Relevant bibliographies by topics / American Music Club (Musical group)

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'American Music Club (Musical group)'

Author: Grafiati
Published: 4 June 2021
Last updated: 28 July 2025

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Journal articles on the topic "American Music Club (Musical group)"

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Brandellero, Amanda, and Robert C. Kloosterman. "There's Music to Play, Places to Go, People to See! An Exploration of Innovative Relational Spaces in the Formation of Music Scenes: The Case of The Hague in the 1960s." Built Environment 46, no. 2 (2020): 138–52. http://dx.doi.org/10.2148/benv.46.2.298.

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It was not so much Amsterdam, the cultural capital, but The Hague which had the most vibrant Beat music scene in the Netherlands in the 1960s. Part of the explanation for this lies in the presence of a sizeable group of youngsters who were born in the former colony the Dutch East Indies and who were already well acquainted with contemporary American popular music. This laid the foundation for the city's musical effervescence that contributed to placing it firmly on the map of the country's popular music history. We analyse the social and networked dimensions of this local music scene by depart
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Zoryana Haladzhun, Zoryana, Alina Ilchuk, and Andriy Yarmolovych. "TYPOLOGICAL FEATURES OF THE SPECIALIZED MAGAZINE «BANDURA»." Bulletin of Lviv Polytechnic National University: journalism 1, no. 7 (2024): 1–8. http://dx.doi.org/10.23939/sjs2024.01.001.

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The work analyzes the typological features of the specialized music and literary bilingual (Ukrainian and English) magazine’ Bandura,’ published by the School of Bandura Art from 1981 to 2002 in the United States of America. It has been established that the publication of the magazine was preceded by the issuance from 1972 to 1981 of the ’Kobzarski Lystky’ (Kobzar Sheets), which were compiled by the School of Kobzar Art under the leadership of Mykola Czorny since its founding; the subscription costs varied based on two criteria: the region of distribution (America, Canada, or other countries)
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Lee, Angela, and Jane Southcott. "The ukulele experiences: Leisure and positive ageing in Taiwan." International Journal of Community Music 13, no. 3 (2020): 319–31. http://dx.doi.org/10.1386/ijcm_00028_1.

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In Shuilin Township, Yunlin County, Taiwan a group of older people have a small, well-established, active musical club called ‘Can’t Read the Words’ where they learn and play the ukulele together. This research explored the impact of their ukulele playing experiences and paid special attention to song preferences (songs they have chosen to play or sing). Data collection involved 11 semi-structured, in-depth interviews with individual healthy adults. All participants drew from their experiences in regional community music organizations to explore how music effects their daily lives. Thematic an
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Sugiana, Dadang, and Hanny Hafiar. "Construction Of Self-Identity And Social Identity Of "Koes Plus" Music Fans." MIMBAR : Jurnal Sosial dan Pembangunan 34, no. 1 (2018): 176–84. http://dx.doi.org/10.29313/mimbar.v34i1.3321.

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This research discusses about the construction of self and social identity of music fans community, Study on Community of Koes Fans Club-Jiwa Nusantara, intended to understand self-identity, and social identity, that develops inside the music fans community. The objective of this research is to find how member of musical group fans construct self-identity and social identity in the community. The research method is a qualitative with phenomenology tradition. As for the subjects of this study are the member of Koes Music Fans Club- Jiwa Nusantara that are domiciled in several cities, including
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ZELENSKY, NATALIE K. "Club Petroushka, Émigré Performance, and New York's Russian Nightclubs of the Roaring Twenties." Journal of the Society for American Music 14, no. 4 (2020): 480–509. http://dx.doi.org/10.1017/s1752196320000346.

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AbstractIn the midst of the Prohibition era, New York City proliferated with nightclubs that presented patrons with imagined worlds of music and entertainment. This essay explores the role of music in creating such imagined worlds, looking specifically at the Russian-themed nightclubs founded by and employing émigrés recently exiled from Bolshevik Russia. Examining Midtown's Club Petroushka as a prime example of such a space, this essay focuses on the so-called “Russian Gypsy” entertainment that caught the eye and ear of the club's patrons, whose ranks included Charlie Chaplin, Harpo Marx, and
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Morrison, Steven J. "A Comparison of Preference Responses of White and African-American Students to Musical versus Musical/Visual Stimuli." Journal of Research in Music Education 46, no. 2 (1998): 208–22. http://dx.doi.org/10.2307/3345624.

