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Stetsiuk, R. A. "Saxophone in jazz: aspects of paradigmatics". Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 53, nr 53 (20.11.2019): 177–99. http://dx.doi.org/10.34064/khnum1-53.11.
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Objectives, methodology and innovation of the study. The research aim is to identify of specifics of the saxophone “image” in light of esthetical and communicative paradigms of jazz. The paradigmatic approach to the objects of musical composition, including the art of jazz, allows reviewing the most general aspects of its development, including varietal instrumental (in particular, saxophone) stylistics. The appearance and strengthening of the position of saxophone in jazz that took place in the first decades of the 20th century heralded the general flourishing of this type of instrumental art, elevating it to the level of the most in-demand ones in the public music practice. This article puts forward and proves the thesis that the course of evolution of saxophone in jazz – traditional (before bebop) and modern (after it) – has synchronized, in terms of esthetical and communicative features, with the general movement and the changes of its paradigms: from realistic and transitional (conventional-autonomous), in terms by Aleksandr Soloviev (1990) to radical-phenomenal. This study outlines, for the first time, the path of movement of jazz saxophone from collective (ensemble and orchestral) forms toward free improvisation in the spirit of esthetics of the newest free jazz, which does not rule out retrospection of former paradigms realized via the styles of outstanding jazz saxophone players: from Coleman Hawkins, Lester Young and Charlie Parker to John Coltrane, Ornette Coleman and Sonny Rollins. The results of the study. It was noted that the sound image of saxophone, distinguishable for a paradoxical combination of certain “sweetness” and extremely expression, turned out to be the most consonant with the stylistics of jazz instrumentalism, where a number of aerophones tested by European academic practice, such as trumpet, clarinet, trombone and other, appeared in a fundamentally new light. The sources of saxophone’s penetration into jazz were entertainment dancing genres that were popular both in Europe and in the United States at the turn of the 20th century. The solo practice of saxophone improvisation, typical for jazz, was not used back then. An ensemble featuring several saxophones was used either in dance orchestras or in jazz bands that appeared later (the first example is the sweet-band founded by Arthur Hickman in San Francisco in 1914). The ensemble practice helped bring saxophone to the leading positions in solo instrumental jazz concerting. The first virtuoso jazz saxophone players were representatives of Chicago school of the 1920s: Lawrence “Bud” Freeman, Sidney Bechet, Benny Carter, Joe Poston, Don Redman, Jimmy Strong and Frankie Trumbauer. Decades later, saxophone improvisations in swing style became an unalienable component of swing choruses, an example of which is the works by such outstanding musicians as Coleman Hawkins and Lester Young who prepared the ground for bebop with its free improvisations of original tunes (an example is the works by Charlie Parker). The article notes that the taking of front stage by an improvising saxophone player in esthetical and communicative aspect was reflected in the formation of a sort of object paradigms (according to A. Soloviev), the first among which were “realistic” ones based on the syncretism (inseparable unity) of musicians and listeners. The “interchangeability” principle applied there, when any participant of communication was poly-functional in terms of the ruling function (the examples include saxophone sweet bands of the 1920s, communicatively related to blues). The conventional-autonomous paradigmatics in saxophone jazz art began developing in the bebop era, which saw the appearance of a clear demarcation line between musicians and the audience. Saxophone improvisations of such musicians as Charlie Parker and his followers heralded formation of the saxophone concert style, which in many aspects is close to academic practice. “Phenomenologization” of saxophone jazz performance became a direct continuation of “autonomization”, walking off via the complete freedom from any stylistic norms (an example is the works and esthetics by Ornette Coleman with his “no any wave” principle). In these conditions, the esthetics of the complete “freedom from…” were joined by the radical demand for “otherness”, i.e. the quality of a unique order when a jazz musician shows something new, something that “never existed” before in almost every improvisation. However, as we know, anything “new” most often means well-forgotten “old”, which is reflected in saxophone jazz stylistics via the combination of the “free” and “fusion” principles. Jazz, including its saxophone version, went quite a long way of development, and along this way, its paradigms were not historical “milestones” per se, but rather logical principles potentially preserved in the memory of jazzmen who think in the language of their art. There is another important point: continuous struggle that took place (and which