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

Autore: Grafiati

Pubblicato: 4 giugno 2021

Ultima modifica: 19 febbraio 2022

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1

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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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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Godwin, Paul H. B., e Evan S. Medeiros. "China, America, and Missile Defense: Conflicting National Interests". Current History 99, n. 638 (1 settembre 2000): 285–89. http://dx.doi.org/10.1525/curh.2000.99.638.285.

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“The United States and China must engage in some deep soul searching. What type of strategic stability does the United States seek with China? Is China a large rogue state whose strategic forces must be neutered by defensive systems, or is it a small Russia where strategic stability is achieved through mutual deterrence?”

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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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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.

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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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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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Bird, Robert C. "The Soul of Creativity: Forging a Moral Rights Law for the United States". American Journal of Legal History 52, n. 3 (luglio 2012): 404–6. http://dx.doi.org/10.1093/ajlh/52.3.404.

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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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Goodwin, Megan. "They Couldn’t Get My Soul". Studies in Religion/Sciences Religieuses 47, n. 2 (13 febbraio 2018): 280–98. http://dx.doi.org/10.1177/0008429817748138.

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During the 1980s and early 1990s, hundreds of women recovered memories of suffering extraordinary and nefarious torments at the hands of loved ones and trusted authority figures—a phenomenon that came to be known as satanic ritual abuse (SRA). In this article, I argue that late twentieth-century satanic ritual abuse discourse helped perpetuate intolerance toward non-Christian religions and foreclose conditions of possibility for benign religious difference in the United States. Psychological diagnoses related to satanic ritual abuse fueled popular anxieties regarding the sexual peril of American minority religions. Perpetuating diagnoses of satanic ritual abuse reinforced popular suspicions that religious minorities are dangerous, particularly when it comes to matters of sexuality.

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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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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.

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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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Fernandez, Raul A. "Music from Cuba: Mongo Santamaria, Chocolate Armenteros, and Cuban Musicians in the United States (review)". Cuban Studies 34, n. 1 (2003): 207–8. http://dx.doi.org/10.1353/cub.2004.0008.

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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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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.

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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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Kreutzer, Susanne. "Nursing Body and Soul in the Parish: Lutheran Deaconess Motherhouses in Germany and the United States". Nursing History Review 18, n. 1 (gennaio 2010): 134–50. http://dx.doi.org/10.1891/1062-8061.18.134.

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In Lutheran Germany, parish nursing traditionally constituted the deaconesses’ principal work. As “Christian mothers of the parish” they were charged with a wide spectrum of tasks, including nursing, social service, and pastoral care. At the center of the Christian understanding of nursing was the idea of nursing body and soul as a unity. This article analyzes the conception and transformation of Protestant parish nursing in the nineteenth and twentieth centuries in Germany and the United States, which developed very differently. In West Germany, parish nursing proved surprisingly resistant to modernization even in the face of upheavals of the 1960s, and in some places this traditional model survived as late as the 1980s and 1990s. In the United States, by contrast, an understanding of nursing rooted in the division of labor between care for body and care for soul had come to prevail by the 1920s and ‘30s, pushing out the German model of the parish deaconess altogether.

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Havercroft, Jonathan, e David Owen. "Soul-Blindness, Police Orders and Black Lives Matter". Political Theory 44, n. 6 (3 agosto 2016): 739–63. http://dx.doi.org/10.1177/0090591716657857.

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What does it mean to see someone as human, as a member of humankind? What kind of call for justice is it to demand that a group be seen as human beings? This article explores a fundamental kind of injustice: one of perception and how we respond to our perceptions. Drawing on Cavell, Wittgenstein and Rancière, we elucidate “soul blindness” as a distinct and basic form of injustice. Rancière’s police orders and Cavell’s soul blindness are mutually constitutive; the undoing of police orders entails a politics of soul dawning. Soul dawning entails acknowledging the humanity of others without erasing difference. In the concluding section, we consider white obliviousness to the Black Lives Matters (BLM) movement as a case of soul blindness. Part of the political import of BLM is its capacity to illustrate how practices of soul blindness in the United States constitute whiteness in a racialized police order.

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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.

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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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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.

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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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Romero, Federico. "For the soul of mankind: the United States, the Soviet Union, and the Cold War". Cold War History 11, n. 4 (17 ottobre 2011): 677–78. http://dx.doi.org/10.1080/14682745.2011.617429.

