Relevant bibliographies by topics / American music in the 1930s

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'American music in the 1930s'

Author: Grafiati
Published: 4 June 2021
Last updated: 14 February 2022

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Journal articles on the topic "American music in the 1930s"

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Booker, Vaughn. "“An Authentic Record of My Race”: Exploring the Popular Narratives of African American Religion in the Music of Duke Ellington." Religion and American Culture: A Journal of Interpretation 25, no. 1 (2015): 1–36. http://dx.doi.org/10.1525/rac.2015.25.1.1.

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AbstractEdward Kennedy “Duke” Ellington (1899–1974) emerged within the jazz profession as a prominent exponent of Harlem Renaissance racial uplift ideals about incorporating African American culture into artistic production. Formed in the early twentieth century's middle-class black Protestant culture but not a churchgoer in adulthood, Ellington conveyed a nostalgic appreciation of African American Christianity whenever hewrote music to chronicle African American history. This prominent jazz musician's religious nostalgia resulted in compositions that conveyed to a broader American audience a portrait of African American religiosity that was constantly “classical” and static—not quite primitive, but never appreciated as a modern aspect of black culture.This article examines several Ellington compositions from the late 1920s through the 1960s that exemplify his deployment of popular representations of African American religious belief and practice. Through the short filmBlack and Tanin the 1920s, the satirical popular song “Is That Religion?” in the 1930s, the long-form symphonic movementBlack, Brown and Beigein the 1940s, the lyricism of “Come Sunday” in the 1950s, and the dramatic prose of “My People” in the 1960s, Ellington attempted to capture a portrait of black religious practice without recognition of contemporaneous developments in black Protestant Christianity in the twentieth century's middle decades. Although existing Ellington scholarship has covered his “Sacred Concerts” in the 1960s and 1970s, this article engages themes and representations in Ellington's work prefiguring the religious jazz that became popular with white liberal Protestants in America and Europe. This discussion of religious narratives in Ellington's compositions affords an opportunity to reflect upon the (un)intended consequences of progressive, sympathetic cultural production, particularly on the part of prominent African American historical figures in their time. Moreover, this article attempts to locate the jazz profession as a critical site for the examination of racial and religious representation in African American religious history.
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Asai, Susan Miyo. "Nisei Politics of Identity and American Popular Music in the 1930s and 1940s." Ethnic Studies Review 32, no. 2 (January 1, 2009): 92–119. http://dx.doi.org/10.1525/esr.2009.32.2.92.

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Growing nationalist thinking and anti-immigration legislation in American politics today calls for a critical historicizing of the continuing ambiguities of U.S. citizenry and notions of what it is to be an American. The identity crisis of Nisei-second generation Japanese Americansresulted from the complex intersection of America's racialized ideology toward immigrants, California's virulent anti-Asian agitation, and the economic and political power struggles between the United States and Japan in gaining dominance of the Pacific region.
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Hisama, Ellie M. "The Ruth Crawford Seeger Sessions." Daedalus 142, no. 4 (October 2013): 51–63. http://dx.doi.org/10.1162/daed_a_00236.

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Ruth Crawford Seeger (1901–1953), an American experimental composer active in the 1920s and 1930s, devoted the second half of her career to transcribing, arranging, performing, teaching, and writing about American folk music. Many works from Crawford Seeger's collections for children, including “Nineteen American Folk Songs” and “American Folk Songs for Children,” are widely sung and recorded, but her monumental efforts to publish them often remain unacknowledged. This article underscores the link between her work in American traditional music and Bruce Springsteen's best-selling 2006 album “We Shall Overcome: The Seeger Sessions” in order to give Crawford Seeger due credit for her contributions. By examining her prose writings and song settings, this article illuminates aspects of her thinking about American traditional music and elements of her unusual and striking arrangements, which were deeply informed by her modernist ear.
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KURAGANO, LEAH. "Hawaiian Music and Oceanizing American Studies." Journal of American Studies 52, no. 04 (November 2018): 1163–72. http://dx.doi.org/10.1017/s0021875818001147.

