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Dissertations / Theses on the topic 'Blues musicians Blues (Music)'

Author: Grafiati

Published: 4 June 2021

Last updated: 16 February 2022

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1

Taylor, John Wesley. "Hillbillies and sharecroppers : an introduction to East coast and Mississippi blues styles /." Huntington, WV : [Marshall University Libraries], 2002. http://www.marshall.edu/etd/descript.asp?ref=99.

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Thesis (M.A.)--Marshall University, 2002.<br>Title from document title page. Document formatted into pages; contains v, 23 p. Includes a live performance (duration 1.01.03). Includes bibliographical references (p. 21-23).

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2

Urgo, George. "Re-imagining heaven through a cave blues music as institutional & ideological criticism in the lives & artistry of Son House & Honeyboy Edwards /." Diss., Connect to the thesis, 2008. http://hdl.handle.net/10066/1376.

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3

Pugh-Patton, Danette Marie. "Images and lyrics: Representations of African American women in blues lyrics written by black women." CSUSB ScholarWorks, 2007. https://scholarworks.lib.csusb.edu/etd-project/3235.

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The purpose of this thesis is to examine to what extent representations of double jeopardy and the stereotypical images of African American females: Mammy, Matriarch, Sapphire, and Strong Black Woman emerge in the blues lyrics of Alberta Hunter, Gertrude "Ma" Rainy, Memphis Minnie, and Victoria Spivey, using the theoretical framework of Black feminist rhetorical critique. The findings in this research entail several meanings regarding the lives of African American women during the 1920s and 1930s. Representations of racism, sexism, and classism also appear in the theme of relationships with va

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4

Edmundson, Kate. "Experiential blues identity analyzing racial categories of difference in a Philadelphia blues club /." Diss., Connect to the thesis, 2003. http://hdl.handle.net/10066/607.

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5

Olson, Ted. "W. C. Handy: The Father of the Blues, The Blues of the Father." Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/etsu-works/1107.

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6

Dougan, John M. "Two steps from the blues: Creating discourse and constructing canons in blues criticism." W&M ScholarWorks, 2001. https://scholarworks.wm.edu/etd/1539623381.

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This dissertation examines the development of blues criticism in its myriad forms from the 1920s to 1990s, its role in the emergence of a blues discourse and history, and the codification of a blues canon. I analyze blues discourse principally as the creation of critics, historians, and musicologists, but also as the result of series of complex, imbricated relationships among writers, musicians, fans, record collectors, and independent entrepreneurs.;Beginning in the 1920s, I outline a pre-history of blues discourse by examining the metamorphosis of the blues as a cultural text shaped by the f

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7

Kunovic, Anthony. "Pat Metheny Plays the Blues." Youngstown State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ysu1495800526496443.

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8

Baquet, N. Eugene. "Blues Story: Narratives of Cultural Identity." Fogler Library, University of Maine, 2006. http://www.library.umaine.edu/theses/pdf/BaquetNE2006.pdf.

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9

Griffith, Dana Gregory. "Collected Toons of the Blues Buddha." University of Cincinnati / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1214920403.

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10

Goody, Matthew Christopher. """Thames Valley cotton pickers"": race and youth in London blues culture /." Burnaby B.C. : Simon Fraser University, 2005. http://ir.lib.sfu.ca/handle/1892/2344.

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11

Freedy, David Rawlings. "Brecker's Blues: transcription and theoretical analysis of six selected improvised blues solos by jazz saxophonist Michael Brecker." The Ohio State University, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=osu1063851435.

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12

Lower, Jonathan Scott. "The American Blues: Men, Myths, and Motifs." Kent State University Honors College / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1340154289.

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13

Kurtz, Matthew B. "What Comes After the Blues." Kent State University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=kent1619717430532435.

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14

Lower, Jonathan. "Lead Belly: Race and Social Activism in Blues Music." Kent State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=kent1405422192.

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15

Meyerson-Knox, Saul. ""African Blues": The Sound and History of a Transatlantic Discourse." University of Cincinnati / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1378194952.

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16

Deffaci, Rafael Salib. "Blues do Delta do Jacuí : um estudo etnográfico sobre a cena musical blues na cidade de Porto Alegre." Universidade do Estado de Santa Catarina, 2015. http://tede.udesc.br/handle/handle/1558.