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The purpose of this study was to examine the role of same- and other-group identification in musical preference decision-making. Subjects were African-American (n = 189) and white (n = 280) music students in Grades 6, 7, and 8. Each subject responded along a 9-point Likert scale to 10 instrumental music excerpts, five performed by African-American jazz artists and five performed by white jazz artists. Examples were presented according to one of three conditions: (1) music only, (2) music accompanied by a photograph of the performers, or (3) music accompanied by a photograph of different perfor
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Poulakis, Nick, and Christina Stamatatou. "Music, Documentaries and Globalization." Popular Music Research Today: Revista Online de Divulgación Musicológica 4, no. 2 (2023): 7–21. http://dx.doi.org/10.14201/pmrt.30166.

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This paper deals with the relationship between sound and image as expressed in the cinematic genre of music documentary. In particular, it tries to explore the way in which musical cultures are audiovisually expressed through filmic representation of music performances and artists/groups portraits. By applying a critical and comparative approach, the films Buena Vista Social Club (1999) and Café de los Maestros (2008) become vehicles to investigate images and sounds of music in everyday life, with an emphasis on the impact of globalization and commercialization during their creation and interp
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Prokopchuk, V., and M. Koreychuk. "STUDENT SCIENTIFIC PROBLEM GROUPS AS AN INTEGRAL FACTOR OF PROFESSIONAL TRAINING FOR HIGHER EDUCATION STUDENTS MAJORING IN MUSICAL SPECIALTIES." Aesthetics and Ethics of Pedagogical Action, no. 29 (June 14, 2024): 181–91. http://dx.doi.org/10.33989/2226-4051.2024.29.306166.

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The article addresses the issue of professional training for higher education students majoring in music pedagogical / arts specialties, particularly, focusing on student scientific problem groups and their significance in the professional development of musician students. It also elucidates the peculiarities of research work by higher education students, which is an essential integral component of the educational process. The article highlights the student scientific problem group as a potent tool for professional training of higher education students in arts specialties. It identifies the fu
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Lee, HyunSu. "Alteration on Music Education Policy in School Art Education Promotion." Korean Society of Music Education Technology 47 (April 30, 2021): 149–69. http://dx.doi.org/10.30832/jmes.2021.47.149.

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The purpose of this study was to examine the process of policy changing in the Department of Music in the School Arts Education Promotion Plan, a document issued by th Ministry of Education from 2011 to 2020, and to find problems and improvements. As a Result, until 2015, the focus was mainly on quantitative growth by increasing th number and amount of schools supported, but after 2016, qualitative growth such as music programs, student satisfaction, and teacher education was pursued. Background of the initial policy began with the cultivation of personality for social requirement, then shifte
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Haimson, Jennifer, Deanna Swain, and Ellen Winner. "Do Mathematicians Have Above Average Musical Skill?" Music Perception 29, no. 2 (2011): 203–13. http://dx.doi.org/10.1525/mp.2011.29.2.203.

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accompanying the view that music training leads to improved mathematical performance is the view that that there is an overlap between the kinds of skills needed for music and mathematics. We examined the popular conception that mathematicians have better music abilities than nonmathematicians. We administered a self-report questionnaire via the internet to assess musicality (music perception and music memory) and musicianship (music performance and music creation). Respondents were doctoral-level members of the American Mathematical Association or the Modern Language Association (i.e., litera
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Dissertations / Theses on the topic "American Music Club (Musical group)"

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Begnaud, Edward M. C. "Musical Aesthetics: An Objective Approach to "Music Appreciation" for American Public Education." Thesis, University of North Texas, 1988. https://digital.library.unt.edu/ark:/67531/metadc500415/.

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The specific problem prompting this investigation is the creation of a method of music criticism. The purposes for the investigation are three in number. First and foremost, the purpose of the investigation is to develop an unrestricted method of music criticism. The development of such a method fulfills the second reason for the investigation. Although Mortimer Adler and the Paideia Group have clearly stated the classes and pedagogy to be utilized in a Paideia curriculum, they have done little to suggest specific class content. This study resolves the content problem for one class. It is rec
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Martin, Christopher Alan. "‘We Feed Off Each Other’: Embodiment, Phenomenology and Listener Receptivity of Nirvana’s In Utero." Bowling Green State University / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1143406900.

