doi.org/10.5860/dttp.v44i4.6227.
Testo completoAbstract (sommario):
Since before the founding of the United States, musicians have been an integral part of the military. Throughout history armies have used trumpets and drums to enhance communication and assist the movement of mass forces. Over time, the military has influenced both the makeup of musical ensembles, and styles of popular music. The modern American wind band featuring brass, woodwinds and percussion, is modeled after British military bands. And the marches of John Phillip Sousa, who served as the director of the President’s Own Marine Band for twelve years, remain popular to this day. His “Stars and Stripes Forever” is considered our national march. Today, the US Army declares itself “the oldest and largest employer of musicians in the world.”
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Williams, Sarin. "Teaching Cultural Competency through Early New Orleans Jazz". Jazz Education in Research and Practice 5, n. 1 (gennaio 2024): 128–41. http://dx.doi.org/10.2979/jazzeducrese.5.1.09.
Testo completoAbstract (sommario):
Abstract: Studying the inception of early jazz in 20th-century New Orleans can provide opportunities to address issues of diversity, equity, and inclusion by increasing cultural competency. Providing students with a historical framework for the creation of jazz may promote empathy with musicians of diverse races, cultures, and musical backgrounds while applying these lessons to students' lives today. Early jazz itself can be examined as a combination of African and European musical ancestry brought together by Black, White, and Creole musicians for the birth of a unique musical idiom to the United States. Along with historical information, this article integrates three suggested lessons connecting cultural competency to the National Association for Music Education's 2014 Music Standards through the creation of jazz for a diverse array of students.
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Rice, Timothy. "Schools of Music as Social Institutions in Service to Society". MUSICultures 50 (18 marzo 2024): 111–31. http://dx.doi.org/10.7202/1110013ar.
Testo completoAbstract (sommario):
<p>Faculties and schools of music in Canada and the United States define their missions narrowly; their curricula continue to be devoted almost exclusively to a music culture created in Europe and exported to colonial and postcolonial settings around the world. These institutions teach an exclusionary aesthetic philosophy rooted in white supremacy, one that results in the unethical exclusion of musicians and musical cultures created by the communities and societies that universities are meant to serve. After analyzing the content of, and the ideas behind, various course syllabi, the author outlines pathways for creating aesthetically and ethically inclusive and anti-racist curricula in music history and music appreciation at music faculties and schools of music in Canada and the United States.</p>
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NIELSEN, KRISTINA F. "Forging Aztecness: Twentieth-Century Mexican Musical Nationalism in Twenty-First Century Los Angeles". Yearbook for Traditional Music 52 (novembre 2020): 127–46. http://dx.doi.org/10.1017/ytm.2020.18.
Testo completoAbstract (sommario):
Abstract (Spanish/English)Forjando el Aztecanismo: Nacionalismo Musical Mexicano del Siglo XX en el siglo XXI en Los ÁngelesHoy en día, un creciente número de músicos mexico-americanos en los Estados Unidos tocan instrumentos indígenas mesoamericanos y réplicas arqueológicas, lo que se conoce como “Música Azteca.” En este artículo, doy a conocer cómo los músicos contemporáneos de Los Ángeles, California, recurren a los legados de la investigación musical nacionalista mexicana e integran modelos antropológicos y arqueológicos aplicados. Al combinar el trabajo de campo etnográfico con el análisis histórico, sugiero que los marcos musicales y culturales que alguna vez sirvieron para unir al México pos-revolucionario han adquirido una nuevo significado para contrarrestar la desaparición del legado indígena mexicano en los Estados Unidos.Today a growing number of Mexican-American musicians in the United States perform on Indigenous Mesoamerican instruments and archaeological replicas in what is widely referred to as “Aztec music.” In this article, I explore how contemporary musicians in Los Angeles, California, draw on legacies of Mexican nationalist music research and integrate applied anthropological and archeological models. Pairing ethnographic fieldwork with historical analysis, I suggest that musical and cultural frameworks that once served to unite post-revolutionary Mexico have gained new significance in countering Mexican Indigenous erasure in the United States.