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Bresnahan, Mary J., Xiaowen Guan, Sandi W. Smith, Xiao Wang e JingJing Z. Edmundson. "Cultures of the soul: spiritual beliefs about organ donation in China and the United States". Chinese Journal of Communication 3, n. 2 (giugno 2010): 133–46. http://dx.doi.org/10.1080/17544751003740334.

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Khan, M. A. Muqtedar. "Radical Islam, Liberal Islam". Current History 102, n. 668 (1 dicembre 2003): 417–21. http://dx.doi.org/10.1525/curh.2003.102.668.417.

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It is in the battle for Islam's soul that the United States and liberal Islam share a common strategic goal: the systematic dismantlement and delegitimization of the rogue Islamist discourse that portrays America as an anti-Islam crusader and Islam as an ideology of hate and violence.

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Rasmussen, Anne K. "Made in America: Historical and Contemporary Recordings of Middle Eastern Music in the United States". Middle East Studies Association Bulletin 31, n. 2 (dicembre 1997): 158–62. http://dx.doi.org/10.1017/s002631840003563x.

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Although Americans of Middle Eastern origin—be they of Arab, Turkish, Armenian, Sephardic Jewish, Assyrian, Greek, or Central Asian heritage—comprise one of the fastest growing groups in the United States, their music may seem invisible to the American musical connoisseur. Many of the recordings of Middle Eastern American musicians are produced and distributed within community networks. Walk into an Armenian grocer in Watertown, Massachusetts or into a Lebanese audio-video store in Dearborn, Michigan, and you will find hundreds of hours of music by Middle Eastern Americans for your listening pleasure. Walk into your public library and you may not find a thing. Middle Eastern music made in America is simply not widely available on the major or alternative recording labels to which we habitually turn for our fare of world music.

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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.

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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.

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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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Newmark, Jonathan. "Military Bands as a Population for Studying Musicians' Health". Medical Problems of Performing Artists 24, n. 1 (1 marzo 2009): 50. http://dx.doi.org/10.21091/mppa.2009.1011.

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The largest employer of full-time musicians in the United States is the Department of Defense. There are, within the Department, four separate full-time band programs (Army, Air Force, Marines, and Navy), of which the Army is by far the largest. Not only are these musicians employed full-time, but they have completely free health care and a uniform, electronic, world-wide health record that follows them for the length of their careers. They also have to adhere to the physical fitness standards of their services, including both height and weight standards and biannual physical fitness tests; in the Army, the latter includes pushups, sit-ups, and 2-mile runs every 6 months. It has always occurred to me that this population is uniquely suited to the sort of study that the Editorial in the September 2009 issue describes.

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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.

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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.

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Crimarco, Anthony, Gabrielle M. Turner-McGrievy, Marian Botchway, Mark Macauda, Swann Arp Adams, Christine E. Blake e Nicholas Younginer. "“We’re Not Meat Shamers. We’re Plant Pushers.”: How Owners of Local Vegan Soul Food Restaurants Promote Healthy Eating in the African American Community". Journal of Black Studies 51, n. 2 (27 dicembre 2019): 168–93. http://dx.doi.org/10.1177/0021934719895575.

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Obesity remains a prevalent public health epidemic, and African American (AA) adults are disproportionately affected by obesity more than any other ethnic group, particularly in the Southern region of the United States. Addressing poor dietary habits is important for improving obesity rates among AAs, but there has been limited research that has focused on specifically developing culturally tailored interventions. With a recent number of soul food restaurants serving exclusively vegan meals opening up across the country to appeal to AAs and others interested in eating healthier soul foods, there is a unique opportunity to explore how these restaurants might impact AA dietary habits. The purpose of this study was to assess how owners of vegan soul food restaurants located in states within the Black Belt region view their roles as promoters of health in their community and to identify strategies that they use to make plant-based diets (PBDs) more culturally appealing in the AA community. In-depth interviews were conducted with owners ( N = 12) of vegan soul food restaurants from seven states. Five themes emerged from the interviews related to (a) the restaurants providing access to vegan meals, (b) restaurant owners educating their customers about vegan diets and healthy eating, (c) using fresh ingredients to make vegan soul foods taste good, (d) addressing limited cooking skills among AAs, and (e) discussing nonhealth reasons to become vegan. The findings indicate there may be future opportunities for health educators to partner with these restaurant owners to improve healthy eating among AAs.

