Gotowe bibliografie tematyczne / American music

Gotowa bibliografia na temat „American music”

Autor: Grafiati
Data publikacji: 4 czerwca 2021
Data aktualizacji: 4 marca 2023

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Artykuły w czasopismach na temat "American music"

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Volk, Terese M. "Folk Musics and Increasing Diversity in American Music Education: 1900-1916". Journal of Research in Music Education 42, nr 4 (grudzień 1994): 285–305. http://dx.doi.org/10.2307/3345737.

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From 1900 to 1916, the demographic makeup of the United States changed radically due to the heavy influx of people from Southern and Eastern Europe, and the schools, in particular, felt the impact of this immigration. Many music educators, like their colleagues in general education, found themselves facing an increasingly multicultural classroom for the first time. As a result of their efforts to help Americanize their immigrant students, music educators gradually came to know and accept folk songs and dances from many European countries and to make use of musics from these countries in music appreciation classes. Also during this period, some of the musics of Native Americans and African Americans were introduced into the music curriculum. Including these folk musics in the American school music curriculum resulted in an increased musical diversity that perhaps marked the beginnings of multicultural music education in the public schools.
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Yoo, Hyesoo, Sangmi Kang i Victor Fung. "Personality and world music preference of undergraduate non-music majors in South Korea and the United States". Psychology of Music 46, nr 5 (14.07.2017): 611–25. http://dx.doi.org/10.1177/0305735617716757.

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We investigated contributors of undergraduate nonmusic majors’ preferences for world musics, specifically those from Africa, Asia, and Latin America. Drawing upon the reciprocal feedback model as a theoretical framework, we determined the extent to which predictor variables (familiarity with the music, personality, and music absorption) were related to music preference. Participants were 401 undergraduate nonmusic majors from South Korea ( n = 208) and the USA ( n = 183). Participants took an online survey via Qualtrics that included demographic information, the World Musics Preference Rating Scale, the Big-Five Inventory, and the Absorption in Music Scale. Results indicated that, familiarity, followed by openness to experience, was the strongest predictor of participants’ preferences for world musics. For the U.S. participants, familiarity, followed by openness to experience, was the strongest predictor of participants’ preference for musics from each continent. By contrast, for the South Korean participants, although familiarity was also the strongest predictor for African, Latin American, and Asian musics, openness to experience was not consistently the second strongest contributor. For African music, openness to experience was ranked second; for Latin American and Asian music, agreeableness and music absorption were ranked second, respectively.
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KURAGANO, LEAH. "Hawaiian Music and Oceanizing American Studies". Journal of American Studies 52, nr 04 (listopad 2018): 1163–72. http://dx.doi.org/10.1017/s0021875818001147.

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American studies has been dedicated to understanding cultural forms from its beginnings as a field. Music, as one such form, is especially centered in the field as a lens through which to seek the cultural “essence” of US America – as texts from which to glean insight into negotiations of intellectual thought, social relations, subaltern resistance, or identity formation, or as a form of labor that produces an exchangeable commodity. In particular, the featuring of folk, indigenous, and popular music directly responded to anxieties in the intellectual circles of the postwar era around America's purported lack of serious culture in comparison to Europe. According to John Gilkeson, American studies scholars in the 1950s and 1960s “vulgarized” the culture concept introduced by the Boasian school of anthropology, opening the door to serious consideration of popular culture as equal in value to high culture.1
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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, nr 2 (grudzień 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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Dickinson, Peter. "American Music". Musical Times 130, nr 1757 (lipiec 1989): 418. http://dx.doi.org/10.2307/1193457.

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Johnson, Bret. "American Music". Tempo 57, nr 226 (październik 2003): 56–57. http://dx.doi.org/10.1017/s004029820330035x.

