Academic literature on the topic 'Country music Popular music Country musicians'
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Journal articles on the topic "Country music Popular music Country musicians"
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Kenny, Dianna T., and Anthony Asher. "Life Expectancy and Cause of Death in Popular Musicians: Is the Popular Musician Lifestyle the Road to Ruin?" Medical Problems of Performing Artists 31, no. 1 (March 1, 2016): 37–44. http://dx.doi.org/10.21091/mppa.2016.1007.
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Does a combination of lifestyle pressures and personality, as reflected in genre, lead to the early death of popular musicians? We explored overall mortality, cause of death, and changes in patterns of death over time and by music genre membership in popular musicians who died between 1950 and 2014. The death records of 13,195 popular musicians were coded for age and year of death, cause of death, gender, and music genre. Musician death statistics were compared with age-matched deaths in the US population using actuarial methods. Although the common perception is of a glamorous, free-wheeling lifestyle for this occupational group, the figures tell a very different story. Results showed that popular musicians have shortened life expectancy compared with comparable general populations. Results showed excess mortality from violent deaths (suicide, homicide, accidental death, including vehicular deaths and drug overdoses) and liver disease for each age group studied compared with population mortality patterns. These excess deaths were highest for the under-25-year age group and reduced chronologically thereafter. Overall mortality rates were twice as high compared with the population when averaged over the whole age range. Mortality impacts differed by music genre. In particular, excess suicides and liver-related disease were observed in country, metal, and rock musicians; excess homicides were observed in 6 of the 14 genres, in particular hip hop and rap musicians. For accidental death, actual deaths significantly exceeded expected deaths for country, folk, jazz, metal, pop, punk, and rock.
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Fenster, Mark. "Buck Owens, country music, and the struggle for discursive control." Popular Music 9, no. 3 (October 1990): 275–90. http://dx.doi.org/10.1017/s0261143000004098.
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In the early- and mid-1960s, as mainstream popular music began to reach and exploit the growing youth market, the country music genre was going through a number of important transformations (see Malone 1985; Hemphill 1970). During this period the country music industry, including record companies, recording studios, managing and booking agents, music publishers and musicians, was becoming more fully consolidated in Nashville. In addition, a different kind of dominant sound was beginning to coalesce, based on a more ‘uptown’ feel and intended for a more cosmopolitan audience accustomed to mainstream, adult pop music. The beat and whine of the honky-tonk song, as epitomised by the rural twang in the music of Hank Williams, Lefty Frizzell and Webb Pierce, was being replaced as the dominant country music sound by the smooth and urbane ballad styles of Eddy Arnold, Jim Reeves and Patsy Cline. This shift was both caused by and helped to foster the development of a steady set of studio musicians who would appear on thousands of country recordings per year. The musical style that coalesced in Nashville studios through the regular collaboration of these musicians and the record label producers who loosely arranged them became known as the ‘Nashville Sound’, a marketable and identifiable name for a particular set of musical conventions. This sound, nearly as similar to Rosemary Clooney as it was to Hank Williams, called into question the generic boundaries between ‘country’ music and mainstream ‘pop’ music.
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Martin, Toby. "Dougie Young and political resistance in early Aboriginal country music." Popular Music 38, no. 03 (October 2019): 538–59. http://dx.doi.org/10.1017/s0261143019000291.
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AbstractCountry music has a reputation for being the music of the American white working-class South and being closely aligned with conservative politics. However, country music has also been played by non-white minorities and has been a vivid way of expressing progressive political views. In the hands of the Indigenous peoples of Australia, country music has often given voice to a form of life-writing that critiques colonial power. The songs of Dougie Young, dating from the late 1950s, provide one of the earliest and most expressive examples of this use of country music. Young's songs were a type of social-realist satire and to be fully understood should be placed within the broader socio-political context of 1950s and 1960s Australia. Young's legacy was also important for Aboriginal musicians in the 1990s and the accompanying reassessment of Australia's colonial past. Country music has provided particular opportunities for minority and Indigenous groups seeking to use popular culture to tell their stories. This use of country music provides a new dimension to more conventional understandings of its political role.
