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Journal articles on the topic 'Funk musicians – United States'

Author: Grafiati

Published: 4 June 2021

Last updated: 9 February 2022

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1

Stetsiuk, R. A. "Saxophone in jazz: aspects of paradigmatics." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 53, no. 53 (November 20, 2019): 177–99. http://dx.doi.org/10.34064/khnum1-53.11.

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Objectives, methodology and innovation of the study. The research aim is to identify of specifics of the saxophone “image” in light of esthetical and communicative paradigms of jazz. The paradigmatic approach to the objects of musical composition, including the art of jazz, allows reviewing the most general aspects of its development, including varietal instrumental (in particular, saxophone) stylistics. The appearance and strengthening of the position of saxophone in jazz that took place in the first decades of the 20th century heralded the general flourishing of this type of instrumental art

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Jaffré, Maxime. "Decontextualizing Arabic Music in France and in the United States." Middle East Journal of Culture and Communication 12, no. 1 (March 29, 2019): 35–67. http://dx.doi.org/10.1163/18739865-01201006.

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Abstract This paper traces the various steps of the redefinition process implemented by Arab musicians performing in France and in the United States. The assembling of Arabic music groups outside their institutional and national borders reveals new patterns and raises several questions: (1) While most Arabic countries do not share the same institutional music traditions, or the same repertoires (Arab-Andalusian vs. maqamat), how can Arabic musicians from different countries assemble outside their institutional and national borders? (2) How can we understand the heterogeneity of repertoires (sc

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WELLS, PAUL F., and SALLY K. SOMMERS SMITH. "Irish Music and Musicians in the United States: An Introduction." Journal of the Society for American Music 4, no. 4 (October 19, 2010): 395–99. http://dx.doi.org/10.1017/s1752196310000349.

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“The Irish came early and often to America,” quipped musicologist Charles Hamm in his landmark book Yesterdays: Popular Song in America. Although the largest waves of immigration occurred during the years of the potato famines in the 1840s and 1850s, the process began long before then and continues to the present day, albeit with many ebbs and flows in the stream. Today nearly 36.5 million people in the United States claim Irish ancestry.

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Koegel, John. "Mexican Musicians in California and the United States, 1910-50." California History 84, no. 1 (2006): 6–29. http://dx.doi.org/10.2307/25161856.

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5

Patalano, Frank. "Psychosocial Stressors and the Short Life Spans of Legendary Jazz Musicians." Perceptual and Motor Skills 90, no. 2 (April 2000): 435–36. http://dx.doi.org/10.2466/pms.2000.90.2.435.

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Mean age at death of 168 legendary jazz musicians and 100 renowned classical musicians were compared to examine whether psychosocial stressors such as severe substance abuse, haphazard working conditions, lack of acceptance of jazz as an art form in the United States, marital and family discord, and a vagabond life style may have contributed to shortened life spans for the jazz musicians. Analysis indicated that the jazz musicians died at an earlier age (57.2 yr.) than the classical musicians (73.3 yr.).

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Fryer, Paul. "Musicians as heroes: Black singers in the United States and Jamaica." New Community 13, no. 2 (September 1986): 208–13. http://dx.doi.org/10.1080/1369183x.1986.9975969.

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CRANITCH, MATT. "Paddy Cronin: Musical Influences on a Sliabh Luachra Fiddle Player in the United States." Journal of the Society for American Music 4, no. 4 (October 19, 2010): 475–89. http://dx.doi.org/10.1017/s1752196310000398.

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AbstractIn the world of Irish traditional music, Paddy Cronin from Sliabh Luachra in the southwest of Ireland is regarded as one of the tradition's exceptional fiddle players. Although his music exhibits many characteristics of the Sliabh Luachra tradition, it also has other elements and features, primarily from the Sligo style. A pupil of Pádraig O'Keeffe (the “Sliabh Luachra Fiddle Master”), Cronin emigrated to Boston in 1949 and lived there for approximately forty years. Before he left Ireland, he had been familiar with the music of the Sligo masters, such as Michael Coleman and James Morri

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Shelemay, Kay Kaufman. "Ethiopian Musical Invention in Diaspora: A Tale of Three Musicians." Diaspora: A Journal of Transnational Studies 15, no. 2-3 (March 2011): 303–20. http://dx.doi.org/10.3138/diaspora.15.2-3.303.