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LEES: Symphonies Nos. 2, 3 and 51; Etudes for piano and orchestra2. 1Staatsphilharmonie Rheinland-Pfalz c. Stephen Gunzenhauser, 2James Dick (pno), Texas Festival Orchestra c. Robert Spano. Albany TROY 564/565 (2-CDset).LEES: Passacaglia. PERSICHETTI: Symphony No 4. DAUGHERTY: Philadelphia Stories; Hell's Angels. Oregon Symphony c. James De Preist. Delos DE 3291.FLAGELLO: Symphony No. 1; Theme, Variations and Fugue; Sea Cliffs; Intermezzo. Slovak Radio Symphony Orchestra c. David Amos. Naxos 8.559148.HOVHANESS: Symphony No 22, City of Light1; Cello Concerto2. 2Janos Starker (vlc), Seattle Symphony c. 1Alan Hovhaness, 2Dennis Russell Davies. Naxos 8.559158.HOVHANESS: Symphonies: No 2, Mysterious Mountain; No 50, Mount St Helens; No 66, Hymn to Glacier Peak; Storm on Mt Wildcat, op.2 no.2. Royal Liverpool Philharmonic Orchestra c. Gerard Schwarz. Telarc CD-80604.
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Beal, Amy C. "Negotiating Cultural Allies: American Music in Darmstadt, 1946-1956". Journal of the American Musicological Society 53, nr 1 (2000): 105–39. http://dx.doi.org/10.2307/831871.

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In the context of postwar and Cold War cultural politics, the Darmstädter Ferienkurse für Neue Musik set the stage for Germany's ambivalent reception of American music in the decades following World War II. This article weighs the catalytic role of American music in Darmstadt between 1946 and 1956; traces the relationships among U. S. cultural officers, German patrons, and representatives of American music in Darmstadt; and describes events in Darmstadt that led to a growing interest in American experimental music in West Germany. An English translation of Wolfgang Edward Rebner's 1954 Ferienkurse lecture "American Experimental Music" is included as an appendix.
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Paul, David C. "Consensus and Crisis in American Classical Music Historiography from 1890 to 1950". Journal of Musicology 33, nr 2 (2016): 200–231. http://dx.doi.org/10.1525/jm.2016.33.2.200.

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In the late nineteenth century American publishers began to answer a burgeoning demand for histories of classical music. Although some of the authors they contracted are well-known to scholars of music in the United States—most notably Edward MacDowell and John Knowles Paine—the books themselves have been neglected. The reason is that these histories are almost exclusively concerned with the European musical past; the United States is a marginal presence in their narratives. But much can be learned about American musical culture by looking more closely at the historiographical practices employed in these histories and the changes that took place in the books that succeeded them in the first half of the twentieth century. In particular, they shed light on the shifting transatlantic connections that shaped American attitudes toward classical music. Marked at first by an Anglo-American consensus bolstered by the social evolutionary theory of prominent Victorians, American classical music histories came to be variegated, a result of the influence of Central European émigrés who fled Hitler’s Germany and settled in North America. The most dramatic part of this transformation pertains to American attitudes toward the link between music and modernity. A case study, the American reception of Gustav Mahler, reveals why Americans began to see signs of cultural decline in classical music only in the 1930s, despite the precedent set by many pessimistic fin-de-siècle European writers.
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GABRIEL, JOHN. "There and Back Again: Zeitoper and the Transatlantic Search for a Uniquely American Opera in the 1920s". Journal of the Society for American Music 13, nr 2 (maj 2019): 195–215. http://dx.doi.org/10.1017/s1752196319000075.

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AbstractThis article argues that in the late 1920s, the German genre of Zeitoper paradoxically became an essential component of the search for a new kind of uniquely American opera, resulting in a transatlantic cycle of mutual influence. This influence was possible because Germans and Americans alike saw the United States as the embodiment of modern life and technology. American producers and composers thus adapted German Zeitoper to bring it more in line with Americans’ self-image. I examine this dynamic by juxtaposing two German and two American Zeitopern, looking specifically at their engagement with jazz, film, race, and American popular musical theater: Paul Hindemith's Hin und zurück, Marc Blitzstein's Triple-Sec (inspired by Hindemith's opera), Ernst Krenek's Jonny spielt auf in the United States, and the unsuccessful effort to stage George Antheil's Transatlantic (modeled on Jonny and revised under the mentorship of Krenek) in New York. Both Germans’ image of America and Americans’ self-image were as much real as imagined, and although the similarities between them facilitated this cultural exchange, their differences also impeded it.
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SHADLE, DOUGLAS. "Nineteenth-Century Music". Journal of the Society for American Music 9, nr 4 (listopad 2015): 477–84. http://dx.doi.org/10.1017/s1752196315000401.

