Bibliografie tematiche / Soul musicians – United States

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Letteratura scientifica selezionata sul tema "Soul musicians – United States"

Autore: Grafiati

Pubblicato: 4 giugno 2021

Ultima modifica: 19 febbraio 2022

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Articoli di riviste sul tema "Soul musicians – United States"

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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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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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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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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Vaughn, Jonathan. "Soul-Searching at Standing Rock". Journal of Jungian Scholarly Studies 13 (12 giugno 2018): 19–31. http://dx.doi.org/10.29173/jjs11s.

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This paper proposes the existence of two cultural complexes—a Native Complex and a Pilgrim Complex—active in the United States today. Continuously functioning since the nation’s founding, these complexes recently manifested in the #NoDAPL actions at the Standing Rock reservation and can be seen constellating with and in opposition to each other.

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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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Hoff, Joan. "How the United States Sold its Soul to Win the Cold War". International Journal: Canada's Journal of Global Policy Analysis 56, n. 3 (settembre 2001): 373–92. http://dx.doi.org/10.1177/002070200105600301.

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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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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.

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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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Tesi sul tema "Soul musicians – United States"

Scannell, John School of Media Film &amp Theatre UNSW. "James Brown: apprehending a minor temporality". Awarded by:University of New South Wales. School of Media, Film and Theatre, 2006. http://handle.unsw.edu.au/1959.4/26955.

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

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Friedman, Kristen Anne Keerma. "Soul Sleepers: A History of Somnambulism in the United States, 1740-1840". Thesis, Harvard University, 2014. http://dissertations.umi.com/gsas.harvard:11512.

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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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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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Vickers, Vikki J. ""My pen and my soul have ever gone together" : Thomas Paine and the American Revolution /". free to MU campus, to others for purchase, 2002. http://wwwlib.umi.com/cr/mo/fullcit?p3060151.

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Thesis (Ph. D.)--University of Missouri-Columbia, 2002.
There are two leafs 90 with different information so paging after leaf 90 is misnumbered. Typescript. Vita. Includes bibliographical references (leaves 235-247). Also available on the Internet.

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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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Morales, Muñoz Víctor. "Whitman's body and soul politic in Leaves of grass: a scientific and sensory reinvigoration of the United States". Tesis, Universidad de Chile, 2015. http://repositorio.uchile.cl/handle/2250/137778.

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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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Kammer, Donald W. "The United States Army Chaplain as Prophet in the Twenty-First Century: "Is There a Soul of Goodness in Things Evil?"". W&M ScholarWorks, 2005. https://scholarworks.wm.edu/etd/1539626477.

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Libri sul tema "Soul musicians – United States"

Flying saucers rock 'n' roll: Conversations with unjustly obscure rock 'n' soul eccentrics. Durham: Duke University Press, 2011.

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Pendergrass, Teddy. Truly blessed. New York: G.P. Putnam's Sons, 1998.

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Harris, Thana. Under the same moon: My life with Frank Zappa, Steve Vai, Bob Harris, and a community of other artistic souls. New Castle, Colo: Mastahna Pub., 1999.

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The book of drugs: A memoir. Cambridge, MA: Da Capo Press, 2012.

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ill, Marchesi Stephen, a cura di. Who is Stevie Wonder? New York: Grosset and Dunlap, 2016.

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Pfarrer, Chuck. Warrior Soul. New York: Random House Publishing Group, 2003.

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Conroy, Frank. Body & soul. Boston: Houghton Mifflin/Seymour Lawrence, 1993.

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Merlis, Bob. Heart & soul: A celebration of Black music style in America, 1930-1975. New York: Stewart, Tabori & Chang, 1997.

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Davin, Seay, a cura di. Heart & soul: A celebration of Black music style in America, 1930-1975. New York: Billboard Books, 2002.

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Warrior soul: The memoir of a Navy SEAL. New York: Random House, 2004.

