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

Author: Grafiati

Published: 4 June 2021

Last updated: 28 July 2025

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1

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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Goncharov, V. A., and A. B. Usov. "MODELING AN EFFECTIVE CONCERT MANAGEMENT SYSTEM FOR A MUSIC CLUB." Ecology. Economy. Informatics.System analysis and mathematical modeling of ecological and economic systems 1, no. 5 (2020): 35–39. http://dx.doi.org/10.23885/2500-395x-2020-1-5-35-39.

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In the modern world, cultural and leisure activities are more developed than ever. One of the sides of its manifestation is the growing popularity of concerts of various musical groups. The article sets and solves the problem of mathematical modeling of the relationship between the management of a music group and the management of a club that provides a rental venue for performances. We use a static two-level hierarchically organized model that describes the interaction of managers of a music club (supervisor) and a music group (agent). The top – level subject is the supervisor, and the bottom

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Silverman, Marissa. "I drum, I sing, I dance: An ethnographic study of a West African drum and dance ensemble." Research Studies in Music Education 40, no. 1 (2017): 5–27. http://dx.doi.org/10.1177/1321103x17734972.

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The purpose of this ethnographic study was to investigate the Montclair State University’s West African drum and dance ensemble. Analyses of the data revealed three themes related to individual participants and the “lived reality” of the group as a whole, and to the social-cultural teaching–learning processes involved: spirituality, community-as-oneness, and communal joy. My motivation for undertaking this inquiry arose from the fact that, beginning in the 1960s, music education scholars in the United States have been concerned about the widespread marginalization of non-Western musics in Amer

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Kalinicenko, V.E. Kozina Zh.L. Ahmad M. Ayaz Polishchuk S.B. Chuprina O.I. Seryy A.V. Kolman O.Ya. Ivanova G.V. Kudryavtsev M.D. "Musical accompaniment in training as a factor in optimizing the psychophysiological state of young rugby players aged 16-17 years." Здоровье, спорт, реабилитация [zdorov'â, sport, reabìlìtacìâ] [health, sport, rehabilitation], 4, no. 1 (2018): 49–59. https://doi.org/10.5281/zenodo.1218559.

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<em>Purpose:</em> to reveal the influence of the use of musical accompaniment in training on the psychophysiological functions of rugby players of 16-17 years of age. <em>Material. </em>Twenty rugby players from the sports club "KhTF" (16-17 years) took part in the study, 10 athletes entered the control group, 10 entered the experimental group. The experiment was carried out for two months during the preparatory period at the stage of specialized basic training. The experimental group was trained with musical accompaniment. At the beginning and at the end of the experiment, psychophy

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Alouane, Nesrine. "Colored Music in America: a Colored Sense of Belonging? A cultural-linguistic study of hip-hop music lyrics." International Journal of Linguistics and Translation Studies 4, no. 1 (2023): 13–31. http://dx.doi.org/10.36892/ijlts.v4i1.283.

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As all people and nations experience a state of flux, national culture loses its solidity in the context of a global unified culture to which we are called, or rather forced, to belong. Here arise such vital questions as identity and belonging. The case study of this paper concerns the African-American sample as a minority group striving to seize its proper status in a ruthless West. This struggle comes highly significant when treading the edge of popular culture. The research is an inquiry into the extent to which belonging is felt, expressed and staged by the community in question throughout

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Šalamon, Samo. "The Political Use of the Figure of John Coltrane in American Poetry." ELOPE: English Language Overseas Perspectives and Enquiries 4, no. 1-2 (2007): 81–98. http://dx.doi.org/10.4312/elope.4.1-2.81-98.

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John Coltrane; one of the most influential and important musicians and composers of the 20th century; began to inspire jazz musicians and American poets in the 1960s with the Black Arts Movement poets. His music was interpreted and used for the promotion of political ideas in the poetics of Amiri Baraka; Sonia Sanchez; Askia Muhammad Toure; Larry Neal and others. This is the political Coltrane poetry. On the other hand; Coltrane’s music inspired another kind of poets; the musical poets; which began to emerge in the 1970s. In this case; the poetry reflects the true nature of Coltrane’s spiritua

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Solberg, Ragnhild Torvanger, and Alexander Refsum Jensenius. "Group behaviour and interpersonal synchronization to electronic dance music." Musicae Scientiae 23, no. 1 (2017): 111–34. http://dx.doi.org/10.1177/1029864917712345.