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Pati, R. N., Shaik B. Yousuf, and Abebaw Kiros. "Cultural Rights of Traditional Musicians in Ethiopia: Threats and Challenges of Globalisation of Music Culture." International Journal of Social Sciences and Management 2, no. 4 (October 25, 2015): 315–26. http://dx.doi.org/10.3126/ijssm.v2i4.13620.
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Ethiopia upholds unique cultural heritage and diverse music history in entire African continent. The traditional music heritage of Ethiopia has been globally recognized with its distinct music culture and symbolic manifestation. The traditional songs and music of the country revolves around core chord of their life and culture. The modern music of Ethiopia has been blended with combination of elements from traditional Ethiopian music and western music which has created a new trend in the music world. The music tradition of the country not only maintains the cultural identity but also maintains social cohesion through cultural expression at different social occasions and resists cultural changes infused through globalization. The globalization has brought a series of transformation and changes in the world of Ethiopian music through commercialization, commodification and digitalization of cultural expressions apart from hijacking the cultural rights of traditional musicians. The younger generations have been attracted towards western music undermining the aesthetic and cultural value of music tradition of the country. The international enactments relating to protection and safeguarding of cultural rights of people are yet to be appropriately translated into reality. The emergence of culture industries and entertainment houses has posed serious threats to local culture and led to disappearance of local traditions, musical heritage and their replacement by popular global music. The cultural homogeneity and commodification has replaced the multiplicity of cultures in this globalized era. This paper based on review of published articles and content analysis critically unfolds sensitive areas of cultural shock and violation of cultural rights exposed to traditional musicians and traditional singers of Ethiopia during last couple of decades.Int. J. Soc. Sci. Manage. Vol-2, issue-4: 315-326
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Romanou, Ekaterini. "Italian musicians in Greece during the nineteenth century." Muzikologija, no. 3 (2003): 43–55. http://dx.doi.org/10.2298/muz0303043r.
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In Greece, the monophonic chant of the Orthodox church and its neumatic notation have been transmitted as a popular tradition up to the first decades of the 20th century. The transformation of Greek musical tradition to a Western type of urban culture and the introduction of harmony, staff notation and western instruments and performance practices in the country began in the 19th century. Italian musicians played a central role in that process. A large number of them lived and worked on the Ionian Islands. Those Italian musicians have left a considerable number of transcriptions and original compositions. Quite a different cultural background existed in Athens. Education was in most cases connected to the church - the institution that during the four centuries of Turkish occupation kept Greeks united and nationally conscious. The neumatic notation was used for all music sung by the people, music of both western and eastern origin. The assimilation of staff notation and harmony was accelerated in the last quarter of the 19th century. At the beginning of the 20th century in Athens a violent cultural clash was provoked by the reformers of music education all of them belonging to German culture. The clash ended with the displacement of the Italian and Greek musicians from the Ionian Islands working at the time in Athens, and the defamation of their fundamental work in music education.
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Muñoz, Catalina. "“A Mission of Enormous Transcendence”: The Cultural Politics of Music During Colombia’s Liberal Republic, 1930-1946." Hispanic American Historical Review 94, no. 1 (February 1, 2014): 77–105. http://dx.doi.org/10.1215/00182168-2390613.
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AbstractThis article examines the cultural programs developed by reformist intellectuals and artists working for the Colombian government during the period known as the Liberal Republic (1930-1946). It explores the implementation of two music programs in particular, the orfeones obreros and the murgas populares, with attention to both the political discourses from above and the everyday music practices from below. I show that, far from being inspired by common interest or nationalist sentiment alone, the ruling elites turned to cultural politics as an arena through which to define the relationship between the rulers and the ruled in a way that naturalized the former’s place in power. I argue that while music programs asserted the unity, horizontality, and inclusiveness of the nation by glorifying popular music, they also deepened the terms of exclusion they professed to level by essentializing the pueblo. However, this official celebration of popular culture, which rendered its practitioners archaic and passive repositories of the nation’s soul, was challenged by a very dynamic, effervescent, and transnationally open music landscape driven by the activities of creative grassroots musicians. Using data from the National Folkloric Survey of 1942, I explore the everyday music practices of popular sectors in different areas of the country and the challenge that these practices posed to elite definitions of popular music.