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This essay, based on ethnographic interviews and observation, discusses the lives and careers of three prominent Ethiopian musicians from sacred, folkloric, and popular musical domains (Moges Seyoum, Tesfaye Lemma, and Mulatu Astatke, respectively) whose individual initiatives have shaped the musical life of the Ethiopian diaspora during its formative years in the United States. These three careers provide an overview of musical activity within the Ethiopian American diaspora community since its inception and shed light on concepts of creativity as conceived both in the Ethiopian homeland and

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Symes, Colin. "A sound education: the gramophone and the classroom in the United Kingdom and the United States, 1920–1940." British Journal of Music Education 21, no. 2 (June 24, 2004): 163–78. http://dx.doi.org/10.1017/s0265051704005674.

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The advent of the gramophone transformed the cultural conditions of contemporary music, including the way it was taught. For a considerable period of time, musicians and music educators disparaged the gramophone. The members of the musical appreciation movement were more sympathetic and helped transform the gramophone's educational image during the 1920s and 1930s. They argued that the gramophone, contrary to its detractors, might stem the appeal of popular music. As is clear from the sentiments of those espousing the pedagogic uses of the gramophone – which are analysed in this paper – their

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Spears, Amy, Danelle Larson, and Sarah Minette. "Informal music-making among piano bar musicians: Implications for bridging the gap in music education." Journal of Popular Music Education 4, no. 3 (November 1, 2020): 371–88. http://dx.doi.org/10.1386/jpme_00019_1.

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Recent research in music education has sought to bridge the gap between formal music-making and informal music-making done by many musicians who may have little or no formal musical training. Piano bar musicians fall under the category of musicians who may or may not have had formal musical training but are able to perform covers of a variety of pop songs for live and interactive audiences. Many of them also play multiple instruments. Participants we observed and interviewed in this qualitative study were eight piano bar musicians from various regions of the United States. Key findings include

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11

Drane, Gregory. "The Role of African-American Musicians in the Integration of the United States Navy." Music Educators Journal 101, no. 3 (March 2015): 63–67. http://dx.doi.org/10.1177/0027432114565132.

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12

Werb, Bret Charles, and Maria V. Lebedeva. "The Aleksander Kulisiewicz Collection at the United States Holocaust Memorial Museum: An Introduction." Observatory of Culture 17, no. 5 (November 12, 2020): 478–95. http://dx.doi.org/10.25281/2072-3156-2020-17-5-478-495.

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Envisioned by its founders as a storehouse of historical evidence — material artifacts, written and oral testimonies, photographs and films — the U.S. Holocaust Memorial Museum in Washington DC is the repository of a significant archive of music salvaged from the Nazi ghettos and camps. This paper focuses on the Museum’s single largest music collection, that of the Polish camp survivor Aleksander Kulisiewicz (1918—1982). A native of Kraków, Poland, who spent over five years as a political prisoner in Sachsenhausen, Kulisiewicz in later life grew obsessed with documenting the repertoire that hi

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Patalano, Frank. "Psychosocial Stressors in the Lives of Great Jazz Musicians." Perceptual and Motor Skills 84, no. 1 (February 1997): 93–94. http://dx.doi.org/10.2466/pms.1997.84.1.93.

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Brief biographical information on four great jazz tenor saxophone players of the past is presented to illustrate the similar psychosocial stressors these men seemed to experience, namely, severe substance abuse, haphazard working conditions, lack of acceptance of their art form in the United States, marital and family discord, and a vagabond life style. Ages at death of 80 great jazz musicians may indicate that the stressful life style of jazz musicians may be reflected in a shortened life span, but a control group is needed.

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Turner, Diane. "Black Music Traditions of Central Avenue." Practicing Anthropology 20, no. 1 (January 1, 1998): 21–24. http://dx.doi.org/10.17730/praa.20.1.b06g13202633r087.