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PARK, HYE-JUNG. "Musical Entanglements: Ely Haimowitz and Orchestral Music under the US Army Military Government in Korea, 1945–1948". Journal of the Society for American Music 15, n. 1 (febbraio 2021): 1–29. http://dx.doi.org/10.1017/s1752196320000450.

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AbstractShortly after Japan's surrender to Allied forces, the Soviet Union occupied the northern part of Korea, and the United States moved into the south, where it established the US Army Military Government in Southern Korea (USAMGIK, 1945–1948). In the American zone, music played a unique role in forging US hegemony over Korea. Young American pianist Ely Haimowitz (1920–2010) was the central figure in shaping that policy. Associated with “highbrow” culture, Western orchestral music helped restore Koreans’ ethnic pride damaged by Japanese colonial rule, while countering the Soviet emphasis on indigenous music. By fostering Western orchestral music in Korea, and supporting many individual musicians, Haimowitz succeeded in gaining widespread admiration and trust among Korean musicians. Based on unique access to Haimowitz's private archival collection, as well as diverse historical records from Korea, this article develops a complex picture of Haimowitz not merely as a cold-blooded US military officer and propagandist but also as an individual musician who shared friendships with Korean musicians, suffered ethical dilemmas, and often supported Korean voices against the USAMGIK. The relationships he forged provide indispensable context in understanding USAMGIK music policy, Korean musicians’ responses to it, and the post–World War II Korean reception of Western orchestral music overall.

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FOSLER-LUSSIER, DANIELLE. "Cultural Diplomacy as Cultural Globalization: The University of Michigan Jazz Band in Latin America". Journal of the Society for American Music 4, n. 1 (14 gennaio 2010): 59–93. http://dx.doi.org/10.1017/s1752196309990848.

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AbstractFrom January to May 1965 the University of Michigan Jazz Band traveled extensively in Latin America for the State Department's Cultural Presentations Program. This tour serves as a case study through which we can see the far-reaching effects of cultural diplomacy. The State Department initially envisioned its cultural and informational programs as one-way communication that brought ideas from the United States to new places; yet the tours changed not only audiences, but also the musicians themselves and even the communities to which the musicians returned. Both archival and oral history evidence indicate that the Michigan jazz band's tour succeeded in building vital imagined connections across international borders. The nature of these connections demonstrates that the cold war practice of pushing culture across borders for political purposes furthered cultural globalization—even though the latter process is often regarded by scholars as a phenomenon that began only after the end of the cold war. The jazz band's tour highlights the essential role of music and musicians in fostering new transnational sensibilities in the politicized context of the cold war.

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BRICK, HOWARD. "ACHIEVING THE AMERICAN SOUL". Modern Intellectual History 14, n. 2 (19 ottobre 2016): 619–29. http://dx.doi.org/10.1017/s1479244316000354.

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In 1963—as good a date as any to serve as a pivot between “fifties” and “sixties” America—James Baldwin remarked, “The American Negro has the great advantage of having never believed the collection of myths to which white Americans cling: that their ancestors were all freedom-loving heroes, that they were born in the greatest country the world has ever seen, or that Americans are invincible in battle and wise in peace.” It was a bracing declaration, a bit gentler than Malcolm X's designation of Negroes as “victims of Americanism” and perhaps by now, as historians focus ever greater attention on the nationally constitutive role of slavery and white supremacy, almost a commonplace. Yet Baldwin's idea remains challenging to plumb and to fully inhabit. For at that moment, which both Kevin Schultz and Andrew Hartman suggest was preoccupied with “the very question of America and its meaning,” Baldwin's little book, The Fire Next Time, upended the whole debate. He was no black nationalist and, notwithstanding his expatriate life in France, no “emigrationist,” for he believed that blacks in the United States were, socially and culturally, wholly of, if not in, this country; and yet, given the deep corruption in the national past, there was no “meaning” to return to, reclaim, realize, or vindicate as a promise of black freedom. The verb Baldwin chose, in a determinedly existentialist vein, was to “achieve our country”—to create a viable moral meaning for national identity where none as yet existed. If Schultz's subjects, William F. Buckley Jr, and Norman Mailer, were “vying for the soul of the nation” and Hartman's warriors fighting “for the soul of America,” they were—in Baldwin's perspective—chasing a chimera. Such a thing wasn't there; it was yet to come, if at all.