still takes place) between elite and mass culture, concerning the language of this art in which one can expect the appearance of the most diverse elements, from the improvisation techniques created by the traditional folk cultures towards the academic avant-garde esthetics and writing techniques marked as collage and polystylistics. Such a “splitting” in saxophone jazz stylistics allows to identify a whole complex of means and techniques mirroring esthetical-communicative paradigms of jazz in their separate and interrelated combination: 1) the “free” principle that has appeared within the framework of jazz “realism”; 2) the idea of dramatization typical for “conventions”; 3) the category of “freedom from…” denying previous paradigms but at the same time having direction toward genetic origins. Conclusions. The saxophone in jazz has gone through a rather complicated path of formation, but has retained the status of one of the “title” instruments symbolizing this art. Like jazz in general, its saxophone “branch” developed in line with a kind of aesthetic “splitting”, in which the instrument was thought as belonging to pop culture (pop jazz), then used as part of an elitist style close to academic avant-garde (free jazz). The path of the saxophone in jazz is traced in connection with aesthetically communicative paradigms, in the context of which the attitude to this instrument was formed among the jazzmen themselves and the public. In the early stages (“realistic” paradigms), the “pop” role of the saxophone was cultivated; then there was “autonomy”, the main feature of which was the selection of virtuoso soloists; under the latest phenomenological paradigms, saxophone art is divided into various stylistic movements, from folk and funk trends to complete freedom from any style standards in individual solo improvisations. The prospects for further research of this theme are seen in the study of individual styles and patterns of jazz saxophone improvisation, both “schoolish” (the paradigm of a particular school of saxophone playing) and “personal” (the work of leading jazz saxophonists). The stylistic approach will make it possible to single out and correlate the “general” and “individual” in the sound image of this instrument, which has become one of the personifications of modern music.
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Jaffré, Maxime. "Decontextualizing Arabic Music in France and in the United States". Middle East Journal of Culture and Communication 12, nr 1 (29.03.2019): 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., i SALLY K. SOMMERS SMITH. "Irish Music and Musicians in the United States: An Introduction". Journal of the Society for American Music 4, nr 4 (19.10.2010): 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, nr 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, nr 2 (kwiecień 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, nr 2 (wrzesień 1986): 208–13. http://dx.doi.org/10.1080/1369183x.1986.9975969.
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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, nr 4 (19.10.2010): 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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Shelemay, Kay Kaufman. "Ethiopian Musical Invention in Diaspora: A Tale of Three Musicians". Diaspora: A Journal of Transnational Studies 15, nr 2-3 (marzec 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, nr 2 (24.06.2004): 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 i Sarah Minette. "Informal music-making among piano bar musicians: Implications for bridging the gap in music education". Journal of Popular Music Education 4, nr 3 (1.11.2020): 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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Drane, Gregory. "The Role of African-American Musicians in the Integration of the United States Navy". Music Educators Journal 101, nr 3 (marzec 2015): 63–67. http://dx.doi.org/10.1177/0027432114565132.
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Werb, Bret Charles, i Maria V. Lebedeva. "The Aleksander Kulisiewicz Collection at the United States Holocaust Memorial Museum: An Introduction". Observatory of Culture 17, nr 5 (12.11.2020): 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, nr 1 (luty 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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Turner, Diane. "Black Music Traditions of Central Avenue". Practicing Anthropology 20, nr 1 (1.01.1998): 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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Stanek, Jeremy L., Kevin D. Komes i Fred A. Murdock. "A Cross-Sectional Study of Pain Among U.S. College Music Students and Faculty". Medical Problems of Performing Artists 32, nr 1 (1.03.2017): 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, i Tawnya D. Smith. "The educational backgrounds of DIY musicians". Journal of Popular Music Education 00, nr 00 (9.07.2021): 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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Ostry, Michael E. "Association of Parkerella populi with declining hybrid aspen in Wisconsin". Canadian Journal of Botany 64, nr 8 (1.08.1986): 1834–35. http://dx.doi.org/10.1139/b86-242.