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Inglis, Chris. "Focus Wales: A showcase festival of music performance and education." Journal of Popular Music Education 5, no. 1 (April 1, 2021): 113–18. http://dx.doi.org/10.1386/jpme_00046_1.
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Since 2011, the town of Wrexham has hosted the annual Focus Wales festival, showcasing local and international talent across a three-day event to an audience of 15,000. What sets this festival aside from many of the other, similar events happening around the country is its emphasis on music education alongside simply performance. On top of the various shows that take place over the course of the bank holiday weekend, Focus Wales also presents interactive events featuring industry experts, film screenings, and art installations; as well as a conference that presents talks from professional musicians, promoters, radio DJs, academics and more. This article looks into the ways in which Focus Wales has approached musicological discourse over its ten-year history, and how it has contributed to popular music education in Wales.
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Yuliantari, Ans Prawati. "Molas Baju Wara: Hybridity in Manggarai Rap Music." Celt: A Journal of Culture, English Language Teaching & Literature 16, no. 2 (June 21, 2017): 201. http://dx.doi.org/10.24167/celt.v16i2.769.
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Rap music which has been popular since 2007 in Manggarai region, East Nusa Tenggara, Indonesia, gave rise to rap hybrid phenomenon. The mixture between American rap music formats and local elements of Manggarai attracted the attention of young people in the region. One of the local songs that feature hybridity in rap Manggarai is "Molas Baju Wara" created by Lipooz, one of the pioneers of rap in Ruteng, the capital city of Manggarai district.
To discuss this phenomenon, the concept of hybridity in cultural territory proposed by James Lull is adopted. This concept is used particularly to analyze the forms of hybridity reflected in " Molas Baju Wara" and the ways they are used in showing the social and cultural conditions of Manggarai. "Molas Baju Wara" was selected as the object of study because the song is clearly showing the characteristics of hybridity in music.
The study shows that hybridity could be perceived in Manggarai rap music specifically in the use of local musical instruments like drums, cajon, and tambourine as a substitute for percussive sounds of drums, boombox, or turn-table which are commonly used by rap musicians in their home country, the U.S.A. In addition, there are elements of local sound such as the sound of rain that represents Ruteng as the rain city. Hybridity characteristics can also be found in the use of Manggarai vernacular in the whole lyrics as well as the narration of local themes and certain sites that represent Ruteng.
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Koudal, Jens Henrik. "Musikkens betydning på en større gård i mellemkrigstiden." Kulturstudier 4, no. 1 (May 29, 2013): 6. http://dx.doi.org/10.7146/ks.v4i1.8138.
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The meaning of music at a large farm during the inter-war periodThis article investigates music as culture from a historical, ethno-musicological perspective. Jens Henrik Koudal bases his work on the preserved music collection and large private archives of Christian Olsen (1881–1968), who was born and spent most of his life on the farm Torpelund in Zealand, Denmark. From Olsen’s collection, it is possible to make a historical reconstruction of the rich musical life that took place on the farm, and the purpose of the article is to examine what the musical activities meant to the Olsen family’s social and cultural identity; i.e., both their self-conceptualisation and their marking of identity towards their surroundings. The article’s method is rooted in a ‘broad’ concept of culture, along with Christopher Small’s concept ‘musicking’ and new musicology’s tendency to focus on the practice of music-making rather than on ‘great’ composers and books of music. Torpelund is compared to similar settings in England (e.g., East Suffolk around 1900, according to Carole Pegg) and Western concert halls (around 1980, according to Christopher Small).During the inter-war period, the Olsen family gathered together a circle of diverse people, including relatives, friends, business connections and other musicians, who all participated in the “musicking” as equals. Their repertoire consisted of classical and romantic art music from c. 1780–1890, plus the family’s old folk-dancing music (arranged by members of the family). In its own opinion, the circle’s music-making was a ‘higher’ kind of music that established clear distinctions towards lower social classes, towards other races (e.g., blacks with their ragtime and jazz) and towards modern music (e.g., art music and popular music). Specific to Torpelund are three concepts, which also characterise the social and cultural identity of the Olsen family: conservatism, privacy and exclusivity. The musical practices of the Olsens at Torpelund indicate that, during the inter-war period, the family represented a particular amalgamation of the peasant family, the part of the country (northwestern Zealand) and an international, middle-class education.