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Because of the early development of an African American community on Central Avenue, the city of Tampa, Florida provides an excellent environment to document Black music traditions in the southeastern region of the United States. By the late nineteenth century, an urban Black working class had formed on Central Avenue. Black musicians were part of a distinct cultural community, including divergent lifestyles, which were organically linked to the rural and urban life experiences of Black people in the United States and the Caribbean.

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Stanek, Jeremy L., Kevin D. Komes, and Fred A. Murdock. "A Cross-Sectional Study of Pain Among U.S. College Music Students and Faculty." Medical Problems of Performing Artists 32, no. 1 (March 1, 2017): 20–26. http://dx.doi.org/10.21091/mppa.2017.1005.

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OBJECTIVES: Studies over recent decades have demonstrated significant performance-related pain among professional musicians. However, there have been no large-scale studies to evaluate pain among college musicians. The aim of this study was to determine the prevalence and anatomical locations of performance-related pain among students and faculty at the college level and learn what musicians do when they have pain. METHODS: Cross-sectional data were collected using an online survey distributed to colleges across the United States. Data were analyzed using REDCap electronic data capture tools a

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Quigley, Nicholas Patrick, and Tawnya D. Smith. "The educational backgrounds of DIY musicians." Journal of Popular Music Education 00, no. 00 (July 9, 2021): 1–21. http://dx.doi.org/10.1386/jpme_00053_1.

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In this qualitative, exploratory study we examined the music education backgrounds and current creative practices of thirteen self-described do-it-yourself (DIY) musicians from around the United States. A growing community of scholars within and outside of education have noted the relative inclusionary nature of DIY communities as compared to mainstream society. Several themes have emerged in DIY music participation literature, including social influences and isolation, and music making for self care and self expression. DIY music-making can offer a potentially liberating space for those margi

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Ostry, Michael E. "Association of Parkerella populi with declining hybrid aspen in Wisconsin." Canadian Journal of Botany 64, no. 8 (August 1, 1986): 1834–35. http://dx.doi.org/10.1139/b86-242.

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Parkerella populi Funk was found for the first time in the United States on hybrid aspen in two test plantings in Wisconsin. Parkerella populi was associated only with declining trees of a triploid Populus tremuloides Michx. × P. tremula L. hybrid. Parkerella populi was the only fungus found associated with deeply fissured, black bark of the declining trees. Adjacent trees of different clones were not affected in either plantation. These observations suggest, therefore, that P. populi may have been a primary pathogen of these hybrids.

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Fernandez, Raul A. "Music from Cuba: Mongo Santamaria, Chocolate Armenteros, and Cuban Musicians in the United States (review)." Cuban Studies 34, no. 1 (2003): 207–8. http://dx.doi.org/10.1353/cub.2004.0008.

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McManus, Emily J. "The Tango in Translation: Intertextuality, Filmic Representation, and Performing Argentine Tango in the United States." TranscUlturAl: A Journal of Translation and Cultural Studies 5, no. 1-2 (March 25, 2014): 194. http://dx.doi.org/10.21992/t9w34w.

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This article analyzes representations of the Argentine tango by the U.S. media utilizing Farzaneh Farahzad’s theory of “translation as intertextual practice” and Lawrence Venuti’s theory of translated “adaptations.” I argue that the juxtaposition of Latin American and European cultural stereotypes within filmic representations of the tango has created and reinforced a highly racialized master discourse (Said Faiq) that continues to influence how the Argentine tango is perceived in the United States today. Because cultural translation occurs between a hegemonic culture and a marginalized cultur

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20

Beasley, Gerald. "Curatorial Crossover: Building Library, Archives, and Museum Collections." RBM: A Journal of Rare Books, Manuscripts, and Cultural Heritage 8, no. 1 (March 1, 2007): 20–28. http://dx.doi.org/10.5860/rbm.8.1.272.

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I tend to associate the word “crossover” with popular music. I think of crossovers as being those artists whose music has successfully crossed over from a smaller market to a bigger one, like Mexican musicians making it big in the United States, or black musicians making it big with white audiences. And I frankly love the idea that I, as a librarian, might be able to make a curatorial crossover into a bigger market, much as Ricky Martin or Otis Redding made a musical crossover. Of course, I would have to address the two most common criticisms that are made . . .