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Smith, Arlette Miller. "Speaking the song, spreading the word, lifting the people : the reimagination of community through vocal music activism /." 2005. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:3173641.

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Books on the topic "American Music Club (Musical group)"

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Vaughan, Andrew. The Eagles: An American band. Sterling, 2010.

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Goldberg, Marv. More than words can say: The Ink Spots and their music. Scarecrow Press, 1998.

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Millner, Denene. Dreamgirls. HarperCollins, 2007.

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Grisham, Jack. An American demon: A memoir. ECW Press, 2011.

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Dan, Nadel, Rudick Nicole, Destroy All Monsters (Musical group), and Prism (Gallery), eds. Return of the repressed: Destroy All Monsters, 1973-1977. PictureBox, 2011.

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DeRogatis, Jim. Staring at sound: The true story of Oklahoma's fabulous Flaming Lips. Broadway Books, 2006.

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Dave, Marsh, and Rock Bottom Remainders (Musical group), eds. Mid-life confidential: The Rock Bottom Remainders tour America with three chords and an attitude. Viking, 1994.

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1947-, King Stephen, ed. Mid-life confidential. Hodder & Stoughton, 1994.

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Kahyaoğlu, Orhan. And dağları'ndan Anadolu'ya 'devrimci müzik' geleneği: "Sıyrılıp gelen" Grup Yorum. Nekitaplar, 2003.

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Body, Sean. Wish the World Away: Mark Eitzel & the American Music Club. SAF Publishing, 1999.

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Book chapters on the topic "American Music Club (Musical group)"

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Tick, Judith. "“Music as a Weapon in the Class Struggle”." In Ruth Crawford Seeger. Oxford University PressNew York, NY, 1997. http://dx.doi.org/10.1093/oso/9780195065091.003.0012.

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Abstract I came home from school,” Pete Seeger recalled, “and I found Father and Ruth up to their ears in radical politics. They were both enthusiastic mem- hers of the Pierre Degeyter Club, and they worked hard.” One of twenty-odd left-wing musicians’ groups in the Workers Music League, organized in 1931 within the labor federations of the American Communist Party, the Pierre Degeyter Club was devoted to the creation of proletarian culture. Henry Cowell invited Charles to deliver a lecture to the group and Ruth went to that meeting in 1932. The next year they took Pete around, and together th
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Anderson, Crystal S. "“A Song Calling for You”." In Soul in Seoul. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496830098.003.0002.

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Korean pop groups cite the R&B tradition by emulating R&B musical and vocal elements in catchy pop songs and enhance the tradition through Korean music strategies that infuse multiple genres with R&B elements. Korean pop groups emulate the R&B tradition by citing elements of funk, club, and urban R&B. Moreover, Korean and African American producers infuse K-pop with different varieties of R&B. These artists also enhance the R&B tradition by mixing pop genres with R&B within individual songs and over the course of their careers. In music videos, they cite the cho
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Weltak, Marcel. "Contemporary Surinamese Jazz." In Surinamese Music in the Netherlands and Suriname. University Press of Mississippi, 2021. http://dx.doi.org/10.14325/mississippi/9781496816948.003.0009.

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This chapter examines the position of jazz musicians in the Netherlands from the 1970s onward and discusses important musical developments and reactions in the Dutch press. It also provides information on the key players. In 1973, ten years after the death of Kid Dynamite, social worker and bass guitarist Vincent Henar began organizing jazz concerts in the club Kwakoe-Bijlmermeer. By Surinamese standards quite avant-garde music resounded among the tall blocks of apartment buildings. Surinamese jazz musicians had discovered the music of Charlie Parker and Miles Davis. Ten years later, two group
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Decker, Todd. "The “Most Distinctive and Biggest Benefit that Broadway Has Ever Known”." In Rethinking American Music. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042324.003.0011.

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Decker examines how the “color line” in the twentieth century crucially impacted Broadway up to the onset of the Great Depression. He finds a “surprising group portrait” of participants--including such figures as Walter White, an early African American leader of the NAACP, and Carl Van Vechten, a popular white novelist and cultural gadfly--who “together [meet] at a site where questions of musical style, race relations, and cultural and social history intersect in provocative ways” and offers a case study of how popular entertainment across the racial spectrum could work to enhance interracial
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Riis, Thomas L. "Defying Boundaries and Escaping Stereotypes." In Rethinking American Music. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042324.003.0010.

