Dissertations / Theses: 'Country music'

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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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Harrison, Jack Pascal. "Thoughts on art and country music." The Ohio State University, 1989. http://rave.ohiolink.edu/etdc/view?acc_num=osu1314211662.

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Tolley, Rebecca. "Review of Country Music Annual 2000." Digital Commons @ East Tennessee State University, 2002. https://dc.etsu.edu/etsu-works/5608.

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Sellmar, Nike. "En härmapa till låtskrivare : Att skriva låtar utifrån inspirationskällor." Thesis, Luleå tekniska universitet, Institutionen för ekonomi, teknik, konst och samhälle, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-84875.

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Under hösten 2020 och våren 2021 har jag fördjupat mig i mitt arbete att bli en bättre låtskrivare. Eftersom jag tidigare inte analyserat musik genom att ställa utförliga frågor och ta reda på information om en låtskrivares verk så ansåg jag detta arbete som ett tillfälle att ge mig fler redskap för mitt fortsatta låtskrivande. Syftet med detta examensarbete är att fördjupa mitt arbete i låtskrivning, genom att analysera och försöka efterlikna musik av ett antal låtskrivare inom country- och americanagenren. Jag har under arbetet analyserat 20 låtar av fyra låtskrivare och artister inom countrygenren. Jag har valt att analysera alla artisters verk på samma sätt. Jag skrev en tabell för att fylla i information om deras, vad jag har valt att kalla; låt-ingredienser . Efter min analysprocess skrev jag tre låtar utifrån mina analyser som skulle representera vardera låtskrivare. Arbetet har resulterat i tre låtar som representerar de fyra låtskrivarna. Jag har reflekterat kring mina tillvägagångssätt som lett till de klingande resultaten, genom att ifrågasätta min egen analysförmåga och även analyserat kring de element där jag utvecklats. I dag skriver jag mer utarbetade och genomtänkta låtar där den främsta utvecklingen varit ackord, historieberättande och vissa textmässiga redskap jag tidigare inte bemästrat, samt att jag har fått en bättre analysförmåga.

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Murphy, Clifford R. "New England country and western music self-reliance, community expression, and regional resistance of the New Egnland frontier /." Restricted access (UM), 2008. http://libraries.maine.edu/gateway/oroauth.asp?file=orono/etheses/37803141.pdf.

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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 pursuit whose means of expression are a salvation? One can read about many artists who came into an art form out of necessity. Their life outside of expressing themselves was bleak and the art form became their cry. I by no means wish to place myself at the level of expertise of such artists that came to their art to survive, or to imply that I paid my dues to the extent that certain artists have (artists such as Hank Williams, or the Blues artist Robert Johnson, for example). I do mean to express through this paper my experience of the catharsis in singing country music and the Blues. My beginning singing came at a time when I really needed it; the music helped me through a difficult time. The title of the paper is Fall and Redemption: the Essence of Country Music for this reason. It is in Narrative form, foot printing my process and discovery of the music. I attempted to combine lifes experiences with the discovery of the music. The experiences were the inspiration behind playing the music. The essence of country music and the Blues is its sincerity, and I hope that I have combined my lifes narrative with the artistic process effectively, as the time period (December 2005 to June 2007) was a time in which art was defined by life, and life was defined by art.

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Daniel, Linda Jean. "Singing out!, Canadian women in country music." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape10/PQDD_0022/NQ49995.pdf.

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Ruff, Joseph. "Country Music in the Northeast: Two Careers." TopSCHOLAR®, 1993. https://digitalcommons.wku.edu/theses/2792.