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Parkerella populi Funk was found for the first time in the United States on hybrid aspen in two test plantings in Wisconsin. Parkerella populi was associated only with declining trees of a triploid Populus tremuloides Michx. × P. tremula L. hybrid. Parkerella populi was the only fungus found associated with deeply fissured, black bark of the declining trees. Adjacent trees of different clones were not affected in either plantation. These observations suggest, therefore, that P. populi may have been a primary pathogen of these hybrids.
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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, nr 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, nr 1-2 (25.03.2014): 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, nr 1 (1.03.2007): 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, nr 4 (19.10.2010): 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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Gregory, Dianne. "Analysis of Listening Preferences of High School and College Musicians". Journal of Research in Music Education 42, nr 4 (grudzień 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, nr 5 (25.11.2019): 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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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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Nugroho, Dwi Mifta, Muhammad J. B. Firdaus i Adam J. Wijaya. "The Anti-War Movement through Romanticism of the Hippies Culture on Vietnam War 65-73". Jurnal Hubungan Internasional 13, nr 2 (28.11.2020): 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, nr 4 (31.01.2017): 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, nr 1 (1.03.2009): 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 (listopad 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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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, nr 1 (luty 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, nr 1 (14.01.2010): 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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WARFIELD, PATRICK R. "SOUNDS TO ESTABLISH A CORPS: THE ORIGINS OF THE UNITED STATES MARINE BAND, 1798–1804". Eighteenth Century Music 16, nr 2 (20.08.2019): 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, nr 3 (22.11.2006): 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, i 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, nr 2 (29.10.2012): 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, nr 4 (listopad 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, nr 1 (luty 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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Adler, Nancy J., i Linda M. Ippolito. "Musical Leadership and Societal Transformation: Inspiration and Courage in Action". LEARNing Landscapes 9, nr 2 (1.04.2016): 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., i Linda M. Ippolito. "Musical Leadership and Societal Transformation: Inspiration and Courage in Action". Kwartalnik Ekonomistów i Menedżerów 50, nr 4 (19.11.2018): 41–65. http://dx.doi.org/10.5604/01.3001.0013.0629.
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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 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, i Baojun Jiang. "Integration of Primary and Resale Platforms". Journal of Marketing Research 57, nr 4 (4.05.2020): 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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Campbell, Courtney. "THE NORTHEAST PLAYS FOOTBALL, TOO: WORLD CUP SOCCER AND REGIONAL IDENTITY IN THE BRAZILIAN NORTHEAST". Estudos Históricos (Rio de Janeiro) 32, nr 68 (grudzień 2019): 720–43. http://dx.doi.org/10.1590/s2178-149420190003000009.
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ABSTRACT This article examines how ideas about northeastern regional identity circulated in discussions of World Cup football. It first presents the preparations of and discussion around the 1950 World Cup match between Chile and the United States in Recife. Then, it analyzes attention given to World Cup football by regionalist intellectuals and artists, including musicians, clay artists, poets, and authors of cordel literature. This analysis shows that World Cup football provided a space within which the terms of regional (and national) identity were contested and debated, emphasizing the multivalence of regional discourse.
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McLeod, Kembrew, i Peter DiCola. "Non-Infringing Uses in Digital Sampling: The Role of Fair Use and the de Minimis Threshold in Sample Clearance Reform". Deakin Law Review 17, nr 2 (1.02.2013): 321. http://dx.doi.org/10.21153/dlr2012vol17no2art82.
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In this book excerpt, the authors address the role of two major legal exceptions to copyright protection in the music industry’s practices surrounding digital sampling. Although the United States law on the books requires a balance between the interests of copyright owners and sampling musicians, the business practice has been to mandate licensing in almost every instance. Despite this hurdle to a more balanced approach to sampling, the authors discuss several benefits that might come through doctrinal or statutory reforms, or even through developing best practices for claiming fair use.
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gluck, robert j. "fifty years of electronic music in israel". Organised Sound 10, nr 2 (sierpień 2005): 163–80. http://dx.doi.org/10.1017/s1355771805000798.
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the history of electronic music composition, technologies and institutions is traced from the founding of the state of israel in 1948. core developments are followed beginning with the founding generation including joseph tal, tzvi avni and yizhak sadai, continuing with the second and third generations of musicians and researchers, living in israel and the united states. the institutional and political dynamics of the field in this country are explored, with a focus on the challenges of building an audience and institutional support, as well as prospects for the future.