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Made available in DSpace on 2016-12-08T17:06:47Z (GMT). No. of bitstreams: 1 122572.pdf: 2024977 bytes, checksum: 267e2777a9a8b05edb914df323b9131e (MD5) Previous issue date: 2015-03-27<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior<br>O presente trabalho é um estudo etnográfico sobre a cena musical blues na cidade de Porto Alegre. A partir da experiência em campo com grupos de blues atuantes na referida cidade, proponho um estudo dessa cena musical com o objetivo de estabelecer um diálogo entre suas definições sobre o blues, bem como sua rede de significados, sob a perspectiv

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17

Ballenger, Hank D. "Everything and Nothing at the Same Time." Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc2168/.

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18

Allen, Joseph J. "The retina blues : invisibility and cultural visibility." Virtual Press, 1995. http://liblink.bsu.edu/uhtbin/catkey/941584.

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My text formulates a theory of postmodern invisibility while examining the condition of cultural invisibility. As I track strategies of position and space in contemporary American literature and music, I propose a tactic for attaining cultural visibility that draws from Jean Baudrillard's notion of the-more-visible-than-the-visible, postmodern aesthetics and the cultural metaphor of the optics of the vision system.In our technoculture, Ralph Ellison's Invisible Man and his narrator's choice of an invisible identity, though wonderfully evocative, is no longer a viable solution to the dilemma of

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19

Attah, T. "Halls without walls : perpetuation, development & dissemination of the discourse on blues music and blues culture in the digital age (1996-2016)." Thesis, University of Salford, 2016. http://usir.salford.ac.uk/41648/.

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This study presents an overview of the effects of technological mediation and specifically, digital remediation, on the discourse on blues music and blues culture since the introduction of the world-wide web in 1989, and the proliferation of computer-mediated communications (CMC) from 1996. In other words, blues music and blues culture undergo transformations of form and circulation when oral practices are first committed to text as sheet music. Further evolutions occur as performances are remediated as phonograph records and through various broadcast media during the 20th century. Each succes

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20

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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21

Holman, Jones Stacy Linn. "Music for torching." Access restricted to users with UT Austin EID Full text (PDF) from UMI/Dissertation Abstracts International, 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3037501.

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22

Kellett, Andrew James. "Fathers and sons American blues and British rock music, 1960-1970 /." College Park, Md.: University of Maryland, 2008. http://hdl.handle.net/1903/8863.

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Thesis (Ph. D.) -- University of Maryland, College Park, 2008.<br>Thesis research directed by: Dept. of History. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.

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23

Corbet, Remy. "A SOUND FOR RECOGNITION: BLUES MUSIC AND THE AFRICAN AMERICAN COMMUNITY." OpenSIUC, 2011. https://opensiuc.lib.siu.edu/theses/730.

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AN ABSTRACT OF THE THESIS OF Remy Corbet for the Masters in History degree in American History, presented on August 3, 2011, at Southern Illinois University Carbondale. TITLE: A SOUND FOR RECOGNITION: BLUES MUSIC AND THE AFRICAN AMERICAN COMMUNITY MAJOR PROFESSOR: Dr. Robbie Lieberman Blues music is a reflection of all the changes that shaped the African American experience. It is an affirmation of the African American identity, looking forward to the future with one eye glancing at the past. It is a reminder of the tragedies and inequalities that accompanied African Americans from slavery t

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Inaba, Mitsutoshi. "Willie Dixon's work on the blues : from the early recordings through the Chess and Cobra years, 1940-1971 /." view abstract or download file of text, 2005. http://wwwlib.umi.com/cr/uoregon/fullcit?p3190524.

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Thesis (Ph. D.)--University of Oregon, 2005.<br>Includes vita and abstract. Includes bibliographical references (leaves 957-975). Also available for download via the World Wide Web; free to University of Oregon users.

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25

Levihn-Coon, Andrew. "Singing the Blues Away: Songwriting as a Coping Mechanism for Depression." Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/cmc_theses/1173.

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The widespread prevalence of depression throughout the world, across a variety of demographics, stresses the importance of examining different ways of coping with the affliction. This paper provides a background of different theories of coping with depression and it reviews how therapeutic songwriting, a form of active music therapy, can work as a highly effective method of coping with depression. The review indicates that therapeutic songwriting can be a successful coping mechanism through its positive influence as a primary and secondary control engagement coping strategy. Furthermore, songw

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26

Wright, Delane E. (Delane Elizabeth). "Poppin' Their Thang: African American Blueswomen and Multiple Jeopardy." Thesis, University of North Texas, 1997. https://digital.library.unt.edu/ark:/67531/metadc278053/.