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Musicological research on nineteenth-century music blossomed during the 1970s. The surge was solidified with the founding of the journal 19th-Century Music in 1977, roughly a year after the establishment of the Sonneck Society and a decade before the appearance of AmeriGrove I. During this decade, the journal published seven articles on nineteenth-century American subjects (all on the United States, not other American regions or countries). By contrast, the official journal of the Sonneck Society, American Music, published nearly twice that number between 1983 and 1986 alone. Although this simple metric has sociological explanations exceeding the scope of this review, it suggests that work on nineteenth-century music in the Americas stood at some remove from general musicological discourse in the Sonneck Society's early days.
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Rozprawy doktorskie na temat "American music"

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Fernandez, Carlos. "American music / Cuban music: influences and connections". FIU Digital Commons, 2002. http://digitalcommons.fiu.edu/etd/3231.

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This thesis will demonstrate the effects of American music, specifically jazz, on the different styles of Cuban music. It will be presented chronologically, explaining decade by decade, how American music penetrated the Cuban culture in almost all musical genres.
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Olson, Ted S. "Anglo-American Gospel Music". Digital Commons @ East Tennessee State University, 2019. https://dc.etsu.edu/etsu-works/5516.

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Wise, Timothy Elbert. "Yodelling in American popular music". Thesis, University of Liverpool, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.428246.

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This is a study of yodelling as a musical and cultural signifier. A definition of yodelling and a typology useful for the description of the various yodel phenomena heard in English-language popular music are proposed. Yodelling is then considered in a chronological sequence, beginning with abstract yodel signs in European instrumental classical music where these tended to signify pastoralism, idealism, and other ideas relating to romantic conceptions of the self. A discussion of yodelling in light classical and popular music through the nineteenth century follows. The differing ideologies associated with "art" music and "popular" music are discernible in attitudes toward the yodel during this time. The Americanisation of yodelling in terms of both its musical-formal manifestations and the ideas it articulated through these are discussed before considering yodelling's role in both the hillbilly and the cowboy genres. The emphasis throughout is upon the semiotic aspects of yodelling which I characterise as the difference between the" rough" and the" smooth". The yodel seems always to be associated with what is rough: peasants, shepherds, hobos, and hillbillies. This distinction between rough and smooth has a correlative in the very creation of the sound in the sense that the production of yodelling is a rejection of the orthodox classical singing styles with their cultivation of the "smooth" transition between vocal registers. The result for the yodel has been its thorough ironisation over the middle years of the twentieth century, as an emerging cool aesthetic could no longer countenance it.
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Speedie, Penelope Ann. "American operas on American themes by American composers : a survey of characteristics and influences /". The Ohio State University, 1991. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487758178236837.

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Taylor, Corey Michael. "Ambiguous sounds African American music in modernist American literature /". Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file, 253 p, 2009. http://proquest.umi.com/pqdweb?did=1654487481&sid=4&Fmt=2&clientId=8331&RQT=309&VName=PQD.

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Nguyen, Jason R. "Staging Vietnamese America| Music and the performance of Vietnamese American identities". Thesis, Indiana University, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=1546986.

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This study examines how Vietnamese Americans perform identities that acknowledge their statuses as diasporic Vietnamese to construct and maintain specifically Vietnamese American communities. I argue that music, especially public forms of musical expression within mass media and locally staged cultural performances, is a crucial way for Vietnamese Americans across the diaspora to transmit markers of cultural knowledge and identity that give them information about themselves and the "imagined community" constructed through their linked discourses.

