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Artykuły w czasopismach na temat "Funk (Music)"
Youngman, Angela. "Junk funk music!" 5 to 7 Educator 2008, nr 43 (lipiec 2008): xv1—xv2. http://dx.doi.org/10.12968/ftse.2008.7.7.29538.
Pełny tekst źródłaValnes. "“Make It Funky”: Funk, Live Performance, and the Concept “Genre Works”". American Music 38, nr 3 (2020): 353. http://dx.doi.org/10.5406/americanmusic.38.3.0353.
Pełny tekst źródłaBrinck, Lars. "Funk jamming in New Orleans: Musical interaction in practice and theory". International Journal of Music Education 36, nr 3 (19.05.2018): 430–46. http://dx.doi.org/10.1177/0255761418771994.
Pełny tekst źródłaCook, Terence, Ashlin R. K. Roy i Keith M. Welker. "Music as an emotion regulation strategy: An examination of genres of music and their roles in emotion regulation". Psychology of Music 47, nr 1 (26.10.2017): 144–54. http://dx.doi.org/10.1177/0305735617734627.
Pełny tekst źródłaResende, Sara Pimenta, i Marcelo De Rezende Pinto. "Cool Identity Construction in the Context of Young Funk Music Consumers". CBR - Consumer Behavior Review 6, nr 1 (11.10.2022): 253353. http://dx.doi.org/10.51359/2526-7884.2022.253353.
Pełny tekst źródłaCoutinho, Paulo, i Inês Rocha. "“Funk não é música”: faces da diferença, diversidade e discriminação". Opus 27, nr 3 (7.11.2021): 1–13. http://dx.doi.org/10.20504/opus2021c2709.
Pełny tekst źródłaValnes, Matthew. "Janelle Monáe and Afro-Sonic Feminist Funk". Journal of Popular Music Studies 29, nr 3 (wrzesień 2017): e12224. http://dx.doi.org/10.1111/jpms.12224.
Pełny tekst źródłaOshio, Atsushi. "THE RELATIONSHIP BETWEEN DICHOTOMOUS THINKING AND MUSIC PREFERENCES AMONG JAPANESE UNDERGRADUATES". Social Behavior and Personality: an international journal 40, nr 4 (1.05.2012): 567–74. http://dx.doi.org/10.2224/sbp.2012.40.4.567.
Pełny tekst źródłaToop, Richard. "Beyond the ‘crisis of material’: Chris Dench's “Funk”". Contemporary Music Review 13, nr 1 (styczeń 1995): 85–115. http://dx.doi.org/10.1080/07494469500640301.
Pełny tekst źródłaSá, Simone, i Gabriela Miranda. "Brazilian Popular Music Economy Aspects: The Baile Funk Circuit". IASPM@Journal 3, nr 1 (10.06.2013): 9–18. http://dx.doi.org/10.5429/2079-3871(2012)v3i1.2en.
Pełny tekst źródłaRozprawy doktorskie na temat "Funk (Music)"
Lacy, Travis K. ""Funk is its own reward" : an analysis of selected lyrics in popular funk music of the 1970s". DigitalCommons@Robert W. Woodruff Library, Atlanta University Center, 2008. http://digitalcommons.auctr.edu/dissertations/22.
Pełny tekst źródłaMOLLO, MICHAEL JOHN. "FUNK-IN-THE-BOX FOR SAXOPHONE QUARTET". University of Cincinnati / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1115990255.
Pełny tekst źródłaSangemark, Viktor. "Vad är groove? : En studie om hur groove inom funk kan appliceras på rockmusik". Thesis, Örebro universitet, Musikhögskolan, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-94553.
Pełny tekst źródłaWhitman, Kevin. "Reconstructing the Mothership: Meaning and History in the Music of P-Funk". Thesis, University of Oregon, 2017. http://hdl.handle.net/1794/22760.
Pełny tekst źródłaGUEDES, MAURICIO DA SILVA. "THIS MUSIC IS FROM OUR COMMAND: A STUDY OF FORBIDDEN FUNK". PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2007. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=9975@1.