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Although country music and its antecedents have received attention primarily as cultural phenomena of the South, the past twenty years have witnessed a growing scholarly interest in the interplay between commercial country music, vernacular components. and performers within a regional context. The commercial product which has now attained worldwide appeal undoubtedly sustains a significant relationship to the folkways and regional identity of the South; nonetheless, performers and vernacular styles from other areas of the country have contributed to the development of country music. Most important. many areas outside of the South maintain local traditions of country music entertainment. In this thesis, I argue for a broader conception of country music and its sources by examining the careers of Gene Hooper and Dick Curless within the context of country music in Maine. The evidence presented suggests that country music, in its local context, retains a significant link to regional image and identity, as well as maintaining a connection to traditional music style and function. The acceptance of the "new social history" rests upon the belief that knowledge of everyday people and culture contributes to our understanding of historical processes and periods. The methods of folkloristics complement this perspective and also provide an approach with which to study performance in small group contexts. Much of my information derives from observation of country music culture in Maine and interviews with relevant persons. I have also utilized archival material and scholarship concerning the history of country music and vernacular music in the Northeast. Within the thesis. I examine theoretical considerations of region and group identity. Because the scholarly and popular conceptions of country music identify it primarily as a cultural phenomenon of the American South, my examination begins with a summary of historical perspectives on country music and the development of the Southern image connected with it. This discussion is followed by a brief survey of theoretical attitudes toward country music and regional identity within the discipline of folklore. Turning toward country music in the Northeast, I outline the roots of vernacular music there and describe the evolution of a regional country music boom. A detailed description of the careers of Gene Hooper and Dick Curless follows, with particular emphasis on the differing professional contexts of their music. Finally, I return to academic models of country music and region, elaborating on distinctions between the commercial context of the Nashville music industry and the vernacular music of the Northeast.

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Nunn, Erich Thomas. "Country music and the souls of white folk." [Gainesville, Fla.] : University of Florida, 2002. http://purl.fcla.edu/fcla/etd/UFE1000149.

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Bidgood, Lee, and Doctors and Outlaws. "Celebration of 1970s Country-Rock-Grass Fusion." Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/etsu-works/1063.

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A one-time celebration of the 1970s country-rock-grass fusion of Crowe, Parsons, the Rices, the Burritos, etc. View the YouTube videos below: Part 1: https://www.youtube.com/watch?v=lbWzeKhdbus Part 2: https://www.youtube.com/watch?v=ImrFFCPPXw4 Part 3: https://www.youtube.com/watch?v=Je5oXBpDGmU Part 4: https://www.youtube.com/watch?v=WkNjD079QFQ

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Pruitt, Cenate. "Stand By Your Man, Redneck Woman: Towards a Historical View of Country Music Gender Roles." unrestricted, 2006. http://etd.gsu.edu/theses/available/etd-11142006-165343/.

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Thesis (M.A.)--Georgia State University, 2006.
Title from title screen. Wendy Simonds, committee chair; Romney Norwood, Charlie Jaret, committee members. Electronic text (80 p.) : digital, PDF file. Description based on contents viewed June 26, 2007. Includes bibliographical references (p. 74-76).

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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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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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Castleman, Lisa D. "A conductor's practical approach to "Country Band" March by Charles Ives." Thesis, California State University, Long Beach, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1527361.

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The purpose of this paper is to provide the conductor with a practical approach to James B. Sinclair's concert band arrangement of "Country Band" March by Charles Ives. Ives's collage style of composition presents many ensemble challenges, the largest of these being the preservation of textural clarity. In effort to maintain clarity in performance, the project report discusses the fundamental components of clarity, being: tempo and pulse, style and articulation, and balance and blend, as related to the piece. Interviews with conductors and Ives scholars, James B. Sinclair and Jonathan Elkus, along with the author's personal experience conducting the work, inform solutions for typical performance issues. Research also provides a proper framework for interpretation.

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Martin, Toby. "Yodelling boundary riders : country music in Australia, 1936-2010." Phd thesis, Department of History, 2011. http://hdl.handle.net/2123/8573.

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Holmes, Thomas Alan, and Roxanne Harde. "Walking the Line: Country Music Lyricists and American Culture." Digital Commons @ East Tennessee State University, 2013. http://amzn.com/073916967X.