The argument is organized around two main ideas that focus on broad cultural patterns and locally situated expressions, respectively. First, music produced by the niche Vietnamese American media industry is distributed across the diaspora and models discourses of Vietnamese identity as different companies provide different visions of what it means to be Vietnamese and perform Vietnamese-ness on stage. I analyze the music variety shows by three different companies (Thuy Nga Productions, Asia Entertainment, and Van Son Productions) to argue that Vietnamese American popular media should not be seen as representing a single monolithic version of Vietnamese-ness; rather, each articulation of Vietnamese identity is slightly different and speaks to a different formulation of the Vietnamese public, producing a discursive field for diverse Vietnamese American identity politics.

Secondly, I show how identity is always performed in particular places, illustrating that Vietnamese Americans performing music in different places can have vastly different understandings of that music and its relationship to their identities. Using a Peircian semiotic framework, I articulate a theory of place-making in which places become vehicles for the clustering of signs and meaning as people experience and interpret those places and make meaning there. As people's experiences imbue places with meaning, people coming from similar cultural backgrounds may gain different attachments to those places and one another and thus different understandings of their identities as Vietnamese. I use two contrasting examples of Vietnamese American communities in Indianapolis and San Jose to show how people in each place construct entirely different discourses of identity surrounding musical performance based upon their positionality within the diaspora.

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Williams, Zaneh M. "American Influence on Korean Popular Music". Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/scripps_theses/500.

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South Korea is internationally well known for its ethnic and cultural homogeneity, economic and technical success, and strong sense of nationalism. The peoples of South Korea have flourished economically after a series of colonizations, industrialization and political chaos. Over the past few decades, Korea has gained interest internationally for its entertainment industry through the Korean Wave (or Hallyu in Korean). Korean Wave is a term that refers to the increase in the popularity of South Korean culture since the late 1990’s due to Korean music, television shows and fashion. The Korean Wave first swept and captivated the hearts of citizens in East and Southeast Asia and now has expanded its popularity beyond Asia and has captivated millions of people all over the world. After a steady increase in cultural exports as a result of the Korean Wave since 2005, the Korean Tourism Organization (KTO) has realized the value in the exportation of Korean culture and goods and has now created programs that capitalize on this popularity and increase tourists South Korea. Korean popular music or K-Pop is a large and profitable aspect of the Korean Wave. According to CNBC in Move Over Bieber — Korean Pop Music Goes Global “The [k-pop] industry’s revenues hit about $3.4 billion in 2011, according to the Korea Creative Content Agency (KOCCA), a government group that promotes the country’s cultural initiatives. K-pop’s exports also rose to $180 million last year — jumping 112 percent compared to 2010. Exports have been growing on an average annual rate of nearly 80 percent since 2007.” And that “for every $100 of K-Pop exports, there was an average increase of $395 worth of I.T. goods such as cell phones or electronics that were being exported” (Naidu-Ghelani). The exportation of K-pop music and cultural can be seen as an economic success story. But in fact, for the Black American community it is the exportation of cultural appropriation and the degradation of Black American culture. The Korean Wave is packaging, promoting and exporting a “window into Korean culture, society and language that can be as educational as a trip to Korea. South Korea is using the Korean wave to promote its traditional culture within Korea and abroad” (“Hallyu, the Korean Wave” 1). Despite South Korea’s strong sense of nationalism and cultural homogeneity, its pop music has a distinct Black American musical influence. Rap and hip-hop musical style/culture (which is distinctly affiliated with representative of Black Americans) is an integral, if not necessary, part of Korean popular music. The synchronized dance moves, attractive idols and “rap/hip hop” style draws in millions of fans from every walk of life all over the world. The “hip hop” dance moves, clothing and lyrics that dominate Korean popular music, however crosses the line of cultural appreciation and instead can be defined as cultural appropriation.
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Betz, Marianne. "Aspects of US-American Music: Introduction". Bärenreiter Verlag, 2012. https://slub.qucosa.de/id/qucosa%3A71894.

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Olson, Ted S. "African American Music in Southwest Virginia". Digital Commons @ East Tennessee State University, 2018. https://dc.etsu.edu/etsu-works/5514.