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The present study investigates how people move and relate to each other – and to the dance music – in a club-like setting created within a motion capture laboratory. Three groups of participants (29 in total) each danced to a 10-minute-long DJ mix consisting of four tracks of electronic dance music (EDM). Two of the EDM tracks had little structural development, while the two others included a typical “break routine” in the middle of the track, consisting of three distinct passages: (a) “breakdown”, (b) “build-up” and (c) “drop”. The motion capture data show similar bodily responses for all thr

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HANNON TEAL, KIMBERLY. "Fred Hersch at the Village Vanguard: The Sound of Jazz Heritage at New York's Oldest Jazz Club." Journal of the Society for American Music 12, no. 4 (2018): 449–76. http://dx.doi.org/10.1017/s1752196318000366.

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AbstractA small basement in Manhattan's Greenwich Village neighborhood, an area known for its bohemian values, is home to what is now one of jazz's oldest and most significant venues, the Village Vanguard. Although its very name, geography, and twentieth-century countercultural context define the Village Vanguard, a haven for experiment, its unequaled historical significance and current status as a major landmark within worldwide jazz culture have led to a twenty-first-century reality in which the club not only features but also plays an important role in defining the music that constitutes th

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Granot, Roni, and Neta B. Maimon. "Consonance Dissonance and Cadences." Music Perception: An Interdisciplinary Journal 40, no. 4 (2023): 293–315. http://dx.doi.org/10.1525/mp.2023.40.4.293.

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The musical surrounding typical of most non-European/North American population includes some mix of Western, local art or folk music, and hybrid forms combining the two. How do these various musical systems play out in the internalized musical mental schemes of their listeners? Have Western musical schemes been totally internalized in such populations? Here we ask this question in relation to Israeli Arabs (IAs)—one group within the highly understudied Arab musical world. Specifically, we compared the responses of 52 IAs and 34 Israeli Jews (IJs) to 11 harmonic dyads based on intervals from th

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Galella, Donatella, Masi Asare, Jordan Ealey, et al. "MT/D, or change: An anti-racist musical theatre reading group." Studies in Musical Theatre 16, no. 1 (2022): 53–76. http://dx.doi.org/10.1386/smt_00085_1.

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In this roundtable held at the Association for Theatre in Higher Education conference in 2021, the participants discussed the racialized politics of citation in musical theatre studies. Some of the speakers lifted up anti-racist scholarly pieces that have significantly shaped their work: SAJ considered Douglas Jones Jr’s chapter ‘Slavery, performance, and the design of African American theatre’, Jordan Ealey shared lessons from Matthew D. Morrison’s article ‘The sound(s) of subjection: Constructing American popular music and racial identity through Blacksound’, Masi Asare expanded upon Fred Mo

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Parsonage, Catherine. "A critical reassessment of the reception of early jazz in Britain." Popular Music 22, no. 3 (2003): 315–36. http://dx.doi.org/10.1017/s0261143003003210.

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The Original Dixieland Jazz Band's visit in 1919–1920 has been well documented as the beginning of jazz in Britain. This article illuminates a more complex evolution of the image and presence of jazz in Britain through consideration of the cultural and musical antecedents of the genre, including minstrel shows and black musical theatre, within the context of musical life in Britain in the late nineteenth to early twentieth centuries. The processes through which this evolution took place are considered with reference to the ways in which jazz was introduced to Britain through imported revue sho

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GIVAN, BENJAMIN. "Dizzy à la Mimi: Jazz, Text, and Translation." Journal of the Society for American Music 11, no. 2 (2017): 121–54. http://dx.doi.org/10.1017/s1752196317000049.

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AbstractThis article addresses issues of translation and transnational exchange, taking as a case study the two-pronged collaborative relationship between the French jazz singer, lyricist, and translator Mimi Perrin (1926–2010) and the African American trumpeter Dizzy Gillespie (1917–1993), whose memoir Perrin translated into French and with whom she collaborated on a 1963 jazz album. Perrin, who is the article's principal focus, founded the successful vocalese singing group Les Double Six in 1959 and then, after abandoning her musical career for health reasons in 1966, forged a new career as

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Manns, Patricio. "The problems of the text in nueva cancíon." Popular Music 6, no. 2 (1987): 191–95. http://dx.doi.org/10.1017/s0261143000005985.