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WARFIELD, PATRICK R. "SOUNDS TO ESTABLISH A CORPS: THE ORIGINS OF THE UNITED STATES MARINE BAND, 1798–1804". Eighteenth Century Music 16, n. 2 (20 agosto 2019): 115–32. http://dx.doi.org/10.1017/s1478570619000046.

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AbstractThe Jeffersonian rise to power in 1801 ushered in sweeping political changes for the United States of America. It also focused attention on the newly established United States Marine Corps, as a group of hostile Congressmen sought to audit the service, dismiss many of its officers and do away with the executive function of its commandant. But Thomas Jefferson (1743–1826) was also a supporter of the new capital's growing cultural life, and no organization better defined the connection between music and the federal government than the United States Marine Band. While this ensemble was not officially authorized by Congress until 1861, Commandant William Ward Burrows had already transformed his small group of sanctioned field musicians into an ensemble that could provide ceremonial and entertainment music for Washington, DC. This article traces the earliest history of the Marine Band, documents its development from eighteenth-century signalling traditions and suggests the ways in which its presence in the capital helped to stem the growing Republican tide against the Marine Corps itself.

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MITCHELL, GILLIAN A. M. "Visions of Diversity: Cultural Pluralism and the Nation in the Folk Music Revival Movement of the United States and Canada, 1958–65". Journal of American Studies 40, n. 3 (22 novembre 2006): 593–614. http://dx.doi.org/10.1017/s0021875806002143.

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This article focusses on the concept of cultural pluralism in the North American folk music revival of the 1960s. Building on the excellent work of earlier folk revival scholars, the article looks in greater depth at the “vision of diversity” promoted by the folk revival in North America – at the ways in which this vision was constructed, at the reasons for its maintenance and at its ultimate decline and on the consequences of this for anglophone Canadian and American musicians and enthusiasts alike.

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Randles, Clint, e Gareth Dylan Smith. "A first comparison of pre-service music teachers’ identities as creative musicians in the United States and England". Research Studies in Music Education 34, n. 2 (29 ottobre 2012): 173–87. http://dx.doi.org/10.1177/1321103x12464836.

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BURKE, PATRICK. "The Fugs, the Lower East Side, and the Slum Aesthetic in 1960s Rock". Journal of the Society for American Music 8, n. 4 (novembre 2014): 538–66. http://dx.doi.org/10.1017/s175219631400039x.

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AbstractDuring the mid-to-late 1960s, impoverished urban districts throughout the United States witnessed an influx of white middle-class youth who attempted to remake society and themselves against a backdrop of inner-city grit and decay. This article focuses on the Lower East Side of Manhattan to explore the significance of slumming in the creation and reception of 1960s rock. Lower East Side rock musicians drew little overt influence from their neighborhood's longstanding ethnic communities, which included eastern Europeans, Puerto Ricans, and African Americans. Rather, these musicians were fascinated with the concept of the “slum” itself as a more abstract signifier of authenticity, adventure, and nonconformity. I propose that a “slum aesthetic” emphasizing dirt, obscenity, and willful amateurism, exemplified by local band the Fugs, was crucial to the Lower East Side rock scene. Examining this “slum aesthetic” helps paint a more nuanced picture of both the political significance of rock and the connections between popular music and urban life. As the Lower East Side's musicians sought both radical social change and a large audience, they represented their neighborhood in ways that combined thoughtful engagement with broad caricature, a contradiction that inspired both musical creativity and social tension.

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Nash, Margaret A. "A Means of Honorable Support: Art and Music in Women's Education in the Mid-Nineteenth Century". History of Education Quarterly 53, n. 1 (febbraio 2013): 45–63. http://dx.doi.org/10.1111/hoeq.12002.

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“The value of the Art Education becomes more and more apparent as a means of honorable support and of high culture and enjoyment,” stated the catalog of Ingham University in western New York State in 1863. The Art Department there would prepare “pupils for Teachers and Practical Artists.” This statement reveals some of the vocational options for women that were concomitant with the increased popularity of music and art education in the middle decades of the nineteenth century in the United States. Practical vocational concerns, along with notions of refinement and respectable entertainment, all were aspects of the impetus for music and art education. Preparing young women for occupations, whether as teachers of art and music or as commercial artists or musicians, was a particularly prominent component of education for women in the mid-nineteenth-century United States.