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Excerpt: African Americans have lived in Southwest Virginia since the early eighteenth century, and their traditions—their verbal folklore, customary folklife, and material culture—have long influenced cultural life in Southwest Virginia. African American music has been particularly impactful in the region, yet many people today are unaware of the extent of that influence.
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Payne, Alyson. "Creating music of the Americas in the Cold War Alberto Ginastera and the Inter-American Music Festivals /". Connect to this title online, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1165436117.

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Książki na temat "American music"

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Malone, Bill C. Southern music/American music. Lexington, KY: University Press of Kentucky, 2002.

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1952-, Stricklin David, red. Southern music/American music. Lexington, Ky: University Press of Kentucky, 2003.

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Leibovitz, Annie. American music. London: Jonathan Cape, 2003.

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Mendelsohn, Jane. American music. New York: Alfred A. Knopf, 2010.

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American music. New York: Random House, 2003.

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Leibovitz, Annie. American music. New York: Random House, 2004.

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Martin, Chris. American music. Port Townsend, Wash: Copper Canyon Press, 2007.

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American music. New York: Vintage Contemporaries, 2011.

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American music. New York: Alfred A. Knopf, 2010.

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Mendelsohn, Jane. American music. New York: Alfred A. Knopf, 2010.

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Części książek na temat "American music"

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Dorf, Samuel N., Heather MacLachlan i Julia Randel. "American Band Music". W Anthology to Accompany Gateways to Understanding Music, 238–42. New York : Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9781003041542-39.

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Cornelius, Steven, i Mary Natvig. "Black American Music". W MusicA Social Experience, 70–101. Wyd. 3. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003155812-7.

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Reichardt, Ulfried. "African American music in the Americas". W Sonic Politics, 44–50. Abingdon, Oxon ; New York, NY : Routledge, 2019. | Series: InterAmerican Research: Contact, Communication, Conflict ; ASHSER-1426: Routledge, 2019. http://dx.doi.org/10.4324/9780429423932-3.

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Krummel, D. W. "Vernacular Music". W Bibliographical Handbook of American Music, 113–26. London: Palgrave Macmillan UK, 1987. http://dx.doi.org/10.1007/978-1-349-09674-9_10.

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Krummel, D. W. "Sacred Music". W Bibliographical Handbook of American Music, 145–52. London: Palgrave Macmillan UK, 1987. http://dx.doi.org/10.1007/978-1-349-09674-9_12.

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Krummel, D. W. "Current Music". W Bibliographical Handbook of American Music, 35–53. London: Palgrave Macmillan UK, 1987. http://dx.doi.org/10.1007/978-1-349-09674-9_5.

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Krummel, D. W. "Concert Music". W Bibliographical Handbook of American Music, 97–111. London: Palgrave Macmillan UK, 1987. http://dx.doi.org/10.1007/978-1-349-09674-9_9.

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Dorf, Samuel N., Heather MacLachlan i Julia Randel. "Early American Popular Music". W Anthology to Accompany Gateways to Understanding Music, 169–70. New York : Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9781003041542-32.

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Dorf, Samuel N., Heather MacLachlan i Julia Randel. "African American Religious Music". W Anthology to Accompany Gateways to Understanding Music, 232–33. New York : Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9781003041542-36.

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Dorf, Samuel N., Heather MacLachlan i Julia Randel. "American Popular Music Today". W Anthology to Accompany Gateways to Understanding Music, 487–91. New York : Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9781003041542-60.

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Streszczenia konferencji na temat "American music"

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Chang, Charles B., i Danielle Dionne. "Unity and diversity in Asian American language variation: Data from Chinese, Filipino, Korean, and Vietnamese Americans". W Fourth Vienna Talk on Music Acoustics. ASA, 2022. http://dx.doi.org/10.1121/2.0001669.

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White, Christopher Wm, Jeffrey Fulmer, Brian Cordova, Alexandria Black, Chloe Danitz, William Evans, Aidan Fischer i in. "A new corpus of texture, timbre, and change in 20th-century American popular music". W Future Directions of Music Cognition. The Ohio State University Libraries, 2021. http://dx.doi.org/10.18061/fdmc.2021.0015.