Pełny tekst źródłaCOORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
O funk proibido ou proibidão é um subgênero da música funk, produzido, sobretudo nos morros e nas favelas do Rio de Janeiro. Esta dissertação analisa o conteúdo das letras do proibidão e mostra que este fenômeno musical é resultado do encontro do funk com as facções do tráfico de drogas que dominam esses territórios. Essa produção musical parece ser usada pelo narcotráfico para divulgar suas idéias, exaltar as suas façanhas, fortalecer a identidade dos membros da facção e expressar o ódio e o terror aos inimigos. Esses grupos criminosos usam duas formas para difundir suas pretensões: a reprodução e venda de CDs de funk proibido e a promoção do baile de comunidade, que serve tanto para diversão da juventude local, como para venda de drogas. Nos dois casos o papel dos MCs é imprescindível para essa produção. O funk proibido, peculiar pela agressividade simbólica, além de adorado pelos jovens, apresenta-se como uma arma a serviço dos narcotraficantes, usado como cartão de visita e porta-voz de seus interesses.
Forbidden funk or proibidão is a subclass of funk music, produced mainly in the slums and hills of Rio de Janeiro. The present dissertation analyses the contents of proibidão lyrics and shows that this musical phenomena is a product of the joining of funk with drug dealing groups which dominate those territories. Such production seems to be used by drug dealers in broadcasting their ideas and exalting their actions, strengthening the faction members´ identity, expressing their hatred and causing terror to their enemies. Such criminal groups use two strategies to spread their purposes: producing and selling forbidden funk CDs and promoting community dance parties, which serve as much as entertainment for the local youth as for selling drugs. In both cases, the role of MCs is indispensable for issuing such product. Forbidden funk, peculiar by the symbolic aggressiveness, besides being adored by young people, presents-itself as a weapon at the service of drug dealers, used as business card and speaker on behalf of their interests.
Hughes, Timothy Stephen. "Groove and flow : six analytical essays on the music of Stevie Wonder /". Thesis, Connect to this title online; UW restricted, 2003. http://hdl.handle.net/1773/11410.
Pełny tekst źródłaPedro, Thomaz Marcondes Garcia. "Funk brasileiro: música, comunicação e cultura". Pontifícia Universidade Católica de São Paulo, 2015. https://tede2.pucsp.br/handle/handle/4712.
Pełny tekst źródłaThis research focus the phenomenon of Brazilian funk in the Brazilian popular music as a complex sociocultural practice, and recognizing it as a mixture of various musical and non musical elements. It is an investigation that, beside reconstructing one perspective of the development of this music, tried to establish intersections between funk and many others elements that are part of it's context and ambient. To be able to accomplish that, the theoretical ground is based on researchers from the Communication field (Martín-Barbero, Pinheiro, Souza Santos) and from the Popular Music field (Wisnik, Vargas, Rivera) that try to comprehend the cultural practices of Latin America as a complex process, hybrids and mestizos in constant movement, transformation, translation and adaptation between themselves, always avoiding comprehensions marked by dichotomy, which are typical on those fields of study. Are also a part of the theoretical basis of this work researchers that developed studies specifically about Brazilian funk (Lopes, Palombini, Facina, Sá), beside the field researches, that have resulted in reports about those experiences. The results of the research allow a deeper comprehension of funk in the Communication and popular music fields and confirm our spectating that funk is a complex phenomenon that can only be understood in the context and ambient that it has been developed. Beside some musical aspects we fuscous on the relation of funk with market, violence and sexuality. Our approach allowed "listen" to Brazilian funk in a unheard way, free from prejudice and dualist points of view, that have market a way of looking at it, typical of the conservative sectors of society that were able to criminalize this cultural practice
A presente pesquisa focaliza o fenômeno do funk na música popular brasileira como uma prática sociocultural complexa, marcada pela mistura de diversos elementos musicais e não musicais. Trata-se de uma investigação que, além de realizar uma retomada da história do desenvolvimento do estilo, buscou estabelecer intersecções entre o funk e elementos próprios do ambiente e contexto em que é praticado. Para tanto, foram utilizados pesquisadores da área de comunicação (Martín-Barbero, Pinheiro, Souza Santos) e da música popular (Wisnik, Vargas, Rivera) que buscam compreender as práticas culturais da América Latina como processos complexos, híbridos e mestiços em constante transformação, troca, tradução e adaptação entre si, sempre se distanciando de visões dicotômicas que costumam pautar esses campos de estudo. Também balizaram a pesquisa, os trabalhos teóricos que se debruçaram especificamente sobre o funk (Lopes, Palombini, Facina, Sá), além de pesquisas de campo que tiveram como resultados relatos criados a partir dessas experiências. As reflexões realizadas permitiram ampliar a compreensão do funk nos estudos da Comunicação e da música popular brasileira e confirmar nossa hipótese de que o funk é um fenômeno complexo que só pode ser compreendido quando se leva em conta a relação que mantém com seu contexto, já que sua música é fortemente atravessada por questões ligadas à violência, à sexualidade, ao mercado e à grande mídia. A abordagem permitiu escutar o funk de forma inédita, livre de tendências dualistas e preconceituosas, próprias de setores conservadores da sociedade que criminalizam essa prática cultural
Emerson, Jason D. "THE JAMBALAYA THAT IS MY BRAIN". University of Cincinnati / OhioLINK, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=ucin992441841.