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Capitoli di libri sul tema "Soul musicians – United States"

Movassaghi, Hormoz, Fahri Unsal e Sammy Medina. "Export Promotion Services in the United States: Is it Time for a Serious Soul Searching?" In Developments in Marketing Science: Proceedings of the Academy of Marketing Science, 213–17. Cham: Springer International Publishing, 2015. http://dx.doi.org/10.1007/978-3-319-17323-8_52.

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Nwabara, Olaocha Nwadiuto. "Re-producing Self, Community, and ‘Naija’ in Nigerian Diaspora Films: Soul Sisters in the United States and Man on the Ground in South Africa". In Art, Creativity, and Politics in Africa and the Diaspora, 125–49. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-91310-0_7.

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Steinlauf, Michael C. "A. Litvin: Chronicler of Jewish Souls". In Polin: Studies in Polish Jewry Volume 16, 371–72. Liverpool University Press, 2003. http://dx.doi.org/10.3828/liverpool/9781874774730.003.0020.

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This chapter highlights A. Litvin's anthology, Jewish Souls (1914). Shmuel Hurvits, whose pseudonym was A. Litvin, was born to a poor family in Minsk in 1862. He educated himself in both Jewish and general subjects, and began to work as a teacher. In 1911-12, Litvin began to publish articles based on his travels throughout eastern Europe beginning in 1905. After returning to the United States in 1914, he published these articles in a six-volume anthology entitled Yidishe neshomes (Jewish Souls). In scores of sketches of badkhonim, purim-shpilers, wandering preachers, and musicians; healers and holy men; beggars, pickpockets, and thieves in towns and cities throughout Poland, Lithuania, and Galicia, Litvin constructs an extraordinary panorama of the life of the Jewish masses at the moment when centuries-old traditions engaged modernity and either changed or vanished. He documents this world in the interests of a new generation of Jews who, he believed, needed such knowledge to build a secular yet authentically Jewish modern culture.

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Jivani, Kinnari. "Tuesday SOUL". In Interrupted LifeExperiences of Incarcerated Women in the United States, 178–79. University of California Press, 2010. http://dx.doi.org/10.1525/california/9780520252493.003.0034.

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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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"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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"3 Sanitized Bodies: The United States Sanitary Commission and Soul Sickness". In Rehabilitating Bodies, 84–112. University of Pennsylvania Press, 2004. http://dx.doi.org/10.9783/9780812202663.84.

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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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"The Goal: Knowing the Soul and Spirit of U.S. Legal Culture through the Experience of the Common Law". In Legal Culture in the United States: An Introduction, 27–36. Routledge, 2016. http://dx.doi.org/10.4324/9781315629940-8.

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"4. ‘California Dreamin’: Why Canadian Musicians Were Not ‘Helpless’ in the United States, 1965–70". In Canuck Rock, 101–20. Toronto: University of Toronto Press, 2009. http://dx.doi.org/10.3138/9781442697492-006.

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Atti di convegni sul tema "Soul 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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Needham, Susan, e Karen Quintiliani. "Prolung Khmer (ព្រល ឹងខ្មែរ) in Sociohistorical Perspective". In GLOCAL Conference on Asian Linguistic Anthropology 2019. The GLOCAL Unit, SOAS University of London, 2019. http://dx.doi.org/10.47298/cala2019.3-1.

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In this article we selectively review Cambodia’s history through the lens of Prolung Khmer (ព្រលឹងខ្មែរ, meaning “Khmer Spirit” or “Khmer Soul”), a complex, multivalent ideological discourse that links symbols and social practices, such as Angkor, Buddhism, Khmer language (written and spoken), and classical dance, in an essentialized Khmer identity. When Cambodians began arriving in the United States in 1975, they immediately and self-consciously deployed Prolung Khmer as a means for asserting a unique cultural identity within the larger society. Through diachronic and ethnographic analyses of Prolung Khmer, we gain a holistic understanding of how it serves as an ideological metaphor for Khmer culture.

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