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Riis takes up the complicated conventions and troubled history of late-nineteenth-century blackface minstrelsy as it was blended and interwoven into the activities among a largely unknown contingent of thousands of African American (and mostly midwestern) musicians and entertainers. He explores how nineteenth-century entertainers understood their business, including the moniker “minstrel” itself, and what for them constituted original, creative work. In this essay, the questions of identity have less to do with personal stories than the importance of the group and how its activities have been
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Sanjek, Rick. "The Game of Musical Thrones." In American Popular Music and Its Business in the Digital Age. Oxford University PressNew York, 2024. http://dx.doi.org/10.1093/oso/9780190653828.003.0001.

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Abstract The “Musical Thrones” were occupied by the top officers at the Big Six major label groups—Warner/Elektra/Atlantic, CBS, BMG, EMI, PolyGram, and MCA. Under their leadership the record business grew from $4.6 billion in 1985 to $12.3 billion in 1995. The top leadership regimes lasted from a few months to nine years. Fourteen individuals and one duo each sat on one of the six thrones as each learned that “you’re only as hot as your latest hit.” Each label group head reported to executives at the parent entertainment conglomerate. Only EMI had the same corporate ownership over the entire
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Fava, Maria Cristina. "Bourgeois Modernism for the Proletariat." In Art Music Activism. University of Illinois Press, 2024. http://dx.doi.org/10.5622/illinois/9780252045714.003.0002.

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Chapter 1 investigates the goals of the Composers’ Collective of New York and ties their work to the successful songs of protest of the American labor movement. Searching for a musical language that could communicate with the masses and give voice to their needs, the Collective, led by Charles Seeger, aimed to establish an American proletarian music. Yet, as demonstrated, the combination of musical experimentation, populism, and political propaganda did not always help the group to advance left-leaning political ideas nor to produce artistic masterpieces. Two inherent problems, one aesthetic a
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Dalphond, Denise. "Detroit House and Techno." In The Oxford Handbook of Electronic Dance Music. Oxford University Press, 2025. https://doi.org/10.1093/oxfordhb/9780190093723.013.2.

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Abstract This chapter explores the deep-rooted connections between techno, hip-hop, and house music, recognizing them as Black musical forms of expression and examining their power of resistance within celebratory culture. Originating in Detroit and Chicago during the late 1970s and early 1980s, these genres were heavily influenced by Black DJs and musicians who created inclusive club cultures. The chapter is based on ethnographic research conducted in Detroit from 2008 to 2011, including interviews, nightclub visits, and collaborations with local journalists. Highlighting the significance of
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Faucett, Bill F. "Preaching, The Dial, and the Harvard Musical Association." In John Sullivan Dwight. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780197684184.003.0005.

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Abstract In May 1840, following several frustrating years of stand-in preaching, Dwight was ordained as minister of the Congregational Church in Northampton, Massachusetts. Beloved by a few, he was ultimately dismissed for his crimes of Transcendentalism. Dwight also wrote for The Dial (1840–1844), an organ designed to spread the gospel of Transcendentalism. His first essay was a Northampton sermon, “The Religion of Beauty,” a lesson steeped in Transcendentalism and one that unearths Dwight’s youthful aesthetic stance. Dwight was involved in the effort to remake his old Harvard club, the Pieri
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Holm-Hudson, Kevin. "Salvatore Martirano (1927–1995)." In Interviews with American Composers. University of Illinois Press, 2022. http://dx.doi.org/10.5622/illinois/9780252043994.003.0015.

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Holm-Hudson places the interview while Martirano was developing his Sal-Mar synthesizer, and notes musical ideas raised in its construction. Childs and Martirano discuss his improvisation group; how problems with live performance led to the genesis of the Sal-Mar; technical problems in its development; how it has changed Martirano’s approach to music as sound; his past works (Underworld, Ballad, L’s G.A., Cocktail Music); the University of Illinois and virtuoso performers; listening, hearing and the repeatability of performances; the process of composition; and the product. Martirano wants to
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