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Wenner, N. G., W. Merrill i J. T. Moody. "Thyronectria balsamea on Abies fraseri in Pennsylvania and North Carolina". Plant Disease 81, nr 7 (lipiec 1997): 830. http://dx.doi.org/10.1094/pdis.1997.81.7.830c.
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In August 1996, several 4- to 6-m-tall Abies fraseri (Pursh) Poir. in Adams County, PA, were found bearing numerous dead branches and/or dead tops. The trees had been severely stressed by being ball-and-burlapped and replanted in 1993. Distinct cankers occurred between the living and dead portions of stems and branches. Associated with these cankers were abundant, reddish-orange, erumpent stroma, each bearing three to 10 similarly colored cupulate ascomata. The latter contained asci bearing two to four large, muriform ascospores that, as they matured, formed large numbers of small ascoconidia, indicating the pathogen was Thyronectria balsamea (Cooke & Peck) Seeler (= Nectria balsamea Cooke & Peck). In September 1996, cankered dead stems and branches from affected A. frasrei Christmas tree plantations in Avery County, NC, were found bearing the same pathogen. This fungus is known on A. bal-samea (L.) Mill. from northern Minnesota east through Canada to northern New York and Newfoundland (2). Funk (1) reported it from A. lasio-carpa (Hook.) Nutt. in (presumably) British Columbia, but gave no details. This is the first report of it in the eastern United States south of northern New York, a considerable extension of its known range, and the first report of it from A. fraseri. Voucher specimens are in PACMA (Pennsylvania State University Mycologica Herbarium, Mont Alto Campus). References: (1) A. Funk. Can. For. Serv. BC-X-222:142, 1981. (2) E. V. Seeler, Jr. J. Arnold Arbor. 21:442, 1940.
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Ahlquist, Karen. "Playing for the Big Time: Musicians, Concerts, and Reputation-Building in Cincinnati, 1872–82". Journal of the Gilded Age and Progressive Era 9, nr 2 (kwiecień 2010): 145–65. http://dx.doi.org/10.1017/s1537781400003911.
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Like many midwestern cities in the nineteenth century, Cincinnati, Ohio, was home to large numbers of German immigrant musicians, among them the founders of the Cincinnati Grand Orchestra in 1872. Their model of musician-based organization eventually ran counter to the prestige-building potential of Western art music, which made it attractive to local civic leaders determined to earn respect for their city at a national level. The successful Cincinnati May festivals beginning in 1873 under the artistic leadership of conductor Theodore Thomas brought the city the desired renown. But the musical monumentality needed for large festival performances could not be obtained locally, leaving Cincinnati's players with opportunities to perform at a high level but without a way to define their performance as a significant achievement in the world of high art. Although their orchestra was ultimately unsuccessful, however, these musicians demonstrated an agency that transcends their historical obscurity and helps incorporate aesthetic and practical aspects of institution-building into the social arguments common to discussions of Western art music in the United States.
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Yang, Mina. "Yellow Skin, White Masks". Daedalus 142, nr 4 (październik 2013): 24–37. http://dx.doi.org/10.1162/daed_a_00232.
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Ethnic studies scholars have long bemoaned the near absence of Asians on the big and small screens and popular music charts in the United States, rendering them as outsiders vis-à-vis the American public sphere. In the last few years, however, Asians have sprung up on shows like “Glee” and “America's Best Dance Crew” in disproportionately large numbers, challenging entrenched stereotypes and creating new audiovisual associations with Asianness. This essay considers how emerging Asian American hiphop dancers and musicians negotiate their self-representation in different contexts and what their strategies reveal about the postmillennial Asian youth's relationship to American and transpacific culture and the outer limits of American music.
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Weaver, Crystal, Mark Varvares, Elaine Ottenlips, Kara Christopher i Andrew Dwiggins. "CLO19-058: Live Music to Decrease Patient Anxiety During Chemotherapy Treatments". Journal of the National Comprehensive Cancer Network 17, nr 3.5 (8.03.2019): CLO19–058. http://dx.doi.org/10.6004/jnccn.2018.7132.