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Contents: Introduction: "Walking the line" : the Dixie Chicks and the making of country lyricists / Thomas Alan Holmes and Roxanne Harde -- "Nobody Knows but Me" : Jimmie Rodgers and the body politic / Taylor Hagood -- Cindy Walker, Lyle Lovett, and the West / Thomas Alan Holmes -- "Help your brother along the road" : Hank Williams and the humane tradition / Steve Goodson -- JC : Johnny Cash and faith / Thomas Alan Holmes -- Religious doctrine in the mid-1970s to 1980s country music concept albums of Willie Nelson / Blase S. Scarnati -- Grace to catch a falling soul : country, gospel, and evangelical populism in the music of Dottie Rambo / Douglas Harrison -- Loretta Lynn, Appalachian storyteller and autobiographer / Laura Grace Pattillo -- "Branded" man : Merle Haggard's romance of the outlier / Thomas Alan Holmes -- Townes Van Zandt : " Now here's what this story's told" / Pete Falconer and James Zborowski -- Wildness, eschatology, and enclosure in the songs of Townes Van Zandt / Michael B. MacDonald -- "Where it counts I'm real" : the complexities of Dolly Parton's feminist voice / Samantha Christensen -- "Sin City" : Gram Parsons and the "Christ-haunted South" / Clay Motley -- Weeping willows and long black veils : the country roots of Roseanne Cash, from Scotland to Tennessee / June Skinner Sawyers -- "They draft the white trash first 'round here anyway" : Steve Earle's American boys / Roxanne Harde.
https://dc.etsu.edu/etsu_books/1048/thumbnail.jpg

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Olson, Ted S. "Before the Big Bang: The Origins of Country Music." Digital Commons @ East Tennessee State University, 2019. https://dc.etsu.edu/etsu-works/5529.

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Bidgood, Lee. "Seeking Information in Bluegrass, Old Time, and Country Music Studies." Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/etsu-works/1093.

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Arnold, Jermie Steven. ""Country Band" March Historical Perspectives, Stylistic Considerations, And Rehearsal Strategies." Thesis, George Mason University, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3624251.

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American composer Charles Ives was first and foremost a bandsman. Having been raised in the band world by his father, his first works were for band. Though only four of Ives's original works for band survive, many of his other works have been transcribed or arranged for band. Among these "Country Band" March is unique. Originally written between 1904-05 for theater orchestra, this work chronicles the events, circumstances, and realities of Ives's experience in the "band world." Ives's use of polymeter, polytonal passages, and multiple layers of rhythm, pitch, texture, distinguishes it as among the first of Ives's instrumental works to do so. Additionally, these characteristics provide considerable performance challenges for conductors and their ensembles. This study provides an overview of "Country Band" March including historical context, stylistic considerations, and rehearsal strategies. An exploration of the historical context will allow the conductor and ensemble member to understand the 19th-century band and thus more accurately perform the nuances Ives uses to portray these "country bands." It will also inform the conductor's ability to make accurate stylistic choices. A discussion of significant performance challenges and possible solutions to these challenges allows a more diverse level of ensembles to perform the work. Thus, "Country Band" March will be appreciated by more conductors and ensembles as among the best works for band.

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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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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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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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Bidgood, Lee. "A New Weird Americana: Bill Frisell's Score for Country Music." Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/etsu-works/1100.

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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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Ma, Siyuan. "To Utopianize the Mundane: Sound and Image in Country Musicals." Scholar Commons, 2016. http://scholarcommons.usf.edu/etd/6112.