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This ethnographic analysis examines the life stories and lyrics of four African blues singers. Specifically, it compares the cultural themes that emerge their life stories to the cultural themes at emerge from their commercially released music. The findings suggest that the singers recognize, to varying degrees, the impact of racism, sexism, and classism on their personal and careers. These same themes, however, are not present in the lyrics of the music that they choose to sing. Both the stories and the lyrics reveal internal inconsistencies that mirror one another. The conclusion suggests th

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27

Eales, Alison Caroline. "Bunting and blues : a critical history of Glasgow International Jazz Festival, 1987-2015." Thesis, University of Glasgow, 2017. http://theses.gla.ac.uk/8026/.

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Glasgow International Jazz Festival first took place in 1987 and has run every year since, making it the city's longest-running cultural event. One of the company's stated aims at its inception was to 'establish [Glasgow] as a major European jazz centre' (Williams, 1986b). Through a single, historical case study, the thesis attempts first to ascertain the extent to which this aim has been achieved, and second to determine the enabling and limiting factors acting upon the Festival in its attempts to effect change in its host city. The thesis finds that urban music festivals can, under the right

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28

Ruth, Mary-Louise. "My Kind of Music: Two New Orleans Stories." ScholarWorks@UNO, 2003. http://louisdl.louislibraries.org/u?/NOD,33.

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Thesis (M.F.A.)--University of New Orleans, 2003.<br>Title from electronic submission form. "A thesis ... in partial fulfillment of the requirements for the degree of Master of Fine Arts in Creative Writing"--Thesis t.p. Vita.

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29

Hunter-Holly, Daniel Ryan. "A performer's examination of John Musto's "Shadow of the Blues" and "Recuerdo"." Columbus, Ohio : Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1180292422.

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30

Assis, Daniela Tavares Ferreira de. "O TRABALHO EM UMA BANDA DE BLUES: uma abordagem psicodinâmica." Pontifícia Universidade Católica de Goiás, 2008. http://localhost:8080/tede/handle/tede/1989.

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Made available in DSpace on 2016-07-27T14:21:36Z (GMT). No. of bitstreams: 1 DANIELA TAVARES FERREIRA DE ASSIS.pdf: 622680 bytes, checksum: afd67a2c62fe99c00e14a33d506da900 (MD5) Previous issue date: 2008-04-04<br>This present paper presents data of research that studied the experiences of a blues band, famous in the recording market in the mid-west of Brazil. The psychodynamic approach to the work in a blues band was the theme of the present to research. This study aimed to investigate the organization and working conditions, the experiences of pleasure and suffering, the strategies of conf

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31

Diallo, Mamadou Diang. "Black Music, Racial Identity, and Black Consciousness in the Spirituals and the Blues." Master's thesis, Temple University Libraries, 2013. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/216563.

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African American Studies<br>M.A.<br>African American Music has always served to document the history of enslaved Africans in America. It takes its roots in African Spirituality and originally pervades all aspects of African life. That Music has been transformed as soon as it got on this side of the Atlantic Ocean in a context of slavery and oppression. As historical documents, African American Music has served African Americans to deal with their experience in America from slavery to freedom. This work studies how Black Spirituals and the Blues have played a tremendous role in building an Afri

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32

O'Connell, Christian. "The British 'bluesman' : Paul Oliver and the nature of Transatlantic blues scholarship." Thesis, University of Gloucestershire, 2013. http://eprints.glos.ac.uk/1091/.

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Recent revisionist studies have argued that much of what is known about music known as the blues’ has been 'invented' by the writing of enthusiasts far removed from the African American culture that created the music. Elijah Wald and Marybeth Hamilton in particular have attempted to sift through the clouds of romanticism, and tried to unveil more empirical histories that were previously obscured by the fallacious genre distinctions conjured up during the 1960s blues revival. While this revisionist scholarship has shed light on some previously ignored historical facts, writers have tended to co

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33

Calhoun, Fraser C. "Blues signifying and the trickster figure in the improvisations of Johnny Hodges, Charlie Parker, and Ornette Coleman." Thesis, The William Paterson University of New Jersey, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10003779.