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Martinelli, Francesco. "Establishing Italian Jazz on the International Scene 1960-1980." European Journal of Musicology 16, no. 1 (December 31, 2017): 136–57. http://dx.doi.org/10.5450/ejm.2017.16.5785.
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This paper sheds new light on the developments in Italian jazz in the two decades 1960-1980. It opens by touching on context and antecedents: the relationships with Italian musical traditions in early American jazz, the acceptance and refusal of jazz by Italian cultural institutions and movements before 1960, and the late '50s key developments both in jazz and arts/media. In the early '60s, Italian jazz was characterized by two small scenes with marked differences in Rome and Milan and with a few further relevant events. An active and well rooted specialist magazine (Musica Jazz) provides relatively good documentation on these beginnings, quite detached from other general movements in music. By the end of the decade several ideological, cultural, political ruptures will have changed this panorama, and while Italian jazz was active in these changes, its exponents also had to deal with the complex situation they created from the point of view of artistic challenges, working conditions, and relationships with the recording industry. In order to discuss these changes and the different strategies adopted by musicians, four case studies will be examined to gain a better understanding of the process. Nunzio Rotondo, while almost unknown outside of Italy, was one of the first Italian musicians to successfully perform internationally after the war. He subsequently worked within the Rome jazz scene, with limited exposure both live and on record. Giorgio Gaslini's ground-breaking work of the late 50s, his training in ‘classical' music, and his unflagging commitment to exploration made him a personality similar to Portal and Gulda. However, his artistic successes did not close the chasm between ‘serious' music and jazz in Italy. Enrico Rava took the opposite road to Rotondo, widely performing abroad and paying dues in Buenos Aires, New York, and Paris before gaining acceptance worldwide and in his own country. He has been instrumental in the creation of an international image of Italian jazz and even of an Italian sound, opening the doors to many others. Perigeo was a ‘jazz-rock' group of the early 70s. Their recordings are still extremely popular. The reaction to their music by the jazz establishment and then their curt dismissal by the industry led to their disbanding, after which the single members—Franco D'Andrea, Claudio Fasoli, Giovanni Tommaso—produced and still produce some of the most exciting Italian jazz.
Dissertations / Theses on the topic "Country music Popular music Country musicians"
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Thomas, Rebecca Ann. "The color of music : race and the making of America's country music /." free to MU campus, to others for purchase, 2000. http://wwwlib.umi.com/cr/mo/fullcit?p9974690.
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Morrow, Guy Richard. "Managerial creativity a study of artist management practices in the Australian popular music industry /." Phd thesis, Australia : Macquarie University, 2006. http://hdl.handle.net/1959.14/42648.
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Thesis (PhD)--Macquarie University, Division of Humanities, Department of Contemporary Music Studies, 2006.Bibliography: p. 377-385.
Introduction -- Literature review, discussion of methodologies and research orientation -- "20% of nothing": Australian rock music management -- Australian country music management -- Australian pop music management: the third party -- Conclusion: managerial creativity.
Artist managers 'create' careers for musicians, yet little has been written about their creativity in the academic domain. Thus this thesis develops the notion of managerial creativity. Artist managers build and maintain 'brands', and this is a creative industry function. The thesis begins with a description of what artist management is, then it reviews the way in which various Australian musicians' and artist managers' careers are created and maintained. A musical idea or product arises from the synergy of many sources and not only from the mind of a single person (Csikszentmihalyi, 1996). Therefore it is easier to enhance creativity by changing conditions in the environment the artist is located in than by trying to make artists think more creatively. Managerial creativity involves the creation and maintenance of the system, context or environment from which artistic creativity emerges and is therefore the facet of the music industry that can most effectively enhance musical creativity.