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Many consider music, songs, and dance performance as utopian signifiers for cinema, but few has entered the utopian discourse of country musicals, a small genre of cinema usually known as country music films. By closely scrutinizing Pure Country (1992), this thesis aims to reveal how country music—as music numbers and as background cues— integrate and connect the fragmented on-screen world for the country musicals so as to offer audiences a fullness of utopian experience, and how this utopian effect are culturally significant for American audiences due to country music’s unique mechanism of constructing utopia and nostalgia in its past-orientations, sentimentalities, and alleged authenticities. I argue because of the American country music’s internal need for utopia as an individual and social agent, Pure Country, as well as the neo-traditionalism country music defined by Pure Country, reconciles the pop and the old time country music, and also conciliates the tension expressed in such music tastes between the rural and urban communities. This reconciliation makes Pure Country a not so perfect cinematic text for documenting country music’s authenticity and origin, but fully and clearly reflects the utopian meaning of country music on an individual and social level.

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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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Lyons, Alice. "All Country Roads Lead to Rome: Idealization of the Countryside in Augustan Poetry and American Country Music." Scholarship @ Claremont, 2011. http://scholarship.claremont.edu/cmc_theses/102.

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This paper examines similarities between imagery of the countryside and the “country life” in both the poetry of Augustan Rome and contemporary American country music. It analyzes the themes of agriculture, poverty, family, and piety, and how they are used in both sets of sources to create an idealized countryside. This ideal, when contrasted with negative portrayals of urban life and non-idealized rural life, endorses an ideology that is opposed to wealth and that emphasizes the security and stability of the idyllic countryside. This ideology common to both may stem from the historical contexts of these two eras, revealing that Augustan Rome and modern America have unexpected similarities.

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Cave, Penelope. "Piano lessons in the English country house, 1785-1845." Thesis, University of Southampton, 2013. https://eprints.soton.ac.uk/366438/.

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Two largely unexplored collections form the basis for research on the significance of piano lessons in the country homes of the British elite in the years around 1800. The owners of the music libraries were the Egerton family at Tatton Park, Cheshire and the Aclands of Killerton House, Devon. The women who married into these families, along with their children, form casestudies that stretch the boundaries of domestic amateur music-making, within an overlooked area of English keyboard repertoire. The piano was emerging as the ideal instrument for girls and women in the home, and this study examines the instruments at their disposal, providing substantial new information on the important Broadwood grand that belonged to Lydia Hoare Acland. Teachers, pupils and pedagogical tools cast light on the transition from a girl’s polite pastime to an emerging school of excellence, and this thesis examines, in detail, the practice of preluding in the education of Elizabeth Sykes Egerton, placing it against the broader background of women’s instruction in the ‘science of music’. The repertoire in the two family collections is a huge, multi-layered resource that adds colour to the outlines of early piano pedagogy, and exemplifies a breadth of skill across three or four generations. In this thesis, I place these important printed music collections in the context of additional contemporary sources, including diaries, memoirs, manuscript music and a commonplace book. Considering these collections in this wider arena, not only reveals a rich picture of early piano pedagogy, but also yields insights into the lives of the individuals who bought and used music for performance, study and sociability.

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Grandstrand, Rachel. "The Performance and Perception of Social Identities in Country-Rap Music." Oberlin College Honors Theses / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1375280445.

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Stokes, Justine Frances. "We're Changing the Way We Do Business: A Critical Analysis of the Dixie Chicks and the Country Music Industry." Oxford, Ohio : Miami University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1228361434.

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Olson, Ted. "The 1927 Bristol Sessions: The Big Bang, or the Big Brag of Country Music?" Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/etsu-works/1208.

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Stein, Eric Joseph. ""Living right and being free", country music and modern American conservatism." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0022/MQ50574.pdf.

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Stein, Eric 1973. ""Living right and being free" : country music and modern American conservatism." Thesis, McGill University, 1998. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=21267.