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Ulhôa, Martha. "Southern currents: Some thoughts on Latin American popular music studies". W Situating Popular Musics, redaktorzy Ed Montano i Carlo Nardi. International Association for the Study of Popular Music, 2012. http://dx.doi.org/10.5429/2225-0301.2011.34.

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Hishida, Hirotoshi, Yoshihiro Komatsu, Tomohiro Nomura, Yasuhiro Hishida i Keiko Hishida. "Music Database for Earphone Hearing Loss Prevention and Music Therapy - American Musical Songs -". W 13th International Multi-Conference on Complexity, Informatics and Cybernetics. Winter Garden, Florida, United States: International Institute of Informatics and Cybernetics, 2022. http://dx.doi.org/10.54808/imcic2022.02.40.

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Huepe, C., R. F. Cadiz i M. Colasso. "Generating music from flocking dynamics". W 2012 American Control Conference - ACC 2012. IEEE, 2012. http://dx.doi.org/10.1109/acc.2012.6315529.

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Grisé, Adam. "Music Education Through Cultural Immersion: Preservice Music Teachers' Experiences in a Caribbean-American Steel Band". W 2019 AERA Annual Meeting. Washington DC: AERA, 2019. http://dx.doi.org/10.3102/1442995.

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Blount, PJ, i Jake X. Fussell. "Musical Counter Narratives: Space, Skepticism, and Religion in American Music". W 52nd Aerospace Sciences Meeting. Reston, Virginia: American Institute of Aeronautics and Astronautics, 2014. http://dx.doi.org/10.2514/6.2014-0670.

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Florido, Irapuru, i Roberto Tadeu Raittz. "Hybrid Method for Automatic Music Labeling". W 2018 XLIV Latin American Computer Conference (CLEI). IEEE, 2018. http://dx.doi.org/10.1109/clei.2018.00038.

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Völkel, Thomas, Jakob Abeßer, Christian Dittmar i Holger Großmann. "Automatic genre classification of Latin American music using characteristic rhythmic patterns". W the 5th Audio Mostly Conference. New York, New York, USA: ACM Press, 2010. http://dx.doi.org/10.1145/1859799.1859815.

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Li, Fei, i Li Xu. "Research on the European and American Music Education Mode and Corresponding Influence on the Chinese Native Music Education". W 2015 Conference on Informatization in Education, Management and Business (IEMB-15). Paris, France: Atlantis Press, 2015. http://dx.doi.org/10.2991/iemb-15.2015.73.

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Raporty organizacyjne na temat "American music"

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Schneider, William. Music and Race in the American West. Portland State University Library, styczeń 2000. http://dx.doi.org/10.15760/etd.5558.

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Mehegan, Laura, i G. Chuck Rainville. Music and Brain Health Among African American/Black Adults. Washington, DC: AARP Research, listopad 2020. http://dx.doi.org/10.26419/res.00387.004.

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Templeton, Patricia. Atomic tunes: The intersection of Lab science and popular music from 1945-1962 How American music was influenced by nuclear science. Office of Scientific and Technical Information (OSTI), październik 2021. http://dx.doi.org/10.2172/1826489.

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Waldfogel, Joel. Bye, Bye, Miss American Pie? The Supply of New Recorded Music Since Napster. Cambridge, MA: National Bureau of Economic Research, marzec 2011. http://dx.doi.org/10.3386/w16882.

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Turner, Tom, i Nancy Hodges. Americana Music Festivals: An Ethnographic Exploration of the Experiential Consumptionscape. Ames: Iowa State University, Digital Repository, listopad 2015. http://dx.doi.org/10.31274/itaa_proceedings-180814-25.

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Turner, Tom, i Nancy Hodges. Exploring Outdoor Lifestyle Brands within the Americana Music Festival Marketplace. Ames: Iowa State University, Digital Repository, 2017. http://dx.doi.org/10.31274/itaa_proceedings-180814-395.

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Możesz być także zainteresowany rozszerzonymi bibliografiami na temat „American music” dla poszczególnych typów źródeł:
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