Mode of access: World Wide Web.
ix, 390 p., ill
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Vander, Wel Stephanie. ""I am a honky-tonk girl" country music, gender, and migration /." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1566903221&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Bevins, Thomas Levin Ben. "Street chords and the truth a street level view of country music /." [Denton, Tex.] : University of North Texas, 2008. http://digital.library.unt.edu/permalink/meta-dc-6134.
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Maguire, Paul. "Conditions of Possibility: Changes in Popular Music Culture and the Development of Country & Irish Music." Thesis, University of Ulster, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.564423.
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This dissertation considers the idea of 'conditions of possibility' as a model for the analysis of particular social phenomena. This is explored through an examination of the emergence of Country & Irish music, a largely ignored and widely denigrated genre of popular music that developed out of the Irish showband dancehall circuit of the 1960s . .•.. ''''' ~ .•.. The genre is considered particularly suitable for these purposes as it has not previously received sustained academic attention. There are no significant accounts of Country & Irish music, while literature on the general subject of showbands is limited to primarily biographical and anecdotal accounts by participating musicians (Gallagher 1997;McCourt 1992; O'Keefe 2002). In order to construct an anthropologically and sociologically plausible account of the application of the idea of conditions of possibility to emergence of genre, I have adopted a historical-ethnographic approach while situating the musicological, anthropological, and sociological dimensions of my research within a broader theoretical analysis of significant social and economic change in Irish life in the 1960s. To that end, I have considered aspects of the promotion and reception of the music by examining not only the musicians involved but the audience, and ancillary management and business structures, in the context of the cu Itural patterns and social environment within which the genre was created and consumed. I have considered these matters in the context of a contrastive-comparative analysis of the careers of two showbands active at this time: 'The Mainliners' (1963 to date) who were among the originators of the Country & lrish style, and 'The Plattermen' (1958-74) whose repertoire was predominantly based on contemporary British and American pop music.
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Winebrenner, Terrence Calvin. "My heroes have always been cowboys : the rhetorical vision of country-western popular songs, 1970-1979 /." The Ohio State University, 1985. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487264603218088.
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Brost, Molly. "Mining the Past: Performing Authenticity in the Country Music Biopic." Bowling Green, Ohio : Bowling Green State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1210877250.
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Bevins, Thomas. "Street Chords and the Truth: A Street Level View of Country Music." Thesis, University of North Texas, 2008. https://digital.library.unt.edu/ark:/67531/metadc6134/.
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Singers and songwriters come to Nashville, Tennessee because they consider it the center of the country music universe and the best place to perform their songs as they try and break into the music business. Though few ever experience success in this competitive field, artists continue to arrive in Nashville and many don't have the commercial potential that would allow them the opportunity to perform anywhere but on the city's streets. The film, Street Chords and the Truth: A Street Level View of Country Music, focuses on these interesting performers and their music. Country music has been examined by a handful of ethnomusicologists and is often called the music of everyday life. Many recognize its dependence on ordinary singing styles, common phrasings, southern accents and traditional costuming as central to its identity and critical source of its value as a commodity. While many studies have been conducted focusing commercially popular country music singers and the music industry, few studies been conducted on singers who meet all the critical criteria for country music except commercial viability. This documentary examines country music more as a critical element of cultural identity and less as a commodity.
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Sutton, Mathew D. "The Tennessee Two-Step: Narrating Recovery in Country-Music Autobiography." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/etsu-works/7833.
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Moving beyond familiar myths about moonshiners, bootleggers, and hard-drinking writers, Southern Comforts explores how alcohol and drinking helped shape the literature and culture of the U.S. South.
Edited by Conor Picken and Matthew Dischinger, this collection of seventeen thought-provoking essays proposes that discussions about drinking in southern culture often orbit around familiar figures and mythologies that obscure what alcohol consumption has meant over time. Complexities of race, class, and gender remain hidden amid familiar images, catchy slogans, and convenient stories.