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<p> The goal of this study is to relate blues characteristics as they appear in the playing of Johnny Hodges, Charlie Parker, and Ornette Coleman, to blues lyrics, Signifying, the artists’ life experiences, and to the ancient cultural icon Esu-Elegbara. This study reviews the theory of Signifying, discusses existing literature on blues Signifying, and investigates select biographical information of each player. In addition, the study presents and analyzes transcriptions of jazz improvisations for each artist and reveals and investigates their blues characteristics. The study then context

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34

Modeste, Jacquelynne Jones. "The blues and jazz in Albert Murray's fiction: A study in the tradition of stylization." W&M ScholarWorks, 2004. https://scholarworks.wm.edu/etd/1539623458.

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The use of the blues as a critical theory and as a literary model for the crafting of fiction opens new possibilities for both intellectual and artistic exploration. Reflecting the power of human agency amidst antagonism, the blues is the music of personal triumph over the brutality of circumstances despite any change in condition. The music's emphasis on improvisation reveals human agency because through instrumentation, singing, stylistic nuances, audience participation and/or venue individuals transform perceived or imagined woefulness into hopefulness. Studying the blues and its cultural l

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35

Ward, Brian. "Race relations, civil rights and the transformation from Rhythm and Blues to soul, 1954-1965." Thesis, University of Cambridge, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.363342.

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36

Keeler, Matthew. "BESSIE SMITH: AN AMERICAN ICON FROM THREE PERSPECTIVES." Connect to this title online, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1130967483.

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37

Nelson, Simon John. "Melodic improvisation on a twelve bar blues model : an investigation of physical and historical aspects and their contribution to performance." Thesis, City University London, 2001. http://openaccess.city.ac.uk/7610/.

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"Anything made by man, no matter how many varieties it assumes, and how much of the superhuman it seems to contain, must reveal its secret to the close observer." Paul Hindemith (1942: 176). "Are you one of those guys who wants to put crutches under my ass?" Lonnie Johnson (Keil 1966: 35). It is the aim of this thesis to define a musical genre by showing how, in the realisation of an improvisation, two key elements - the physical layout of a musical instrument and human movement patterns - are combined to produce music. This thesis takes as a model the twelve bar blues form, and examines the a

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38

Woodward, Henry Canning. "Rock 'n' Roll Stew: The Rolling Stones and Blues Music through the Looking Glass of American Culture in the 1960's." W&M ScholarWorks, 1992. https://scholarworks.wm.edu/etd/1539625712.

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39

Maskell, Katherine Murphy. "Who Wrote Those “Livery Stable Blues”?: Authorship Rights in Jazz and Law as Evidenced in Hart et al. v. Graham." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1338343959.

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40

Sjösten, Christoffer. "YouTube som resurs för lärande av improviserat solospel : En studie av den virtuella gitarrläraren." Thesis, Linnéuniversitetet, Institutionen för musik och bild (MB), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-76361.

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This study focus on six video tutorials found on YouTube that teach how to improvise blues guitar solos. The study has grounded theory as its theoretical perspective and uses two kinds of scientific observations: unstructured and structured. First unstructured observations were made of all the video tutorials, whereby eleven categories and twelve undercategories was found. These where then used as observational categories for new observations of the video tutorials. The categories where then analyzed and found to be connected through a central category object of teaching (in Swedish: lärandeob

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41

Grassy, Elsa. "Le lieu musical : du texte à l’espace, un itinéraire sémantique. Poétique des catégories géographiques dans les musiques populaires américaines (1920-2007)." Thesis, Paris 4, 2010. http://www.theses.fr/2010PA040118.

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Il existe dans le discours de la presse musicale américaine de nombreux de termes géographiques, dont la fonction n’est pas uniquement de localiser l’origine des courants musicaux ou d’opérer leur catégorisation par genre ou sous-genre : ces mots sont l’indice d’une véritable esthétique géomusicale, par laquelle lieux et musique se donnent sens et valeur. L’ancrage dans un lieu confère à la musique la valeur de vérité et de réalité que recouvre la notion d’authenticité, et donne lieu à des jugements esthétiques imprégnés de déterminisme géographique. Cependant, le lien avec un lieu étant consi

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42

Demmler, Monika [Verfasser], and Hubert [Akademischer Betreuer] Zapf. "Biophilia and the Aesthetics of Blues, Jazz, and Hip-Hop Music in African-American Prose Fiction / Monika Demmler. Betreuer: Hubert Zapf." Augsburg : Universität Augsburg, 2015. http://d-nb.info/108077291X/34.