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American studies has been dedicated to understanding cultural forms from its beginnings as a field. Music, as one such form, is especially centered in the field as a lens through which to seek the cultural “essence” of US America – as texts from which to glean insight into negotiations of intellectual thought, social relations, subaltern resistance, or identity formation, or as a form of labor that produces an exchangeable commodity. In particular, the featuring of folk, indigenous, and popular music directly responded to anxieties in the intellectual circles of the postwar era around America's purported lack of serious culture in comparison to Europe. According to John Gilkeson, American studies scholars in the 1950s and 1960s “vulgarized” the culture concept introduced by the Boasian school of anthropology, opening the door to serious consideration of popular culture as equal in value to high culture.1
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Paul, David C. "Consensus and Crisis in American Classical Music Historiography from 1890 to 1950." Journal of Musicology 33, no. 2 (2016): 200–231. http://dx.doi.org/10.1525/jm.2016.33.2.200.

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In the late nineteenth century American publishers began to answer a burgeoning demand for histories of classical music. Although some of the authors they contracted are well-known to scholars of music in the United States—most notably Edward MacDowell and John Knowles Paine—the books themselves have been neglected. The reason is that these histories are almost exclusively concerned with the European musical past; the United States is a marginal presence in their narratives. But much can be learned about American musical culture by looking more closely at the historiographical practices employed in these histories and the changes that took place in the books that succeeded them in the first half of the twentieth century. In particular, they shed light on the shifting transatlantic connections that shaped American attitudes toward classical music. Marked at first by an Anglo-American consensus bolstered by the social evolutionary theory of prominent Victorians, American classical music histories came to be variegated, a result of the influence of Central European émigrés who fled Hitler’s Germany and settled in North America. The most dramatic part of this transformation pertains to American attitudes toward the link between music and modernity. A case study, the American reception of Gustav Mahler, reveals why Americans began to see signs of cultural decline in classical music only in the 1930s, despite the precedent set by many pessimistic fin-de-siècle European writers.
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WELLS, CHRISTOPHER J. "“Spinnin' the Webb”: Representational Spaces, Mythic Narratives, and the 1937 Webb/Goodman Battle of Music." Journal of the Society for American Music 14, no. 2 (April 24, 2020): 176–96. http://dx.doi.org/10.1017/s1752196320000061.

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AbstractBenny Goodman and Chick Webb's 1937 battle of music has become a mythic event in jazz historical narratives, enshrined as the unique spectacle that defines Harlem's Savoy Ballroom and its legacy. While this battle has been marked as exceptional and unique, as an event it was a relatively typical instantiation of the “battle of music” format, a presentational genre common in black venues during the 1920s and 1930s. Within African American communities, battles of music re-staged ballrooms as symbolically loaded representational spaces where dueling bands regularly served as oppositional totems that indexed differences of locality (Chicago vs. New York), gender (men vs. women), ethnicity (Anglo- or African American vs. Latin), or race (black vs. white). This article details the ten-year history of battles of music that preceded the Webb/Goodman battle and that made its signifying rhetoric legible within African American communities. It then argues that the disconnect between the battle's relatively typical signifying rhetoric and its subsequent enshrinement as an exceptional event occurred due to a specific confluence of circumstances in the mid-1930s that shaped its immediate reception and subsequent legacy: Goodman's emergence as the “King of Swing” during a new period of massive mainstream popularity for swing music, a coterminous vigilance among both white and black jazz writers to credit black artists as jazz's originators and best practitioners, and the emergence of athletes Jesse Owens and Joe Louis as popular black champions symbolically conquering white supremacy at home and abroad.
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Garrett-Davis, Josh. "American Indian Soundchiefs." Resonance 1, no. 4 (2020): 394–411. http://dx.doi.org/10.1525/res.2020.1.4.394.

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American Indian Soundchiefs, an independent record label founded by the Rev. Linn Pauahty (Kiowa) in the 1940s, developed a remarkable model of Indigenous sound media that combined home recording, dubbing, and small-scale mass production. Alongside other Native American media producers of the same era, Soundchiefs built on earlier engagements with ethnographic and commercial recording to produce Native citizens’ media a generation prior to the Red Power era of the 1960s and 1970s. This soundwork provided Native music to Native listeners first, while also seeking to preserve a “rich store of folk-lore” sometimes in danger of being lost under ongoing colonial pressures. Pauahty’s label found ways to market commercial recordings while operating within what music and legal scholar Trevor Reed (Hopi) calls “Indigenous sonic networks,” fields of obligation and responsibility.
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WRIGGLE, JOHN. "Jazzing the Classics: Race, Modernism, and the Career of Arranger Chappie Willet." Journal of the Society for American Music 6, no. 2 (May 2012): 175–209. http://dx.doi.org/10.1017/s175219631200003x.