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Patricio Manns (b. 1937) is a Chilean singer, songwriter, writer, poet, novelist and journalist. He was one of the group of singers who came together in the Peña de los Parra, the club founded by Angel and Isabel Parra in Santiago in 1965 which became the crucible where neo-folklore metamorphised into nueva cancíon (‘New Song’). Manns' relationship with nueva cancíon has been a fundamental, although at times an ambivalent one. Unlike many of the other musicians he has constantly involved himself in non-musical and political activity. Recently he has been the European spokesperson for the Chile

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Vasiliu, Alex. "Sabin Pautza beyond borders and time." ARTES. JOURNAL OF MUSICOLOGY 30, no. 29-30 (2024): 180–99. http://dx.doi.org/10.35218/ajm-2024-0010.

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Being part of the group of Transylvanian and Banat musicians who started their activity in Iasi, Sabin Pautza stood out as a complex, original, spectacular personality. The “engine” of his creativity was innovation – as a teacher at the “George Enescu” Conservatory, conductor and composer. A powerful “engine”, assembled from the “model pieces” of the whole European musical culture and of the young but original North American musical culture. Sabin Pautza has attracted students with his original, direct, integrative way of teaching knowledge in the harmony course, bringing together academic and

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Good-Perkins, Emily. "Arab students’ perceptions of university music education in the United Arab Emirates: A discussion of music education and cultural relevance." International Journal of Music Education 37, no. 4 (2019): 524–35. http://dx.doi.org/10.1177/0255761419853627.

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The purpose of this study was to explore with five Arab young adults their perceptions of Western and Arabic musical cultures as well as their perceptions of the Western classical vocal teaching they experienced at an American-modeled university in the United Arab Emirates. Of interest were issues of cultural relevance and the role of music and music education in Arab society. Data collection methods for this study included individual, semi-structured interviews with each participant and three focus group discussions. This paper will explore the following four themes from the interviews: Theme

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Stacks, Stephen. "Bernice Johnson Reagon's Musical Coalition Politics, 1966–81." Journal of the Society for American Music 18, no. 1 (2024): 1–17. http://dx.doi.org/10.1017/s1752196323000469.

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AbstractIn 1981, Bernice Johnson Reagon gave a talk at the West Coast Women's Festival, challenging the group of mainly white feminists to embrace coalition politics—a political praxis theorized and advocated by Black and Israeli feminists that sought to build coalitions only after distinct group identities were embraced and nurtured. Long before she articulated this concept as the future of the Movements within which she worked, Reagon piloted it in her post-Civil Rights Movement music making. In her work with the Harambee Singers and the Southern Folk Cultural Revival Project between 1966 an

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Innes-Brown, Hamish, Jeremy P. Marozeau, Christine M. Storey, and Peter J. Blamey. "Tone, Rhythm, and Timbre Perception in School-Age Children Using Cochlear Implants and Hearing Aids." Journal of the American Academy of Audiology 24, no. 09 (2013): 789–806. http://dx.doi.org/10.3766/jaaa.24.9.4.

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Background: Children with hearing impairments, especially those using hearing devices such as the cochlear implant (CI) or hearing aid (HA), are sometimes not encouraged to attend music classes, as they or their parents and teachers may be unsure whether the child can perform basic musical tasks. Purpose: The objective of the current study was to provide a baseline for the performance of children using CIs and HAs on standardized tests of rhythm and pitch perception as well as an instrument timbre identification task. An additional aim was to determine the effect of structured music training o

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Witek, Maria A. G., Jingyi Liu, John Kuubertzie, Appiah Poku Yankyera, Senyo Adzei, and Peter Vuust. "A Critical Cross-cultural Study of Sensorimotor and Groove Responses to Syncopation Among Ghanaian and American University Students and Staff." Music Perception 37, no. 4 (2020): 278–97. http://dx.doi.org/10.1525/mp.2020.37.4.278.

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The pleasurable desire to move to a beat is known as groove and is partly explained by rhythmic syncopation. While many contemporary groove-directed genres originated in the African diaspora, groove music psychology has almost exclusively studied European or North American listeners. While cross-cultural approaches can help us understand how different populations respond to music, comparing African and Western musical behaviors has historically tended to rely on stereotypes. Here we report on two studies in which sensorimotor and groove responses to syncopation were measured in university stud

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FAUSER, ANNEGRET. "“Dixie Carmen”: War, Race, and Identity in Oscar Hammerstein's Carmen Jones (1943)." Journal of the Society for American Music 4, no. 2 (2010): 127–74. http://dx.doi.org/10.1017/s1752196310000015.