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Background: Music therapy began in the United States after World War II when community musicians went to veterans’ hospitals to provide live music to those experiencing post-war trauma. Music therapy programs continue to utilize community musicians who provide live music to patients in treatment centers to supplement formal music therapy sessions by credentialed professionals. Little evidence has been gathered regarding the potential ability of these live music performances to decrease the anxiety levels of oncology patients during chemotherapy treatments. Purpose: To determine if listening to live music performed by community musicians decreases oncology patient anxiety levels during chemotherapy treatments in an outpatient infusion center. Method: This quasi-experimental study involved an experimental group who listened to live music by community musicians and a control group who did not listen to live music during a single chemotherapy treatment for 30 minutes. Pre- and post-test measures of blood pressure, pulse, respiration per minute, and responses to the State-Trait Anxiety Inventory (ie, common measures of anxiety) were collected by a registered nurse on all participants. The sample included 60 participants (30 control and 30 experimental). Demographic information for the participants was: (1) 60% were male and 40% were female; (2) 73% were Caucasian and 27% were African American; (3) the mean age was 62 years; and (4) 100% had a cancer diagnosis. Results: Independent sample t-test was conducted to determine if there were differences in the amount of change for dependent variables. Significance was set at P<.05. Results revealed a significantly higher score difference in the experimental group when compared to the control group for pulse, respiration per minute, and systolic blood pressure (Table 1). Conclusion: Listening to live music by community musicians can decrease oncology patient anxiety levels during chemotherapy treatments as evidenced by significant decreases in pulse, respiration per minute, and systolic blood pressure. Additional studies may examine if greater decreases in anxiety levels are achieved by the implementation of formal music therapy sessions by credentialed professionals.
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GARCÍA, DAVID. "“We Both Speak African”: A Dialogic Study of Afro-Cuban Jazz". Journal of the Society for American Music 5, nr 2 (14.04.2011): 195–233. http://dx.doi.org/10.1017/s1752196311000034.
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AbstractFrom 1947 to 1948 the Dizzy Gillespie orchestra with Chano Pozo produced some of the most important recordings that contributed to the development of Afro-Cuban jazz. Pozo had already led a successful career as a professional musician in Havana before he moved to New York City, where he met Gillespie and joined his bebop big band. The integration of a black Cuban percussionist into Gillespie's all-black band raises important questions about the racial politics enveloping the popularization of bebop, Afro-Cuban jazz, and the work of others in contemporaneous political, cultural, and intellectual arenas. This article provides new documentation of Pozo's performances with the Gillespie band in the United States and Europe and shows the ideological concerns that Pozo and Gillespie shared with West African political and cultural activists, Melville Herskovists and his students, and early jazz historians in the 1940s. The article suggests an alternative methodology for scholarship on jazz in the United States that approaches jazz's extensive engagements with Cuban and other Afro-Atlantic musicians as embodying the crux of jazz's place in the Afro-Atlantic.
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Gordon, Bonnie. "The Secret of the Secret Chromatic Art". Journal of Musicology 28, nr 3 (2011): 325–67. http://dx.doi.org/10.1525/jm.2011.28.3.325.
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In 1946, just after emigrating from Nazi Germany via the Netherlands and Cuba to the United States, Edward Lowinsky published The Secret Chromatic Art in the Netherlands Motet. He posited a system of chromatic modulations through musica ficta in sixteenth-century Netherlandish polyphony circulated by clandestine heretic societies during the period of religious struggle in the Low Countries. According to Lowinsky, in the second half of the century a small contingent of northern musicians with radical Protestant sympathies wrote pieces that appeared on the surface to set texts and use diatonic melodies condoned by the Church. Beneath that compliant surface lurked secret chromaticism and seditious meanings that remained hidden from the Inquisition. Despite Lowinsky’s obvious interest in odd passages in motets of Clemens non Papa, Lassus, and others, I argue that his history as a Jew in Nazi Germany and then as an exile from that regime compelled his idiosyncratic hearing of sixteenth-century polyphony. A close reading of the text suggests that Lowinsky identified with the composers he wrote about and that he aligned Nazi Germany with the Catholic Inquisition. Beyond its engagement with music theory and cultural history, The Secret Chromatic Art delivers a modern narrative of oppressed minorities, authoritarian regimes, and the artistic triumph of the dispossessed. The Secret Chromatic Art matters today because its themes of displacement and cultural estrangement echo similar issues that Pamela Potter and Lydia Goehr have discerned in the work of other exiled musicians and scholars who migrated from Nazi-controlled Europe to the United States, and whose contributions helped shape our discipline. Moreover, Lowinsky’s theory figured prominently in the debate initiated by Joseph Kerman in the 1960s that pitted American criticism against German positivism, a polemic that is still with us today.