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AbstractThe American popular music tradition of “jazzing the classics” has long stood at the intersection of discourses on high and low culture, commercialism, and jazz authenticity. Dance band arrangers during the 1930s and 1940s frequently evoked, parodied, or straddled these cultural debates through their manipulations of European classical repertoire. This article examines Swing Era arranging strategies in the context of prevailing racial essentialisms, conceptions of modernism, and notions of technical virtuosity. The legacy of African American freelance arranger Chappie Willet, and his arrangement of Beethoven's Piano Sonata, op. 13 (“Pathétique”) for the black dance band of Jimmie Lunceford, suggests that an account of the biography and artistic voice of the arranger is critical to understanding the motivations behind these hybrid musical works.
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Martinez, Theresa A. "Popular Culture as Oppositional Culture: Rap as Resistance." Sociological Perspectives 40, no. 2 (June 1997): 265–86. http://dx.doi.org/10.2307/1389525.

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Bonnie Mitchell and Joe Feagin (1995) build on the theory of oppositional culture, arguing that African Americans, American Indians, and Mexican Americans draw on their own cultural resources to resist oppression under internal colonialism. In this paper, rap music is identified as an important African American popular cultural form that also emerges as a form of oppositional culture. A brief analysis of the lyrics of political and gangsta rappers of the late 1980s and early 1990s, provides key themes of distrust, anger, resistance, and critique of a perceived racist and discriminatory society. Rap music is discussed as music with a message of resistance, empowerment, and social critique, and as a herald of the Los Angeles riots of 1992.
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RAO, NANCY YUNHWA. "Racial essences and historical invisibility: Chinese opera in New York, 1930." Cambridge Opera Journal 12, no. 2 (July 2000): 135–62. http://dx.doi.org/10.1017/s095458670000135x.

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Describing the performances of two Chinese opera groups – the visiting famous opera singer Mai Lan-fang and his troupe on Broadway and the local San Sai Gai troupe in Chinatown – and their reception by non-Chinese Americans, this essay tracks various formations and effects of Chinese images in 1930s New York that were deeply imprinted in popular imagination. The regrettable invisibility of Chinese opera in American music history is a result of such a pre-constructed concept of Chineseness.
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Dissertations / Theses on the topic "American music in the 1930s"

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Lee, Ruth. "The Composers Collective of New York City and the attempt to articulate the nature of proletarian music in the writings of Charles Seeger, Marc Blitzstein and Elie Siegmeister in the 1930s." Thesis, Keele University, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.334356.

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Haas, Benjamin D. "Singing Songs of Social Significance: Children's Music and Leftist Pedagogy in 1930s America." Thesis, connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-9777.

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Moon, Krystyn R. "Yellowface creating the Chinese in American popular music, 1850s-1920s /." Available to US Hopkins community, 2002. http://wwwlib.umi.com/dissertations/dlnow/3068189.

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Adelt, Ulrich. "Black, white and blue racial politics of blues music in the 1960s /." Diss., University of Iowa, 2007. http://ir.uiowa.edu/etd/128.

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Kruse, Daniel R. "Tucson's Zoom Records and Late-1950s American Urban Popular Culture." Thesis, The University of Arizona, 2012. http://hdl.handle.net/10150/268475.

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The marketing and distribution of pre-recorded music for sale and public consumption is a cultural development as profound as any in the twentieth-century musical world. It is especially relevant to late-1950s American rock and roll, in terms of the music's capture in the rapidly-evolving environment of the recording studio, its release into the marketplace via independent record labels, and its enthusiastic embrace by the burgeoning youth culture of the era. Within this multi-dimensional context, Zoom Records, a tiny, independent record label, was born in Tucson, Arizona. A unique convergence of technological, artistic, and commercial developments and historical events gives special import to the Zoom Records story, as a lesson in entrepreneurship, artistic expression and personal transformation.
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Freeman, Cole. "Educating American Audiences: Claire Reis and the Development of Modern Music Institutions, 1912-1930." Thesis, University of North Texas, 2013. https://digital.library.unt.edu/ark:/67531/metadc500034/.