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AbstractIn December 1943, an all–African American cast starred in the Broadway premiere of Carmen Jones, Oscar Hammerstein II's adaptation of Georges Bizet's Carmen. When Hammerstein began work on Carmen Jones a month after Pearl Harbor, in January 1942, Porgy and Bess was just being revived. Hammerstein's 1942 version of Carmen, set in a Southern town and among African Americans, shows the influence of the revised version of Porgy and Bess, with Catfish Row echoed in a cigarette factory in South Carolina and the Hoity Toity night club. It took Hammerstein more than eighteen months to find a p

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Litvyshchenko, O. V. "Directions of concertmaster activity of Oleksandr Nazarenko." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 57, no. 57 (2020): 246–59. http://dx.doi.org/10.34064/khnum1-57.15.

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Formulation of the problem. At the current stage, concertmaster activity as a kind of performing art requires a comprehensive study to justificatе the artistic effectiveness of the artist. Thereby, there was a need for research of the concertmaster activity of Oleksandr Nazarenko (Professor of the Department of Ukrainian Folk Instruments in I. P. Kotlyarevsky Kharkiv National University of Arts), in order to characterize his performing skills. This article is about the instrumental work of a accordionist, which is an organic component of the activities of art institutions in a variety of forms

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Fruchtman, Aaron. "Max Steiner’s Jewish Identity and Score to Symphony of Six Million (1932)." Journal of Film Music 9, no. 1-2 (2022): 80–93. http://dx.doi.org/10.1558/jfm.20936.

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Max Steiner was one of a significant group of Jewish composers who flourished during Hollywood’s Golden Age. Steiner’s Jewish heritage is rarely discussed in connection with his film music. However, his original underscore for Symphony of Six Million (1932) is revealing. In this essay, I consider how Steiner dealt with Jewish identity when presenting an “insider’s view” of the Lower East Side to a mainstream American audience. Steiner may have used Jewish musical materials for “local color” in a manner typical of evocations of musical exoticism in Hollywood. While aspects of this score border

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Tsvetkovskaya, Tatiana A. "Musica Elettronica Viva. Musical Participation in the Experiments of 1960s." ТЕАТР. ЖИВОПИСЬ. КИНО. МУЗЫКА, no. 3 (2023): 173–85. http://dx.doi.org/10.35852/2588-0144-2023-3-173-185.

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This article analyzes early experiments of Musica Elettronica Viva. The music of this avantgarde group, which emerged on the wave of widespread interest in collective creative process and free improvisation, is usually considered jointly the socio-political upheavals of the late 1960s. Although the historical canvas — student unrest, mass riots, the rise of counterculture — reflects the spirit of the era, external facts obscure the artistic innovation of MEV. Meanwhile, the aim of the group, created to be a composer’s laboratory, was to find a new sound through spontaneous interaction with sta

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Law (Convenor), Hedy, Olivia Bloechl, Jessica Bissett Perea, et al. "Forum—Centering Discomfort in Global Music History." Journal of Musicology 40, no. 3 (2023): 249–307. http://dx.doi.org/10.1525/jm.2023.40.3.249.

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This forum presents a conversation among seven scholars who explore the theme of discomfort in the emergent field of global music history. Prompted by Yvonne Liao and Olivia Bloechl, co-founders of the American Musicology Society’s Global Music History Study Group in 2019, these contributions address ideas of globality by decentering knowledge production and productively engage different ways to resist hegemonic pasts, narratives, and processes entrenched at home, whatever and wherever home may be. This forum thus confronts home-based challenges that resist or obstruct the implementation of th

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Bidgood, Lee. "Performing Race(d) music in Central Europe." Lidé města 11, no. 2 (2009): 378–84. https://doi.org/10.14712/12128112.3660.

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The 1993 Česko-Slovenský split was the latest step in the formation of today’s nearly mono-ethnic Czech nation-state, a culturally homogeneous milieu where ethnicity blurs with citizenship, and outsiders are not always welcomed. As a phenotypically “white” scholar engaged in participatory observation of Czech performance of bluegrass music, I feel the power of music to forge identity in this exclusive environment: my “Americanness” both endears me to and distances me from my Czech colleagues and the life of their communities. Bluegrass’s foundations in U.S. minstrelsy, its connections with pro

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Delogu, Franco, and Marta Olivetti Belardinelli. "Children's Recognition of Their Musical Performance." Musicae Scientiae 7, no. 1_suppl (2003): 31–48. http://dx.doi.org/10.1177/10298649040070s102.