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The rising popularity of country music in the United States since WWII is a cultural phenomenon intimately related to the ascendance of conservative values, leaders, and movements over the same period. By routinely celebrating themes like heterosexual love, the patriarchal nuclear family, hard work, individualism, freedom, patriotism, religion, and small-town life, country music provided the soundtrack for the insurgent conservatism of politicians like George Wallace, Richard Nixon, and Ronald Reagan. In the sixties and seventies, while other forms of popular music (rock, folk, soul) articulated the values of liberals, socialists, hippies, war protestors, feminists, and civil rights activists, country music alone stood for the "traditional" values cherished by the so-called "silent majority" that powered the rise of the Right. The spread of both country music and conservatism is also a reflection of the "southernization" of America---the diffusion across the nation of cultural and political traits long associated with the South.

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真梨, 永冨, and Mari Nagatomi. "Tokyo rodeo : transnational country music and the crisis of Japanese masculinities." Thesis, https://doors.doshisha.ac.jp/opac/opac_link/bibid/BB13100462/?lang=0, 2019. https://doors.doshisha.ac.jp/opac/opac_link/bibid/BB13100462/?lang=0.

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本論文は、日本人男性とカントリー音楽を事例とした、日本人のアメリカ文化との遭遇に関する研究である。本論文では、なぜ日本人男性がアメリカのカントリー音楽とそのシンボルであるカウボーイを消費したかについて考察する。日本人男性は、これらの「典型的」とも言われるアメリカのシンボルを通して、日本の国家建設や、方向性に必要不可欠な、日本人男性性について議論していたと主張する。
This dissertation is a case study about the Japanese encounter with American culture by dealing with Japanese men and American country music. I investigate why Japanese men consumed American country music and cowboy images that served as the music's main symbol. Those Japanese men's encounter with American country music shows us that Japanese men received this music from the US in multifaceted ways, rather than simply as a way to understand US-Japan relations. I argue that these Japanese men used American country music and cowboy images to debate about Japanese masculinity, which was intrinsic to Japanese nation-building, aims and identities.
博士(アメリカ研究)
Doctor of Philosophy in American Studies
同志社大学
Doshisha University

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O'Connor, Flynn. "You Ain’t Woman Enough: Country Music and the Women’s Liberation Movement." Thesis, United States Studies Centre, 2018. http://hdl.handle.net/2123/17815.

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Country music is perceived and presented as an intrinsically conservative genre, built around the cultural paradigms that defined mid-20th Century American conservatism. Often centred around ideals of domesticity, labour and religion, the genre has found a geographic hub within America’s largely conservative Southern states. The logical assumption to follow this would be to assume that the women of country music follow a similar conservative political path. However, when compared to the Women’s Liberation Movement, a largely leftist political movement, we can see that ultimately this is not true. Though the women’s liberation movement was centred around the urban Northeast, when observing the lyrics, interviews and public perceptions of prominent women in country music we can see considerable similarities between their actions and the motivations of the movement. By observing the work of Kitty Wells, we can see an often-contradictory understanding of the role of the housewife, as she appears prominently as a pioneer within the genre and her family’s primary breadwinner. Tammy Wynette’s music, though thematically very different, features considerable similarities to the form of activism known as consciousness raising, and Loretta Lynn consistently presents lyrics and themes that subvert what is expected of her as a Southern woman. Ultimately, an observation of these women’s careers shows us two things; firstly, their success points to a Southern market in which the ideals of the women’s liberation movement are valued. Secondly, their collective works are indicative of a less conventional approach to Southern conservatism; one which is able to reconcile feminist ideals into a historically conservative context.

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Troughton, Jane Elizabeth. "The role of music in the Yorkshire Country House 1770-1850." Thesis, University of York, 2014. http://etheses.whiterose.ac.uk/10390/.