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The creation of institutions devoted to promoting and supporting modern music in the United States during the 1920s made it possible for American composers to develop an identity distinct from that of European modernists. These institutions were thus a critical part of the process of modernization that began in the United States during the early decades of the twentieth century. There is substantial scholarship on these musical institutions of modern music, such as the International Composers’ Guild and the League of Composers; but little to no work has been done on the progressive musical institutions of the 1910s, such as the Music League of the People’s Music Institute of New York, which was founded by Claire Reis. This thesis addresses the questions of how and why American musical modernism came to be as it was in the 1920s through an examination of the various stages of Reis’s career. The first chapter is an extensive study of primary source material gathered from the League of Composers/ISCM Records collection at the New York Public Library, which relates to Reis’s work with the PML in the 1910s. The second chapter uses the conclusions of the first chapter to shine new light on an old subject: the 1923 schism within the ICG that led Reis and others to form the League. The traditional view that the schism was the result of a conflict in idea of style is called into question, and the role that gender and power structure played in the break are explored.
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Olson, Ted. "The Big Bang of Modern American Music: The Lasting Impact of 1920s-Era Appalachian Recording Sessions." Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/etsu-works/1123.

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Kavka, Daniel Robert. "Young Americans to Emotional Rescue: Selected Meetings Between Disco and Rock, 1975-1980." Bowling Green State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1277322797.

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Meynell, Anthony. "How recording studios used technology to invoke the psychedelic experience : the difference in staging techniques in British and American recordings in the late 1960s." Thesis, University of West London, 2017. https://repository.uwl.ac.uk/id/eprint/3837/.

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This thesis focuses on a time in the mid-1960s where practice in the studio changed from a formal arena where previously rehearsed songs were recorded, to a playground where sonic possibilities were explored and sound manipulation became normal practice. This abuse of technology and manipulation of reality became part of the creative process in the studio, providing soundscapes that resonated with the counter-cultural ethos of upsetting the established order, and were adopted by the mainstream during the 1967 ‘Summer of Love”. Following a discussion of current literature, practice as research is applied to demonstrate how interaction with historical technology reveals the performative nature of the tacit knowledge that created many of the aural effects under consideration. The research then focuses through the prism of two case studies, “Eight Miles High” recorded by The Byrds in Los Angeles in January 1966, and “Rain”, recorded by The Beatles in London in April 1966. Through re-enactment of these historical recording sessions, I recreate the closed envirnment of the 1960’s recording studio. By interacting with historical technology and following a similar structure to the original sessions, I investigate how the methodology was influenced by collaborative actions, situational awareness and the demarcation of roles. Post session video analysis reveals the flow of decision making as the sessions unfold, and how interaction with the technological constraints recreates ‘forgotten’ techniques that were deemed everyday practice at the time and were vital to the outcome of the soundscapes. The thesis combines theory and practice to develop an understanding of how the engineers interacted with technology (Polanyi, 1966), often abusing the equipment to create manipulated soundscapes (Akrich and Latour, 1992), and how the sessions responded to musicians demanding innovation and experimentation, circumventing the constraints of established networks of practice (Law and Callon, 1986) during the flow of the recording session (Ingold, 2013).
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Robb, Mary. "Music of Miriam Gideon during the McCarthy era, including a complete catalogue of her works." Thesis, University of Edinburgh, 2012. http://hdl.handle.net/1842/7774.

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This thesis considers the musical response of the American composer, Miriam Gideon to political events during the McCarthy era. It examines the interrelationships between politics, society and culture and considers how these are reflected in two works, Epitaphs from Robert Burns (1952) and Altered Steps to Altered States (1953) that Gideon composed during this period. Specifically, this thesis focuses on Gideon’s transition from teaching and composing music within an academic setting to preparing for life in a musical world, without support from mainstream academic institutions. Following the Introduction, Chapter 2 documents the rise of anti-communist practices on campus at Brooklyn College and City College, New York City where Miriam Gideon held music teaching posts. It reconstructs the personal events that led to the loss of both of these appointments and examines how and why this occurred. It is argued that Gideon entered a period of ‘inner exile,’ and this concept and its consequences for Gideon are explored in Chapter 3. An examination of her private diaries demonstrates that the effects of the McCarthy era were not only physical, but also psychological and social. Chapters 4-6 consider Gideon’s music through the perspective of inner exile and aim to show that the music that she wrote was a reflection of her experiences. Gideon’s return to academia in 1955 and her rehabilitation back into the academy are discussed in Chapter 7. A complete list of Gideon’s compositional output is included and is organised chronologically, alphabetically and by genre. This thesis examines new documents not previously available to scholars, and includes interviews conducted by the author with Gideon’s former students and colleagues.
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Books on the topic "American music in the 1930s"

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American popular song lyricists oral histories, 1920s-1960s. Jefferson, N.C: McFarland & Co., 2012.