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43

Decuir, Michael. "The Influence of Louis Armstrong on the Harlem Renaissance 1923-1930." DigitalCommons@Robert W. Woodruff Library, Atlanta University Center, 2017. http://digitalcommons.auctr.edu/cauetds/101.

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This research explores Louis Armstrong’s artistic choices and their impact directly and indirectly on the African-American literary, visual and performing arts between 1923 and 1930 during the period known as the Harlem Renaissance. This research uses analyses of musical transcriptions and examples of the period’s literary and visual arts to verify the significance of Armstrong’s influence(s). This research also analyzes the early nineteenth century West-African musical practices evident in Congo Square that were present in the traditional jazz and cultural behaviors that Armstrong heard and e

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44

Förster, Felicitas. "Die Bluesbewegung in der DDR. Akteur eines Kulturtransferprozesses." Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2014. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-155283.

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Die Bluesbewegung war eine Jugendbewegung, die sich Ende der 1960er Jahre in der DDR formierte. Sie regte einen Kulturtransfer an, der in den 1970er und 1980er Jahren amerikanischen Blues in die DDR brachte. Die vorliegende Arbeit rekonstruiert diesen Prozess, angefangen bei den Motiven für die Jugendlichen, sich für Blues zu interessieren, über die Vermittlung des Blues durch verschiedene Medien, vor allem durch den Hörfunk, bis zur DDR-spezifischen Aneignung des Blues inner- und außerhalb der Szene<br>“Bluesbewegung” is the name of a youth movement that arose in the late 1960’s in the GDR. T

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45

Decuir, Michael. "The Influence of Louis Armstrong on the Harlem Renaissance 1923-1930." DigitalCommons@Robert W. Woodruff Library, Atlanta University Center, 2018. http://digitalcommons.auctr.edu/cauetds/142.

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This research explores Louis Armstrong’s artistic choices and their impact directly and indirectly on the African-American literary, visual and performing arts between 1923 and 1930 during the period known as the Harlem Renaissance. This research uses analyses of musical transcriptions and examples of the period’s literary and visual arts to verify the significance of Armstrong’s influence(s). This research also analyzes the early nineteenth century West-African musical practices evident in Congo Square that were present in the traditional jazz and cultural behaviors that Armstrong heard and e

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46

Campbell, Patrick Jude. "Fall and Redemption: The Essence of Country Music." The University of Montana, 2007. http://etd.lib.umt.edu/theses/available/etd-07172007-180612/.

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My initial focus as a final project in the Creative Pulse was to begin to sing again. Singing fulfilled the three requirements of choice in a project: risk, rigor, and the requirement of having to do it. I had sung as a young man, and stopped as the result of listening to an adult tell me that I could not sing. During the following 23 years, I used percussion and became a dancer in order to express myself. The art forms of percussion and dance I was drawn to like a man is drawn to a woman that he must have. What about being drawn to an art form in order to continue existing? An artistic pursui

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47

Quillen, Zachary J. "The Relationship Between the Melodic-Harmonic Divorce in Blues-Based Rock, theStructure of Blue Tonality, and the Blue Tonality Shift." Ohio University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1617440977351617.

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48

Hawk, Heather L. "“I Gotta Right to Sing the Blues”: Considering the Music of Harold Arlen (1905-1986) for Use by Female Singers in the Classical Voice Studio." Thesis, University of North Texas, 2013. https://digital.library.unt.edu/ark:/67531/metadc500087/.

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American musical theater and film composer Harold Arlen is largely overshadowed by his contemporaries, such as George Gershwin, Irving Berlin, and Cole Porter. However, his music serves as a viable alternative for singers of all skill level studying a classical technique. By studying the music of Harold Arlen, singers will utilize a wide range, legato line, negotiations of register, mood shifts, and varying tessituras. The following document considers the importance of Arlen’s music by analyzing eight of his songs from three prominent decades of compositional output. The eight songs examin

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KOSMYNA, DAVID J. "WHAT YA WANT ME TO DO?: A GUIDE TO PLAYING JAZZ TRUMPET/CORNET IN THE NEW ORLEANS STYLE." University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1148060987.

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50

Stamper, Randall Lawrence. "Gonna Spread the News all Around: Early, African-American Popular Song as Spoken Newspaper." VCU Scholars Compass, 2006. http://hdl.handle.net/10156/2136.

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