As the first collection of scholarship that investigates the relationship between drinking and the South, Southern Comforts challenges popular assumptions by examining evocative topics drawn from literature, music, film, city life, and cocktail culture. Taken together, the essays collected here illustrate that exaggerated representations of drinking oversimplify the South’s relationship to alcohol, in effect absorbing it into narratives of southern exceptionalism that persist to this day.
From Edgar Allan Poe to Richard Wright, Bessie Smith to Johnny Cash, Bourbon Street tourism to post-Katrina disaster capitalism and more, Southern Comforts: Drinking and the U.S. South uncovers the reciprocal relationship between mythologies of drinking and mythologies of region.
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Weaver, Sheila A. "Notions of authenticity in popular music : an analysis of Dwight Yoakam and new traditionalist country." Thesis, McGill University, 1988. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=63881.
Full textBooks on the topic "Country music Popular music Country musicians"
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Lost highway: Journeys & arrivals of American musicians. Boston: Back Bay Books, 1999.
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Southern cultures: Music. [Chapel Hill, N.C.]: University of North Carolina Press, 2009.
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Canadian Country Music Hall of Fame. Canadian Country Music Hall of Fame official souvenir book: Pictures and stories of the 25 inaugural inductees. Kitchener, Ont: Canadian Country Music Hall of Fame, 1990.
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Koster, Rick. Louisiana music: A journey from R & B to zydeco, jazz to country, blues to gospel, Cajun music to swamp pop to carnival music and beyond. Cambridge, MA: Da Capo Press, 2002.
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McCusker, Kristine M. Lonesome cowgirls and honky-tonk angels: The women of barn dance radio. Urbana: University of Illinois Press, 2008.
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McCusker, Kristine M. Lonesome cowgirls and honky-tonk angels: The women of barn dance radio. Urbana: University of Illinois Press, 2008.
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Louisiana music: A journey from R & B to zydeco, jazz to country, blues to gospel, Cajun music to swamp pop to carnival music and beyond. Cambridge, MA: Da Capo Press, 2002.
Find full textBook chapters on the topic "Country music Popular music Country musicians"
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Ellwood, Robert S. "Ghost Marriages and Country Music: Popular Religion." In Introducing Religion, 158–81. Fifth edition. | New York : Routledge, 2020.: Routledge, 2019. http://dx.doi.org/10.4324/9780429285271-9.
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Marques, Jaqueline Soares, and Jusamara Souza. "Musical formation of popular singers in Brazil: A case study with singers who sing in pairs música sertaneja – Brazilian country music." In Contemporary Popular Music Studies, 203–12. Wiesbaden: Springer Fachmedien Wiesbaden, 2019. http://dx.doi.org/10.1007/978-3-658-25253-3_19.
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Shonk, Kenneth L., and Daniel Robert McClure. "“No Depression”: The Nostalgia and Authenticity of Alternative Country." In Historical Theory and Methods through Popular Music, 1970–2000, 259–90. London: Palgrave Macmillan UK, 2017. http://dx.doi.org/10.1057/978-1-137-57072-7_10.
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Stimeling, Travis D. "Afterword." In Nashville Cats, 219–24. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197502815.003.0006.
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The Afterword briefly considers the impacts of the Nashville Sound era’s recording industry on the city’s role as a major center for the production of not only country music, but a wide range of commercial popular musics, in the late twentieth and early twenty-first centuries. These impacts were felt not only as new generations of session musicians took the reins from the Nashville veterans, but as other emergent country music scenes—as well as the artists associated with the so-called “Outlaw country” movement—worked to distinguish themselves from the Nashville music industry. This chapter closes with a discussion of the value of engaging meaningfully with session musicians in the study of popular music, more generally.
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Stimeling, Travis D. "Introduction." In Nashville Cats, 1–24. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197502815.003.0001.