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Whorf, Michael. American popular song composers: Oral histories, 1920s-1950s. Jefferson, N.C: McFarland, 2012.

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American popular song composers: Oral histories, 1920s-1950s. Jefferson, N.C: McFarland, 2012.

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Jazz griots: Music as history in the 1960s African American poem. Lanham, Md: Lexington Books, 2012.

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1942-, Wright Josephine, ed. Images: Iconography of music in African-American culture (1770s-1920s). New York: Garland Pub., 2000.

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Crisp, Simon. Endless trip: A promenade through North American rock, pop and folk of the 1960s and 1970s. London: Foxcote Books, 2010.

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Rayno, Don. Paul Whiteman: Pioneer in American music ; vol 1 : 1890-1930. Lanham, MD: Scarecrow Press, 2003.

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Warner, Jay. American singing groups: A history from 1940s to today. Milwaukee: Hal Leonard Corp., 2006.

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Gene, Jones, ed. Spreadin' rhythm around: Black popular songwriters, 1880-1930. New York: Schirmer Books, 1998.

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Battistini, Pete. American top 40 with Casey Kasem: The 1980s. Bloomington, IN: AuthorHouse, 2010.

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Book chapters on the topic "American music in the 1930s"

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West, Chad. "A Path Toward Methodological Pluralism: Revisiting the Paradigm Conflicts of the 1980s through Today." In Pluralism in American Music Education Research, 13–30. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-90161-9_2.

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Sandling, Molly, and Kimberley L. Chandler. "The Changing Face of Music." In Exploring America in the 1990s, 81–88. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003235101-8.

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Tikka, Marko, and Sami Suodenjoki. "Divided Nation on Records: The Transnational Formation of Finnish Popular Music During the Gramophone Fever." In Palgrave Studies in the History of Experience, 137–61. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-69882-9_6.

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AbstractTikka and Suodenjoki explore how imported gramophone records shaped the idea of Finnish popular music and thereby fed the experiences of the nation among Finnish consumers in the late 1920s. They focus on Finnish-American records, which were imported to Finland by transnational agents during the so-called gramophone fever. As these records reached consumers, they tapped into experience communities that were based on the deep political divides of the newly independent nation-state, which had witnessed a Civil War in 1918. In a very short period of time, modern popular music, played and danced to in homes and public spaces, became a key means by which people lived out the nation and its class-based demarcations in their everyday practices.
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Palomino, Pablo. "Transnational Networks." In The Invention of Latin American Music, 46–97. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190687403.003.0003.

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This chapter describes four circuits of musical practice in the 1920s and 1930s, in order to locate the emergence of Latin America as a musical space. It analyzes: (1) the entertainment scene’s repertoire of Manila, Philippines, in the early 1920s; (2) the Latin American repertoire in the career of Russian Jewish singer Isa Kremer, who ended up in Argentina in the 1930s; (3) the copyright strategy of Sociedad Argentina de Autores, Intérpretes y Compositores de Música (SADAIC), the Argentine society for composers of tango and other popular styles, in the late 1920s; and (4) the Mexican broadcasting system XEW, the very first commercial attempt to build a Latin American musical platform. In every case, local, national, and transational dimensions of musical practice are approached in terms of music genres, market structures, and musical ideologies.
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Stoynoff, Jim. "Pericles Halkias (1909–2005)." In Greek Music in America, 389–94. University Press of Mississippi, 2018. http://dx.doi.org/10.14325/mississippi/9781496819703.003.0027.