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This thesis is a contribution to the history of domestic musicality and sociability, focusing on the collections and musical practices of four Yorkshire Houses - Harewood House, Castle Howard, Temple Newsam and Nostell Priory - from around 1770 to 1850. The thesis interrogates the individual case studies of musical activity within the four houses using a framework of the following themes: the changing role of musical patronage and the status of the professional musician; music-making and elite men and women; private and public performance; the role and influence of visiting tutors and performers; the participants in music-making in the house; the genres and composers of music played; the importance of sociability in the country house and the social functions that music fulfilled; the locations within the house where music-making took place; and the relationship that musical instruments had with the design and decoration of interiors and furnishings. The findings of this thesis, showing contrasting approaches to music-making across the four case studies, are considered alongside other research, to show in what ways music-making in the country house had changed by the end of the eighteenth century, and what relationship music in the domestic, private aristocratic sphere had with contemporary musical trends in the public domain. Comparisons are made with evidence from other houses and aristocratic families to develop and enrich this discussion. By defining closely the musical activities of the four individual households, this thesis aims to show what is unique to the family and what is characteristic of the period and region; and to establish how typical certain practices and levels of musical interest were in comparison to other aristocratic households.

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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.

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38

Sundbye, Martin. "Ljudets funktioner i filmen No Country for Old Men : En audiovisuell analys." Thesis, Högskolan Dalarna, Ljud- och musikproduktion, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:du-29784.

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Sundbye, Martin (2019). Ljudets funktioner i filmen No Country for Old men – En audiovisuell analys. Examensuppsats inom Ljud- och musikproduktion, Högskolan Dalarna, Akademin för språk och medier, Falun. I denna uppsats undersöktes främst ljudet men också bilden ur en scen från filmen No Country for Old Men. Detta gjordes för att ta reda på hur scenen använder sina ljudresurser ur ett berättelsefunktionsperspektiv, samt att få en djupare förståelse för ljudets roll och vad ljudet bidrar med till berättelsen som bilden inte gör. Den valda scenen granskades med hjälp av en audiovisuell analysteknik kallad Masking, som myntades av den franske filmljudsforskaren Michel Chion. Resultatet visade att scenen använder sig av en mycket begränsad ljudpallet. Filmskaparna har gjort ett medvetet val att välja bort viktigt berättardimensioner som musik och dialog. Scenen förlitar sig istället på atmosfärsljud och ljudeffekter för att berätta historien. Ljudeffekter blir en central del i berättelsen och är direkt nödvändiga för att scenen ska kunna förstås till fullo. Ljuden ignorerar också det visuella tempot som delvis närvarar och strävar istället efter en mer naturlig ljudberättelse, där ljudet förblir oförvrängd. Alla ljud som hörs är även diegetiska vilket tillsammans med den begränsade ljudpaletten bidrar till en intim och realistisk upplevelse, trots scenens relativt surrealistiska händelseförlopp.

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Holmlund, Charlie. "Spela country på gitarr : En undersökning om att lära sig improvisera i en genre genom plankning och analys." Thesis, Kungl. Musikhögskolan, Institutionen för musik, pedagogik och samhälle, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3075.

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Improvisation är den vanligaste och mest spridda musikaliska formen. Lärare väljer själva hur mycket av undervisningen som kommer att handla om improvisation och vilket syfte den fyller, och för att lära sig improvisera i ny genre kan man använda plankning och transkribering som metod. I den här studien undersöks vilka improvisationsmetoder countrymusikerna använder sig av i de stycken jag valt att studera samt vilka likheter och olikheter det finns mellan instrumentens improvisationer. Genom att planka, spela och transkribera improvisationer ur tre olika låtar har materialet analyserats. Analysen har utgått från litteratur i improvisationsmetodik och har hjälpt till att svara på den ställda syftesformuleringen. Resultaten visar att tonmaterialet går att härleda till vedertagna improvisationsmetoder och att countrymusiker ser varje ackord för sig, likt hur en jazzmusiker förhåller sig till harmonik. Jag har lärt mig att se samband mellan instrumentspecifika improvisationsmetoder utöver kartläggningen av toner, och för att lära sig spela en ny genre är det effektivt att använda sig av transkribering och plankning som metod för att lära sig countryns idiom.