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The present study was designed to obtain indications about unskilled children's music performances by means of a computer-based performance task. In particular, we assessed children's abilities to recognize their own performances and their self-awareness of such competence. A total of 240 children from Southern Italy, subdivided into 3 age groups, performed their own version of a familiar song. After 4, 6, or 8 days according to the group, participants were asked to recognize their own interpretation among two other performances recorded by participants in the same age group. Finally, the reas

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Cieślak, Agnieszka. "Bronisław Mirski - Polish Music Director of the Silent Film Era1." Musicology Today 17, no. 1 (2020): 72–83. http://dx.doi.org/10.2478/muso-2020-0006.

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Abstract Bronisław Mirski (b. 1887 as Moszkowicz in Żyrardów near Warsaw, Poland – d. 1927 in El Paso, Texas) belongs to the substantial group of Polish émigré artists of Jewish origin. A violinist and conductor educated in Europe, he permanently settled in the United States at the end of 1914 under the name of Nek Mirskey and soon began working as a music director in movie theatres. He was in charge of the musical settings for elaborate artistic programmes composed of silent films as well as music and stage attractions. His first widely acclaimed shows were presented at the Metropolitan Theat

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Austerlitz, Paul, and Jhensen Ortiz. "Aprender Es Infinito: El Comandante Mario Rivera, the Godfather of Dominican Jazz." Jazz & Culture 8, no. 1 (2025): 1–26. https://doi.org/10.5406/25784773.8.1.01.

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Abstract The Dominican American saxophonist, multi-instrumentalist, and bandleader Mario Rivera (1939–2007) began his career as a master sideman in the best New York Latin dance bands of the twentieth century. An avid reader and organic intellectual, Rivera fed his musical growth by surrounding himself with the top Latin and jazz musicians on the scene, converting his Manhattan apartment into a veritable salon for creative music where the best musical minds of the twentieth century, such as Tito Puente, George Coleman, and Thelonious Monk, converged to trade ideas and make music. Notable for h

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Garcia, Marcelo Velloso, and Vítor Castelões Gama. "Brazilian native metal and the experience of transculturation." Metal Music Studies 7, no. 1 (2021): 171–77. http://dx.doi.org/10.1386/mms_00041_1.

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Politics and identity go together in Brazilian heavy metal. Headbangers often experience accusations regarding their less-than-Latin-American identity for enjoying a foreign musical style more than their own native styles. Even though this is partially true, Brazilian heavy metal engages national and musical identity in at least two different ways. The first is through the denial of any connection to Brazilian culture and its roots by accepting this anglophone genre. The second is through the transformation of the musical genre itself, thanks to the influence of Brazilian folk music. Based on

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Migliaccio, John. "THE BLUES AND OLDER MINORITY MUSICIANS: MORE THAN JUST MUSIC XXX." Innovation in Aging 7, Supplement_1 (2023): 533. http://dx.doi.org/10.1093/geroni/igad104.1749.

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Abstract That’s right! This GSA Annual Scientific Meeting celebrates 30 years of the ever popular “‘Bo Diddley’ Track” providing insights into the older performers who have pioneered and preserved this uniquely American musical genre and distinctive cultural treasure. Tampa was, and remains, a significant location in its history. When Hudson Woodbridge (Whittaker), a.k.a. “Tampa Red”, had learned all he could of the popular “race records” featuring legendary blues performers like Ma Rainey, Bessie Smith, and Ida Cox and moved to Chicago in 1925 in his early 20s, he brought with him a prolific

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Solberg, Ragnhild Torvanger, and Alexander Refsum Jensenius. "Pleasurable and Intersubjectively Embodied Experiences of Electronic Dance Music." Empirical Musicology Review 11, no. 3-4 (2017): 301. http://dx.doi.org/10.18061/emr.v11i3-4.5023.