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SPRINGER, ROBERT. "Folklore, commercialism and exploitation: copyright in the blues". Popular Music 26, nr 1 (styczeń 2006): 33–45. http://dx.doi.org/10.1017/s0261143007001110.
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Though federal law in the United States provides for the protection of artistic property, including music, African-American blues musicians, since the appearance of their first commercial records in the 1920s, have generally not received their due. Part of the problem came from the difficulty of squaring the discrete notions of folk composition and artistic property in those early days. But the exploitation of black artists was largely attributable to common practices in the record industry whose effects were multiplied in this case by the near total defencelessness of the victims. Imitations and cover versions led to a veritable despoliation of black talent which has only belatedly received legal compensation and public recognition.
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Lederman, Richard J. "Drummers’ Dystonia". Medical Problems of Performing Artists 19, nr 2 (1.06.2004): 70–74. http://dx.doi.org/10.21091/mppa.2004.2011.
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Several reviews involving large numbers of instrumental musicians with focal dystonia from centers in the United States and Europe are available in the performing arts medicine literature, but only a relatively few percussionists have been included. This article describes 6 percussion instrumentalists, out of a total of 139 musicians with dystonia, seen in the Cleveland Clinic Medical Center for Performing Artists. The five men and one woman ranged in age from 21 to 51 years at the onset of dystonia; four were playing professionally, and two were students. Duration of symptoms at the time of evaluation ranged from 1 to 10 years, although five of six were seen 3 years or less after onset. Three were primarily classical percussionists, two played mainly jazz or rock, and one played country music. Two of the six were left-handed; dystonia affected the right arm in three, the left in two, and the left more than the right in one. The nondominant limb was affected solely or predominantly in five of six. Dystonia affected primarily the forearm and wrist, rather than the digits, in contrast to most keyboard, string, and woodwind instrumentalists, presumably reflecting the relative stresses of repetitive movements in this group. A variety of treatment modalities were used before and after evaluation. Of the three musicians still actively playing, one uses anticholinergic medication before each performance, one has restricted her playing to mallet instruments, and one has had a favorable response to limb immobilization. Two others remain in music, teaching or conducting; one has been lost to follow-up.
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MOORE, ANDREA. "Neoliberalism and the Musical Entrepreneur". Journal of the Society for American Music 10, nr 1 (luty 2016): 33–53. http://dx.doi.org/10.1017/s175219631500053x.
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AbstractIn 2012, the flutist Claire Chase, founder of the International Contemporary Ensemble, received a MacArthur Award for her work as an “arts entrepreneur and flutist.” The award's emphasis on Chase's entrepreneurship reflects the growing demand among classical musicians, educators, and critics for self-driven musical projects, promoted as an engine of classical music's concert culture and as crucial to its renewal in the United States. Entrepreneurship curricula are now in place at almost every music school in the country.In this article, I offer a critique of the increasingly institutionalized push for musical entrepreneurship, demonstrating that it is rooted in the discourse and ideals of neoliberalism. Drawing on scholarship by economist Guy Standing and political theorist Wendy Brown, I analyze the discourse supporting musical entrepreneurship training, demonstrating the ways it advances neoliberal values through the association of “freedom” and “innovation” with the dismantling of collectivity and valorization of precarious labor structures. This discourse produces an expectation of radical self-sufficiency throughout U.S. society, across multiple economic sectors and including non-economic areas of life. I argue that musical entrepreneurship training serves not as a progressive alternative to other forms of musical career building, but instead habituates musicians to precariousness and insecurity through its rhetoric and institutional endorsement.