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Lucy, Nathaniel. "Ozark Jubilee: The Impact of a Regional Identity at a Crossroads." Bowling Green State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1395658340.

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Rana, Leena. "Music and elite identity in the English country house, c.1790-1840." Thesis, University of Southampton, 2012. https://eprints.soton.ac.uk/367018/.

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In this thesis I investigate two untapped music book collections that belonged to two women. Elizabeth Sykes Egerton (1777-1853) and Lydia Hoare Acland (1786-1856) lived at Tatton Park, Cheshire, and Killerton House, Devon, respectively. Upon their marriage in the early nineteenth century, they brought with them the music books they had compiled so far to their new homes, and they continued to collect and play music after marriage. I examine the vocal music in Elizabeth’s and Lydia’s collections, and I aim to show how selected vocal music repertoires contributed toward the construction of landed elite identity in these women and their husbands, concentrating on gender, class, national identity and religion. In chapter one, I concentrate on songs that depict destitute and suffering individuals to move both listeners and performers to compassion. The songs are topical and provide insights into contemporary understandings of sympathy and landed elite responsibility for the distressed. In chapter two, I focus on the ingoing and outgoing movements of music in the country house, and the consumption of foreign music in the home. I divide the chapter into two sections, first examining Elizabeth’s Italian vocal music that she collected during her girlhood years in London and York in the 1790s. The Italian music that Elizabeth brought to Tatton complemented other Italian objects and items in the home. Italian culture appealed to the Egerton family both before and after Elizabeth and Wilbraham married. In the second section, I investigate Lydia and her family’s journey to Vienna for the Congress in 1814-1815. Lydia took away with her a book of vocal music to remind her of home in a foreign environment. While away in Vienna, the Aclands attended concerts and music salons, and they purchased music books to bring back home to add to their collection. In the final chapter, I concentrate on the man of the house at music and I consider the social expectations, duties and responsibilities that had befallen our landed elite men, Thomas Dyke Acland and Wilbraham Egerton. I discuss Thomas’s and Wilbraham’s musical engagements and occasions for performing music, and how men’s music-making contributed to a masculine identity. By placing the vocal music in broader social and cultural contexts, reading personal correspondence, newspaper articles, account books and diaries, we can begin to understand what our families thought about music, and how they used and experienced music in and around their homes, forming an important part of their lifestyle.

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Olson, Ted. "I'm a Radical for Real: An Oral History of Country Music’s Original Outlaw, Steve Young." Digital Commons @ East Tennessee State University, 2018. https://dc.etsu.edu/etsu-works/1184.

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Book Summary: Massively popular for the past century, country music has often been associated with political and social conservatism. While such figures as George Wallace, Richard Nixon, and Ted Cruz have embraced and even laid claim to this musical genre over the years, country performers have long expressed bold and progressive positions on a variety of public issues, whether through song lyrics, activism, or performance style.Bringing together a wide spectrum of cultural critics, The Honky Tonk on the Left takes on this conservative stereotype and reveals how progressive thought has permeated country music from its beginnings to the present day. The original essays in this collection analyze how diverse performers, including Fiddlin’ John Carson, Webb Pierce, Loretta Lynn, Johnny Cash, O. B. McClinton, Garth Brooks, and Uncle Tupelo, have taken on such issues as government policies, gender roles, civil rights, prison reform, and labor unrest. Taking notice of the wrongs in their eras, these musicians worked to address them in song and action, often with strong support from fans.In addition to the volume editor, this collection includes work by Gregory N. Reish, Peter La Chapelle, Stephanie Vander Wel, Charles L. Hughes, Ted Olson, Nadine Hubbs, Stephanie Shonekan, Stephen A. King, P. Renee Foster, Tressie McMillan Cottom, Travis D. Stimeling, and Jonathan Silverman.