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In the early 1950s, country music was a cottage industry in Nashville, supporting a handful of small recording studios, publishers, and managers, and Nashville was known primarily as the home of The Grand Ole Opry. By the mid-1960s, however, Nashville had become “Music City, USA,” a bustling town known around the world as the epicenter of country music production and dissemination. As Nashville underwent this transformation, popular music consumption in the United States also underwent a radical change, as disc jockey programs replaced live performance on radio stations across the United States. Drawing upon recent academic work in the musicology of recording, the Introduction considers how these changes affected the ways that audiences heard country music during the 1950s and 1960s. In its focus on recorded country music, the Nashville Sound era begs for a musicological inquiry examining the creative decisions of session musicians, recording engineers, and record producers and the impacts of those decisions on the listeners who engaged with their work.
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"COUNTRY MUSIC." In Popular Music, 65–72. Routledge, 2016. http://dx.doi.org/10.4324/9781315622583-11.
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Bellaviti, Sean. "Introduction." In Música Típica, 1–17. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190936464.003.0001.
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It was some time after I first met Panamanian vocalist and multi-instrumentalist Lucho de Sedas, in early 2005, that he began playing a custom designed Fender Stratocaster whenever he performed for audiences in Toronto. In contrast to the sleek B. C. Rich Gunslinger Assassin that had followed him from Panama, Lucho’s new electric guitar had emblazoned on its front the tricolored Panamanian flag. This new guitar would become a key part of his signature look, for it communicated his connection to and love of country. Indeed, for the highly diverse contingent of Hispanic Canadians that made up the audience for his music in his newly adopted land, the instrument was also the most striking if not principal reference to the musician’s nationality. This is because—as Lucho would remark to me on several occasions—Panamanian music is little known outside of Panama. This lack of familiarity with the music to which he had devoted his life was deeply felt by Lucho, who is not only a household name in his own country, but had risen to fame performing the most widely embraced form of popular music in Panama....
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Vander Wel, Stephanie. "Early Country Music." In Hillbilly Maidens, Okies, and Cowgirls, 19–42. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043086.003.0002.
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Chapter 1 explores the theatrical context of 1930s country music on radio, specifically daily and weekly shows, including the National Barn Dance, on Chicago’s WLS. Similar to vaudeville, radio programmed the diverse strands of vernacular expression with music (including Western art music) that pointed to the high and popular aesthetics of the middle-class mainstream. With an emphasis on reception, this chapter demonstrates that listeners debated the merits of early country music as well as other musical styles and genres with a class-based understanding of aesthetics. The syncretic nature and theatrical characters of early country music (such as the singing mountaineer, the crooning cowboy, and the rustic buffoon) fit radio’s attempts to negotiate the crossing and blurring of the serious and the popular, the urban and the rural, and the sentimental and the parodic. Thus, through the technology of radio, early country music first secured a place in the American consciousness by rubbing against other styles and genres that transgressed cultural and musical divides.
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Brackett, David. "When you're lookin' at Hank (you're looking at country)." In Interpreting Popular Music, 75–107. University of California Press, 2000. http://dx.doi.org/10.1525/california/9780520225411.003.0003.
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"When you’re lookin’ at Hank (you’re looking at country)." In Interpreting Popular Music, 75–107. University of California Press, 2000. http://dx.doi.org/10.2307/j.ctv11hpsfz.6.
Full textReports on the topic "Country music Popular music Country musicians"
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Manhiça, Anésio, Alex Shankland, Kátia Taela, Euclides Gonçalves, Catija Maivasse, and Mariz Tadros. Alternative Expressions of Citizen Voices: The Protest Song and Popular Engagements with the Mozambican State. Institute of Development Studies (IDS), November 2020. http://dx.doi.org/10.19088/ids.2020.001.