Pełny tekst źródłaGonçalves, Eloá Gabriele. "Banda Black Rio = o soul no Brasil da década de 1970". [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284466.
Pełny tekst źródłaDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-19T08:52:06Z (GMT). No. of bitstreams: 1 Goncalves_EloaGabriele_M.pdf: 60495318 bytes, checksum: 3a3ebc85450535991b7e825c6bfdb5ef (MD5) Previous issue date: 2011
Resumo: Este trabalho estuda a trajetória da Banda Black Rio, formada em meados dos anos de 1970, cuja produção caracteriza--?se por fusões de múltiplas musicalidades. Através da análise musical de uma amostragem do repertório gravado pela banda, verificou?se nessa produção a presença de elementos característicos de gêneros brasileiros como o samba, o choro e o baião, mesclados aos do jazz, do soul e do funk. A pesquisa revelou que procedimentos adotados pelos músicos nas composições, releituras, arranjos e instrumentação produziram resultados sonoros peculiares. Trata--?se de uma sonoridade híbrida, que, de certa forma, expressa a emergência de uma nova sensibilidade num contexto histórico brasileiro marcado pela presença de um regime político autoritário, do desenvolvimento e da integração da indústria cultural e do advento de novas identidades geracionais e étnicas
Abstract: This work studies the history of the band Black Rio, formed in the mid 1970s, whose production is characterized by a fusion of multiple musicalities. Through musical analysis of a sample of the repertoire recorded by the band, it was verified the presence of characteristic elements of Brazilian genres such as samba, choro and baião, merged with components of jazz, soul and funk. The research found that the procedures adopted by the musicians in compositions, re--?readings, arrangements and instrumentations produced a peculiar sound result. It is a hybrid sonority that, in a certain way, expresses the emergence of a new sensibility in a Brazilian historical context marked by the presence of an authoritarian political regime, by the development and integration of the cultural industry and by the advent of new generational and ethnical identities
Mestrado
Fundamentos Teoricos
Mestre em Música
Sermet, Vincent. "Les musiques soul et funk : la France qui groove des années 1960 à nos jours /". Paris : l'Harmattan, 2008. http://catalogue.bnf.fr/ark:/12148/cb412854703.
Pełny tekst źródłaKsiążki na temat "Funk (Music)"
Thompson, Dave. Funk. San Francisco: Backbeat Books, 2001.
Znajdź pełny tekst źródłaMayfield, Curtis. Millennium funk party. Los Angeles: Rhino Entertainment Company, 1998.
Znajdź pełny tekst źródła7 Days of Funk (Musical group). 7 Days of Funk. S.l.]: Stones Throw Records, 2013.
Znajdź pełny tekst źródłaFaglioni, Gino. What the Funk: Eine Einführung in funky music. Köln: Büro.9, 2008.
Znajdź pełny tekst źródłaO mundo funk carioca. Rio de Janeiro: J. Zahar Editor, 1988.
Znajdź pełny tekst źródłaTerremoto, Dolores Vargas la. Anana Funk hip, 1970-1975. [Place of publication not identified]: Pharaway Sounds, 2018.
Znajdź pełny tekst źródłaErtl, Franz. Rap, Funk, Soul: Ein Nachschlagewerk. Wyd. 2. Koln: W. Herbst, 1993.
Znajdź pełny tekst źródłaBatidão: Uma históiria do funk. Rio de Janeiro: Editora Record, 2005.
Znajdź pełny tekst źródłaTechno rebels: The renegades of electronic funk. Wyd. 2. Detroit, Mich: Wayne State University Press, 2010.
Znajdź pełny tekst źródłaRagged glories: City lights, country funk, American music. London: Pimlico, 2003.
Znajdź pełny tekst źródłaCzęści książek na temat "Funk (Music)"
D’Angelo, Sandra. "Sampling the Sense of Place in Baile Funk Music". W Relocating Popular Music, 44–62. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137463388_3.