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Pericles Halkias was a celebrated clarinet player from Epirus, who played in Athens tavernas from the 1930s to the 1950s. After settling in Astoria, NY in 1962, he became the most sought after Epirot clarinetist in New York.In the early 1980s, he formed the Halkias Family Orchestra, which played traditional music for Epirot events. He was awarded the National Endowment for the Arts Fellowship in 1985.
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Shope, Bradley. "Latin American Music in Moving Pictures and Jazzy Cabarets in Mumbai, 1930s–1950s." In Popular Music in India, 201–14. Oxford University Press, 2013. http://dx.doi.org/10.1093/acprof:oso/9780199928835.003.0011.

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"Western Swing: Working-Class Southwestern Jazz of the 1930s and 1940s: Jean A. Boyd." In Perspectives on American Music, 1900-1950, 202–23. Routledge, 2012. http://dx.doi.org/10.4324/9780203054703-12.

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Palomino, Pablo. "Music and Regionalism Since the 1950s." In The Invention of Latin American Music, 193–208. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190687403.003.0007.

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This chapter traces the consolidation of Latin American music as a category and of Latin America as a musical space since the 1950s, as part of a larger web of commercial, political, diplomatic, and musicological practices and discourses that consolidated the region as such. It shows how the discourses and markets discussed in previous chapters ended up shaping the current musical understanding of the region. It describes the decades of inter-American and radical musical Latin Americanism in the region from the 1950s to the 1970s, the expansion of the “Latin music” market in the United States and Latin America since the turn of the twenty-first century, and the naturalized meanings of Latin American music in contemporary culture.
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Shay, Anthony. "Encountering Greek American Soundscapes." In Greek Music in America, 312–25. University Press of Mississippi, 2018. http://dx.doi.org/10.14325/mississippi/9781496819703.003.0016.

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In “Encountering Greek American Soundscapes,” respected dance scholar and choreographer Anthony Shay investigates the context of Greek musical performances based on his experiences as a young folk dancer in California from the 1950s to 1970s. After first tracing immigration history and exploring the circumstances in which people listened to music, sang, played musical instruments, and danced in Greece, he then delineates the types of music in several different American contexts, as well as who plays or sings each genre and, who forms the audience. Among the contexts that he notes are church picnics, as well as Greek taverns and clubs such as Athenian Gardens and Greek Village.
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Palomino, Pablo. "A Continental Patchwork." In The Invention of Latin American Music, 25–45. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190687403.003.0002.

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This chapter describes, first, the diverse and scattered musical markets, agents, institutions, and discourses that operated within what today is considered to be Latin America, but back then were considered disparate local, urban, diasporic, and transregional musical circuits. It shows the absence of unifying factors, either economic or ideological, that could sustain any encompassing regional aesthetic discourse or practice. Then the chapter presents the appearance, in disparate geographic spaces, of early intellectual, journalistic, and musicological notions of Latin America as a single regional musical space. It shows how, by the 1930s, a variety of regionalist discourses on Latin and Pan-American music gained legitimacy.
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Conference papers on the topic "American music in the 1930s"

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Liu, Di. "The First Wave: Chinese Film Music in the 1930s." In 2015 2nd International Conference on Education, Language, Art and Intercultural Communication (ICELAIC-15). Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/icelaic-15.2016.125.

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

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

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Tavares, Juliano Cezar Chagas, and Yandre Maldonado Gomes da Costa. "Music mood classification using visual and acoustic features." In 2017 XLIII Latin American Computer Conference (CLEI). IEEE, 2017. http://dx.doi.org/10.1109/clei.2017.8226371.

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Conceicao, Julia Luiza, Rosiane de Freitas, Bruno Gadelha, Joao Gustavo Kienen, Sergio Anders, and Brendo Cavalcante. "Applying supervised learning techniques to Brazilian music genre classification." In 2020 XLVI Latin American Computing Conference (CLEI). IEEE, 2020. http://dx.doi.org/10.1109/clei52000.2020.00019.

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Ladd, Parada J., Serrano C. Alvarado, Salgado J. M. Gutierrez, and C. J. James. "Music as an enhancer for imagined movement." In 2017 Global Medical Engineering Physics Exchanges/Pan-American Health Care Exchanges (GMEPE/PAHCE). IEEE, 2017. http://dx.doi.org/10.1109/gmepe-pahce.2017.7972091.

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

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

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Parra, Rodrigo, Jorge Ramirez, and Martin Abente Lahaye. "Design and implementation of a music composition application using speech recognition." In 2014 XL Latin American Computing Conference (CLEI). IEEE, 2014. http://dx.doi.org/10.1109/clei.2014.6965110.