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How do dancers engage with electronic dance music (EDM) when dancing? This paper reports on an empirical study of dancers' pleasurable engagement with three structural properties of EDM: (1) breakdown, (2) build-up, and (3) drop. Sixteen participants danced to a DJ mix in a club-like environment, and the group’s bodily activity was recorded with an infrared, marker-based motion capture system. After they danced, the subjects filled out questionnaires about the pleasure they experienced and their relative desire to move while dancing. Subsequent analyses revealed associations between the group’

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Babazadeh, Masiar, Luca Botturi, and Giacomo Reggiani. "Let's Jazz: a Case Study on Teaching Music with Educational Escape Rooms." European Conference on Games Based Learning 16, no. 1 (2022): 656–65. http://dx.doi.org/10.34190/ecgbl.16.1.854.

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Escape rooms have been proven to be a functional game-based approach to teach a variety of subjects. Teachers as well as students are eager to play escape rooms in the classroom; field studies have demonstrated how escape games are a memorable activity with a high retention rate, especially if followed by a proper debriefing session, in which learnings emerged and are made consistent. In recent years literature on educational escape rooms has grown, yet there is little body of research on educational escape rooms on music education. In this paper we present an educational escape room about Afr

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Taylor, Joshua. "Communitas, Worship, and Music: Using Music to Revitalize the Post-Modern Church." Religions 14, no. 9 (2023): 1206. http://dx.doi.org/10.3390/rel14091206.

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Music often facilitates the experience of communitas within disparate groups of people. As the American mainline Protestant church faces schism and struggles for relevance in a post-modern era defined by mistrust in the institutional church and social subjectivism, reexamining how singing together can break down barriers within ecclesial structures and create shared understanding is merited. As demonstrated through the music of pilgrimage, community musicking allows individuals to define the sacred together. Music then becomes an educational resource for the reformation of the church. The Iona

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Chabashvili, Eka, and Joni Asitashvili. "SOUNDSCAPE IN MUSIC AND MUSIC IN SOUNDSCAPE." Deutsche internationale Zeitschrift für zeitgenössische Wissenschaft 79 (May 7, 2024): 4–8. https://doi.org/10.5281/zenodo.11127206.

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The acoustics of nature gave people many musical ideas, and people enriched musical features and performance skills with the ability of a person to imitate the surrounding sound effects. Imitating and studing the audio nature, man learned to create instruments, and over time, based on instrumental modifications and many different, artificially created rules, he developed a variety of sounds (including electronic music) and principles of the different type of the composition techniques. With this approach, music moved away from its real environment and, as a result of the formati

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Pfeiffer, Camila F., Wendy L. Magee, Marcela Parada, Gustavo Stein, and Maria Julieta Russo. "MusiMentes: Home-based musical interventions for people with mild cognitive impairment and mild dementia, a randomized controlled trial protocol." Music and Medicine 17, no. 1 (2025): 29–39. https://doi.org/10.47513/mmd.v17i1.1069.

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Mild Cognitive Impairment (MCI) and Mild Dementia (MD) represent a growing challenge in Latin America, with an estimated prevalence between 11-28% in people over 65 years. Musical interventions have shown potential benefits for cognitive functioning and emotional well-being in this population. Objective: To evaluate the efficacy of the "MusiMentes" home-based musical intervention protocol on cognitive functioning and emotional well-being in patients with MCI and MD, as well as its impact on the patient-caregiver relationship. Methods: Single-blind, randomized controlled trial with 50 outpatien

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Borуsova, Yu, and A. Fedoriaka. "Musical and rhythmic training of gymnasts 6-7 years old." Scientific Journal of National Pedagogical Dragomanov University Series 15 Scientific and pedagogical problems of physical culture (physical culture and sports), no. 8(128) (December 28, 2020): 27–32. http://dx.doi.org/10.31392/npu-nc.series15.2020.8(128).06.

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Competitive composition in rhythmic gymnastics is a small performance that has its own plot. However, the modern system of training in rhythmic gymnastics involves the implementation of a large amount of complex and super-complex elements, which must be mastered by very young athletes, and almost no methods of forming artistry, expressiveness, musicality. Problems related to the study of sports aesthetics are the subject of research by scientists: Viner-Usmanova I.O., M.E. Plekhanova, L.P. Morozova, V.V. Sydorova, L.A. Karpenko, Kabaieva A.M., Biletska I.H. etc.. Aim: to scientifically s

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Jovanovic, Jelena. "The appearance of concept albums in Yugoslav popular music: Kamen na kamen - long play records." Muzikologija, no. 17 (2014): 167–94. http://dx.doi.org/10.2298/muz1417167j.