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This study examines Mozambican popular music to investigate three questions: Are notions of empowerment and accountability present in popular music in Mozambique? If so, what can these existing notions of empowerment and accountability reveal about relations between citizens and state institutions in general and about citizen-led social and political action in particular? In what ways is popular music used to support citizen mobilisation in Mozambique? The discussion is based on an analysis of 46 protest songs, interviews with musicians, music producers and event promoters as well as field interviews and observations among audiences at selected popular music concerts and public workshops in Maputo city. Secondary data were drawn from radio broadcasts, digital media, and social networks. The songs analysed were widely played in the past two decades (1998–2018), a period in which three different presidents led the country. Our focus is on the protest song, conceived as those musical products that are concerned with public affairs, particularly public policy and how it affects citizens’ social, political and economic life, and the relationship between citizens and the state.
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Yatsymirska, Mariya. SOCIAL EXPRESSION IN MULTIMEDIA TEXTS. Ivan Franko National University of Lviv, February 2021. http://dx.doi.org/10.30970/vjo.2021.49.11072.
Full textAbstract:
The article investigates functional techniques of extralinguistic expression in multimedia texts; the effectiveness of figurative expressions as a reaction to modern events in Ukraine and their influence on the formation of public opinion is shown. Publications of journalists, broadcasts of media resonators, experts, public figures, politicians, readers are analyzed. The language of the media plays a key role in shaping the worldview of the young political elite in the first place. The essence of each statement is a focused thought that reacts to events in the world or in one’s own country. The most popular platform for mass information and social interaction is, first of all, network journalism, which is characterized by mobility and unlimited time and space. Authors have complete freedom to express their views in direct language, including their own word formation. Phonetic, lexical, phraseological and stylistic means of speech create expression of the text. A figurative word, a good aphorism or proverb, a paraphrased expression, etc. enhance the effectiveness of a multimedia text. This is especially important for headlines that simultaneously inform and influence the views of millions of readers. Given the wide range of issues raised by the Internet as a medium, research in this area is interdisciplinary. The science of information, combining language and social communication, is at the forefront of global interactions. The Internet is an effective source of knowledge and a forum for free thought. Nonlinear texts (hypertexts) – «branching texts or texts that perform actions on request», multimedia texts change the principles of information collection, storage and dissemination, involving billions of readers in the discussion of global issues. Mastering the word is not an easy task if the author of the publication is not well-read, is not deep in the topic, does not know the psychology of the audience for which he writes. Therefore, the study of media broadcasting is an important component of the professional training of future journalists. The functions of the language of the media require the authors to make the right statements and convincing arguments in the text. Journalism education is not only knowledge of imperative and dispositive norms, but also apodictic ones. In practice, this means that there are rules in media creativity that are based on logical necessity. Apodicticity is the first sign of impressive language on the platform of print or electronic media. Social expression is a combination of creative abilities and linguistic competencies that a journalist realizes in his activity. Creative self-expression is realized in a set of many important factors in the media: the choice of topic, convincing arguments, logical presentation of ideas and deep philological education. Linguistic art, in contrast to painting, music, sculpture, accumulates all visual, auditory, tactile and empathic sensations in a universal sign – the word. The choice of the word for the reproduction of sensory and semantic meanings, its competent use in the appropriate context distinguishes the journalist-intellectual from other participants in forums, round tables, analytical or entertainment programs. Expressive speech in the media is a product of the intellect (ability to think) of all those who write on socio-political or economic topics. In the same plane with him – intelligence (awareness, prudence), the first sign of which (according to Ivan Ogienko) is a good knowledge of the language. Intellectual language is an important means of organizing a journalistic text. It, on the one hand, logically conveys the author’s thoughts, and on the other – encourages the reader to reflect and comprehend what is read. The richness of language is accumulated through continuous self-education and interesting communication. Studies of social expression as an important factor influencing the formation of public consciousness should open up new facets of rational and emotional media broadcasting; to trace physical and psychological reactions to communicative mimicry in the media. Speech mimicry as one of the methods of disguise is increasingly becoming a dangerous factor in manipulating the media. Mimicry is an unprincipled adaptation to the surrounding social conditions; one of the most famous examples of an animal characterized by mimicry (change of protective color and shape) is a chameleon. In a figurative sense, chameleons are called adaptive journalists. Observations show that mimicry in politics is to some extent a kind of game that, like every game, is always conditional and artificial.