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Hager, Robert P. "Melvyn P. Leffler:For the Soul of Mankind: The United States, the Soviet Union, and the Cold War". Democracy and Security 6, n. 2 (20 luglio 2010): 207–12. http://dx.doi.org/10.1080/17419160903535335.

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Adler, Nancy J., e Linda M. Ippolito. "Musical Leadership and Societal Transformation: Inspiration and Courage in Action". LEARNing Landscapes 9, n. 2 (1 aprile 2016): 43–67. http://dx.doi.org/10.36510/learnland.v9i2.763.

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Music is a form of leadership. Music-based interventions in organizations and society are being used throughout the world, including in situations of extreme con ict and consequence. Artists are going beyond the dehydrated language of economics, politics, and war to achieve goals that have eluded those using more traditional approaches. This article presents musical interventions in Bosnia-Herzegovina, Cyprus, Estonia, Northern Ireland, the Middle East, South Africa, the United States, and Venezuela, in which musicians have had the inspiration and courage to make a di erence.

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Adler, Nancy J., e Linda M. Ippolito. "Musical Leadership and Societal Transformation: Inspiration and Courage in Action". Kwartalnik Ekonomistów i Menedżerów 50, n. 4 (19 novembre 2018): 41–65. http://dx.doi.org/10.5604/01.3001.0013.0629.

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Abstract (sommario):

Music is a form of leadership. Music-based interventions in organizations and society are being used throughout the world, including in situations of extreme conflict and consequence. Artists are going beyond the dehydrated language of economics, politics, and war to achieve goals that have eluded those using more traditional approaches. This article presents musical interventions in Bosnia-Herzegovina, Cyprus, Estonia, Northern Ireland, the Middle East, South Africa, the United States, and Venezuela, in which musicians have had the inspiration and courage to make a difference.

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Zou, Tianxin, e Baojun Jiang. "Integration of Primary and Resale Platforms". Journal of Marketing Research 57, n. 4 (4 maggio 2020): 659–76. http://dx.doi.org/10.1177/0022243720917352.

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Consumers can buy concert tickets from primary platforms (e.g., Ticketmaster) or from consumer-to-consumer resale platforms (e.g., StubHub). Recently, Ticketmaster has entered and been trying to control the resale market by prohibiting consumers from reselling on competing resale platforms. Several states in the United States have passed or are discussing laws requiring tickets to be transferrable on any resale sites, worrying that platform integration—Ticketmaster controlling both the primary and the resale platforms—will increase ticket service fees and harm musicians and consumers. This article establishes a game-theoretic framework and shows that the opposite can happen: platform integration can lower the service fees in both markets, alleviating double marginalization in the primary market and benefiting the musician and consumers. Moreover, with platform integration, the presence of a small number of scalpers can counterintuitively reduce the ticket price and benefit the musicians and consumers. In addition, platform competition in the resale market may harm consumers. This article further shows that these insights apply in other markets (e.g. used goods, peer-to-peer product-sharing markets) and provides suggestive empirical support for the theoretical results.

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HEROLD, AARON L. "Tocqueville on Religion, the Enlightenment, and the Democratic Soul". American Political Science Review 109, n. 3 (agosto 2015): 523–34. http://dx.doi.org/10.1017/s0003055415000258.

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This article proposes a new interpretation of Tocqueville's thought, one that focuses on his account of religious psychology. From his observations of America, Tocqueville concludes that human beings have a natural hope for immortality—a hope that is driven by a paradoxical but ineradicable desire to affirm and forget oneself simultaneously. Tocqueville formulates this insight as a critique of the Enlightenment thinkers who laid the foundations for liberal democracy; I argue that he crafts his “new political science” to provide healthy outlets for the religious hopes whose existence these thinkers largely denied and whose anomalous presence in the United States has accordingly led to unforeseen dangers. Tocqueville's analysis not only helps us understand and begin to remedy those dissatisfactions that characterize democracy today but it also reveals his theoretical depth, political moderation, and sober assessment of our moral psychology in a way not seen before.

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