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It is commonly understood that a concept album is ?a studio album where all musical or lyrical ideas contribute to a single overall theme or unified story? (Shuker 2002: 5). In this paper this term will be used to denote an album containing extra-musical themes and not simply collections of compositions defined only by genre or theme. In order for an album to belong to this category, it must have taken a thematic unity realized by the common content (thematically) of its compositions and common musical means. Although the beginnings of such creative trends can be traced from 1940, the 1960s an

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Matthews, Wendy K. "“Stand by Me”: A Mixed Methods Study of a Collegiate Marching Band Members’ Intragroup Beliefs Throughout a Performance Season." Journal of Research in Music Education 65, no. 2 (2017): 179–202. http://dx.doi.org/10.1177/0022429417694875.

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The purpose of this mixed methods study was to investigate intragroup beliefs regarding participation in a National Collegiate Athletic Association (NCAA) Division II marching band throughout the university’s American football season. Fifty-three undergraduates from an urban midwestern university elected one of two options: (1) focus group only or (2) focus group and surveys. For the quantitative inquiry, it was hypothesized that members would report a downward concavity of group cohesion attributes and collective efficacy beliefs across time. A repeated measures multivariate analysis of varia

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Bridgewater, Michael. "Industrial Techno and SID Sound Design in the Commodore 64 Game Slipstream." Journal of Sound and Music in Games 4, no. 1 (2023): 9–25. http://dx.doi.org/10.1525/jsmg.2023.4.1.9.

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Slipstream is a rail shooter developed by the group Bauknecht. The soundtrack, composed by Ronny Engmann, accentuates the game’s futuristic space setting and emphasis on speed by invoking the electronic dance music style of industrial techno, which combines the taut grooves of minimal techno with the abrasive sonics of early industrial music to make for an intensification of the sound that made the club scenes of Detroit and Berlin famous. Despite the Commodore 64 being a supposedly obsolete 8-bit platform that had its manufacture stopped decades ago, contemporary composers like Engmann are co

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CANNATA, AMANDA. "Articulating and Contesting Cultural Hierarchies: Guatemalan, Mexican, and Native American Music at the Panama-Pacific International Exposition (1915)." Journal of the Society for American Music 8, no. 1 (2014): 76–100. http://dx.doi.org/10.1017/s1752196313000618.

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AbstractThree case studies, on Guatemalan, Mexican, and Native American music performed at San Francisco's 1915 Panama-Pacific International Exposition, illustrate the complex and varied ways that music can both reflect and challenge dominant and local ideologies of cultural value. The Guatemalan Commission made a claim for cultural significance through the Hurtado Royal Marimba Band's residency in their pavilion. This claim, however, was made through a Euro-American framework of cultural progress; the band's performances thus obscured the important role of Afro-Guatemalans and indigenous grou

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Eaby-Lomas, Malcolm. "“Amapiano to the World”: A Movement in Afrodiasporic Space Dion." Athens Journal of Humanities & Arts 12, no. 2 (2025): 147–70. https://doi.org/10.30958/ajha.12-2-2.

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The phrase “amapiano to the world” is often used by practitioners to refer to the power of the musical form to travel across national boundaries and its potential to become a global phenomenon like hip hop or house music. Using Xavier Livermon‘s conception of Afrodiasporic space which argues that Africa is a “constitutive and continuous site of diaspora” and that those constructed and represented as indigenous are equal parts of such a diasporic space , as well as Gavin Steingo‘s “point-to-point” connectivity rather than the often represented “frictionless musical flow” , I examine amapiano‘s

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Reisinger, Elisabeth. "“To Realize in America What Has Become Impossible in Europe”: Excavating Erich Simon’s Life for Music (1907–1994)." Journal of Austrian-American History 6, no. 1 (2022): 44–73. http://dx.doi.org/10.5325/jaustamerhist.6.1.0044.

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Abstract Erich Simon (1907–1994) was a Viennese-born performer, conductor, editor, concert manager, teacher, and composer. Being Jewish and socialist, he escaped from Austria in 1938 and emigrated to New York, where he rebuilt his career. He contributed to the musical cultures in Europe and the United States in many ways. His network contained prominent names from intellectual, cultural, and musical life on both sides of the Atlantic, such as Benny Goodman, Darius Milhaud, Fritz Stiedry, Erika Wagner, and Hans Weigel. However, as Simon himself was no famous composer, conductor, or virtuoso on

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