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

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Reports on the topic "American music in the 1930s"

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

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

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

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Taylor, Alan. On the Costs of Inward-Looking Development: Historical Perspectives on Price Distortions, Growth, and Divergence in Latin American from 1930s - 1980s. Cambridge, MA: National Bureau of Economic Research, January 1996. http://dx.doi.org/10.3386/w5432.

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Martin, Kathi, Nick Jushchyshyn, and Daniel Caulfield-Sriklad. 3D Interactive Panorama Jessie Franklin Turner Evening Gown c. 1932. Drexel Digital Museum, 2015. http://dx.doi.org/10.17918/9zd6-2x15.

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The 3D Interactive Panorama provides multiple views and zoom in details of a bias cut evening gown by Jessie Franklin Turner, an American woman designer in the 1930s. The gown is constructed from pink 100% silk charmeuse with piping along the bodice edges and design lines. It has soft tucks at the neckline and small of back, a unique strap detail in the back and a self belt. The Interactive is part of the Drexel Digital Museum, an online archive of fashion images. The original gown is part of the Fox Historic Costume, Drexel University, a Gift of Mrs. Lewis H. Pearson 64-59-7.
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Tweet, Justin S., Vincent L. Santucci, Kenneth Convery, Jonathan Hoffman, and Laura Kirn. Channel Islands National Park: Paleontological resource inventory (public version). National Park Service, September 2020. http://dx.doi.org/10.36967/nrr-2278664.

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Channel Island National Park (CHIS), incorporating five islands off the coast of southern California (Anacapa Island, San Miguel Island, Santa Barbara Island, Santa Cruz Island, and Santa Rosa Island), has an outstanding paleontological record. The park has significant fossils dating from the Late Cretaceous to the Holocene, representing organisms of the sea, the land, and the air. Highlights include: the famous pygmy mammoths that inhabited the conjoined northern islands during the late Pleistocene; the best fossil avifauna of any National Park Service (NPS) unit; intertwined paleontological and cultural records extending into the latest Pleistocene, including Arlington Man, the oldest well-dated human known from North America; calichified “fossil forests”; records of Miocene desmostylians and sirenians, unusual sea mammals; abundant Pleistocene mollusks illustrating changes in sea level and ocean temperature; one of the most thoroughly studied records of microfossils in the NPS; and type specimens for 23 fossil taxa. Paleontological research on the islands of CHIS began in the second half of the 19th century. The first discovery of a mammoth specimen was reported in 1873. Research can be divided into four periods: 1) the few early reports from the 19th century; 2) a sustained burst of activity in the 1920s and 1930s; 3) a second burst from the 1950s into the 1970s; and 4) the modern period of activity, symbolically opened with the 1994 discovery of a nearly complete pygmy mammoth skeleton on Santa Rosa Island. The work associated with this paleontological resource inventory may be considered the beginning of a fifth period. Fossils were specifically mentioned in the 1938 proclamation establishing what was then Channel Islands National Monument, making CHIS one of 18 NPS areas for which paleontological resources are referenced in the enabling legislation. Each of the five islands of CHIS has distinct paleontological and geological records, each has some kind of fossil resources, and almost all of the sedimentary formations on the islands are fossiliferous within CHIS. Anacapa Island and Santa Barbara Island, the two smallest islands, are primarily composed of Miocene volcanic rocks interfingered with small quantities of sedimentary rock and covered with a veneer of Quaternary sediments. Santa Barbara stands apart from Anacapa because it was never part of Santarosae, the landmass that existed at times in the Pleistocene when sea level was low enough that the four northern islands were connected. San Miguel Island, Santa Cruz Island, and Santa Rosa Island have more complex geologic histories. Of these three islands, San Miguel Island has relatively simple geologic structure and few formations. Santa Cruz Island has the most varied geology of the islands, as well as the longest rock record exposed at the surface, beginning with Jurassic metamorphic and intrusive igneous rocks. The Channel Islands have been uplifted and faulted in a complex 20-million-year-long geologic episode tied to the collision of the North American and Pacific Places, the initiation of the San Andreas fault system, and the 90° clockwise rotation of the Transverse Ranges, of which the northern Channel Islands are the westernmost part. Widespread volcanic activity from about 19 to 14 million years ago is evidenced by the igneous rocks found on each island.
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