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Olson, Ted. "Perspectives on the Location Concept of Country Roots Recording Sessions in the 1920s and 1930s." Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/etsu-works/1116.

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Olson, Ted. "Book Review of Michael Jarrett: Producing Country: The Inside Story of the Great Recordings." Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/etsu-works/1178.

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Truelsen, Kris R. "“The Great Speckled Bird”- Early Country Music and the Popularization of Non-Secular Song." Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/etd/2547.

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Perhaps no melody in the country music canon has been as widely recognized and borrowed from as that of the song “The Great Speckled Bird.” This significant song has become resonant and representative of both country music culture and religious culture of the Protestant South. Through this historiographical study, I have traced the influences that helped shape “The Great Speckled Bird” and in so doing have illustrated distinct movements that led to popularizing the non-secular song through commercial country music. The composer’s use of sentimentality, neo- traditionalism, and religious ideas made it appealing to a rural southern culture struggling with the social, racial, and economic changes of the early twentieth century. As I develop and explore the diverse influences that helped to shape “The Great Speckled Bird,” I will illustrate the interconnectedness of country music culture and the wider popular and religious cultures of the white Protestant South.

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Nelson, James. "Hillbilly Music & Early Live Radio Programming in Bowling Green & Glasgow, Kentucky: Country Music as a Local Phenomenon." TopSCHOLAR®, 1994. https://digitalcommons.wku.edu/theses/3151.

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In this study, the author examines the development of country music in the area surrounding Bowling Green and Glasgow, Kentucky, from approximately 1930 to 1960 and its relation to the newly emerging medium of radio. Emphasis is placed on several performers whose careers were linked to the radio stations which began to broadcast in Bowling Green and Glasgow during the 1940s. In the past, country music scholarship has tended to focus on phonograph records as a source of material for study and as the primary means of musical transmission. As a result, the careers of many of the lesser known artists were overlooked simply because they never made a record. The writer looks at country music as a local phenomenon with live radio broadcasts and personal appearances as the primary mode of transmission. Data were collected from tape recorded interviews and written sources, including various archival sources - old newspapers, fan magazines, and assorted ephemera - and used to outline the careers of several performers associated with WLBJ and WKCT in Bowling Green and WKAY in Glasgow.

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Dickerson, Arin Rose. "Patriotism, Courtesy of Toby Keith: The Voice of Country Music After September 11." Thesis, Virginia Tech, 2006. http://hdl.handle.net/10919/42376.

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In releasing the songs "Courtesy of the Red, White and Blue (The Angry American)" and "American Soldier" in the aftermath of September 11, country artist Toby Keith enacts a tradition that has been established in the world of country music since the Civil War, that of producing wartime songs of patriotism. I conducted an organic analysis of both songs as rhetorical acts produced and consumed within a particular rhetorical context. Because country music is fundamentally a discourse that celebrates the attitudes, values and experiences of its audience, I first analyzed these two songs as instances of epideictic rhetoric. As an epideictic rhetor, Keith reinforces the traditional values of the country music audience, uniting them in celebration of the communal identity that renders them a rhetorical community. That shared identity enables Keith to advance a rhetorical vision of a post-September 11 reality, attributing meaning to the events of September 11 and the ensuing conflicts in Afghanistan and Iraq. I use pentadic analysis to illuminate the vision presented in each song, and I utilize both media coverage and the Billboard charts to determine how well this vision â chained outâ amongst the country music audience. Lastly, I utilize media coverage to explore the rhetorical context in which these songs were written and consumed.
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Olson, Ted. "Recording Review of Legends of Old-Time Music: Fifty Years of County Records." Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/etsu-works/1171.

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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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Williams, Molly K. "For God and Country: Scriptural Exegesis, Editorial Intervention, and Revolutionary Politics in First New England School Anthems." University of Cincinnati / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1511862418359819.

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Dissertations / Theses on the topic 'Country music'

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