Pełny tekst źródłaMichailowsky, Alexei. "Shaping the pancadão: Improvisation and Studio Creativity on Rio Funk Independent Recordings from the Early 1990s". W Popular Music Studies Today, 203–12. Wiesbaden: Springer Fachmedien Wiesbaden, 2017. http://dx.doi.org/10.1007/978-3-658-17740-9_21.
Pełny tekst źródłaHalberstam, Jack. "9 The Sounds of Violence: Screams and Wild Sounds in Punk, Funk and Women’s Music". W Transkulturelle Erkundungen, 147–58. Wien: Böhlau Verlag, 2018. http://dx.doi.org/10.7767/9783205232704.147.
Pełny tekst źródłaJansen, Lisette, Betsy van Dijk i José Retra. "A Music Educational Entertainment Environment for Preschoolers". W Fun and Games, 194–202. Berlin, Heidelberg: Springer Berlin Heidelberg, 2008. http://dx.doi.org/10.1007/978-3-540-88322-7_19.
Pełny tekst źródłaHudak, Paul. "Describing and interpreting music in Haskell". W The Fun of Programming, 61–78. London: Macmillan Education UK, 2003. http://dx.doi.org/10.1007/978-1-349-91518-7_4.
Pełny tekst źródłaD’Adamo, Amedeo. "That Junky Funky Folk Vibe". W Music in Comedy Television, 43–58. New York, NY : Routledge, 2017. | Series: Routledge music and screen media series: Routledge, 2017. http://dx.doi.org/10.4324/9781315639284-4.
Pełny tekst źródłaCollins, Nicolas, i Simon Lonergan. "On/Off (More Fun With Photo Resistors)". W Handmade Electronic Music, 171–84. Third edition. | New York : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780429264818-21.
Pełny tekst źródłaMannone, Maria. "Have Fun with Math and Music!" W Mathematics and Computation in Music, 379–82. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-21392-3_33.
Pełny tekst źródłavan der Spuy, Rex. "Make It Fun! Sound, Music, and AI". W AdvancED Game Design with Flash, 445–501. Berkeley, CA: Apress, 2010. http://dx.doi.org/10.1007/978-1-4302-2740-3_7.
Pełny tekst źródłaHalsey, Mike. "Having Fun with Games, Photos, Music, and Video". W Beginning Windows 10, 219–54. Berkeley, CA: Apress, 2015. http://dx.doi.org/10.1007/978-1-4842-1085-7_7.
Pełny tekst źródłaStreszczenia konferencji na temat "Funk (Music)"
Krakowski, Sergio, Luiz Velho i Francois Pachet. "Pandeiro funk". W ACM SIGGRAPH 2009: Music & Audio. New York, New York, USA: ACM Press, 2009. http://dx.doi.org/10.1145/1597983.1597984.
Pełny tekst źródłaShmuelof, Shoshan, i Michal Hefer. "THE LOST ART OF LISTENING". W International Conference on Education and New Developments. inScience Press, 2022. http://dx.doi.org/10.36315/2022v1end029.
Pełny tekst źródłaJenko, Matija, i Barbara Kopačin. "Povezivanje životnog okruženja dece i njihovog uključivanja u horove". W Nauka, nastava, učenje u izmenjenom društvenom kontekstu. University of Kragujevac, Faculty of Education in Uzice, 2021. http://dx.doi.org/10.46793/nnu21.577j.
Pełny tekst źródłaGuarda, Graziela Ferreira, Ilma Rodrigues de Souza Fausto, Julián Alberto García-García, Ruth Maria Mariani Braz, Fabiana Rodrigues Leta i Sérgio Crespo Coelho da Silva Pinto. "The Makey Makey Inclusive Tangible Interface and its Educational Perspectives". W Simpósio Brasileiro de Informática na Educação. Sociedade Brasileira de Computação - SBC, 2022. http://dx.doi.org/10.5753/sbie.2022.225641.
Pełny tekst źródłaBuicabelciu, Oana. "BLENDED LEARNING USING MULTITOUCH AND SENSORY RESPONSIVE TECHNOLOGIES IN KINDERGARTEN: THE FUNLAB PROJECT, BUCHAREST, 2014". W eLSE 2015. Carol I National Defence University Publishing House, 2015. http://dx.doi.org/10.12753/2066-026x-15-106.
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