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COLLINS, TIM. "'Tis Like They Never Left: Locating “Home” in the Music of Sliabh Aughty's Diaspora." Journal of the Society for American Music 4, no. 4 (October 19, 2010): 491–507. http://dx.doi.org/10.1017/s1752196310000404.

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AbstractThis article, which builds on research in the fields of Irish traditional music, place, and diaspora, focuses on a community of diasporic musicians from Sliabh Aughty, an upland region of approximately 250 square miles that encompasses the musical storehouses of east Clare and southeast Galway in the West of Ireland. It examines the importance of home for these musicians, who have been resident in the United States for many decades. Their personal music geographies are explored to ascertain how traditional Irish music plays a critical role in transcending their sense of dislocation and

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22

Gregory, Dianne. "Analysis of Listening Preferences of High School and College Musicians." Journal of Research in Music Education 42, no. 4 (December 1994): 331–42. http://dx.doi.org/10.2307/3345740.

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Undergraduate college music majors, high school musicians in performance groups, and sixth-grade students in eight sites across the United States listened to brief excerpts of music from early contemporary compositions, popular classics, selections in the Silver Burdett/Ginn elementary music education series, and current crossover jazz recordings. Each of the classical categories had a representative keyboard, band, choral, and orchestral excerpt. Self reports of knowledge and preference were recorded by the Continuous Response Digital Interface (CRDI) while subjects listened to excerpts. Inst

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23

Chunnu, Winsome. "Under the Eagles Wings: America, God Shed a Tear on Thee." Cultural Studies ↔ Critical Methodologies 20, no. 5 (November 25, 2019): 468–70. http://dx.doi.org/10.1177/1532708619885401.

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Bob Marley says one good thing about music—when it hits you, you feel no pain. So hit me with music. On the transition of Aretha Franklin, and the vitriolic trolling of her funeral and Childish Gambino 2019 Grammy award winning song and record of the year for “ This is America,” this piece is using music as a conceptual frame for understanding the pain of Black people in the United States. Recently, musicians Beyoncé, Childish Gambino, Kendrick Lamar, Pink, and many others have used their music to contest inequality in America. I grew up in Jamaica on Motown, Country, and Reggae music. This is

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Rasmussen, Anne K. "Made in America: Historical and Contemporary Recordings of Middle Eastern Music in the United States." Middle East Studies Association Bulletin 31, no. 2 (December 1997): 158–62. http://dx.doi.org/10.1017/s002631840003563x.

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Although Americans of Middle Eastern origin—be they of Arab, Turkish, Armenian, Sephardic Jewish, Assyrian, Greek, or Central Asian heritage—comprise one of the fastest growing groups in the United States, their music may seem invisible to the American musical connoisseur. Many of the recordings of Middle Eastern American musicians are produced and distributed within community networks. Walk into an Armenian grocer in Watertown, Massachusetts or into a Lebanese audio-video store in Dearborn, Michigan, and you will find hundreds of hours of music by Middle Eastern Americans for your listening p

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Nugroho, Dwi Mifta, Muhammad J. B. Firdaus, and Adam J. Wijaya. "The Anti-War Movement through Romanticism of the Hippies Culture on Vietnam War 65-73." Jurnal Hubungan Internasional 13, no. 2 (November 28, 2020): 295. http://dx.doi.org/10.20473/jhi.v13i2.21290.

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In this paper, the authors try to provide an overview of the new socialmovement variant, which is the anti-war movements initiated by hippies.The hippie culture developed rapidly in the 1960s in the United Statesand now has spread to the whole world through cultural globalization.Hippie Movement itself is a subculture movement that has a significantrole in forming a counter-culture in the United States. This movement’ssuccess cannot be separated from the support of the musicians ofthe world through popular culture that will be discussed in this paper throughcultural globalization.

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Ray, Daniel E. "Military Bands and Government Documents." DttP: Documents to the People 44, no. 4 (January 31, 2017): 27. http://dx.doi.org/10.5860/dttp.v44i4.6227.

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Since before the founding of the United States, musicians have been an integral part of the military. Throughout history armies have used trumpets and drums to enhance communication and assist the movement of mass forces. Over time, the military has influenced both the makeup of musical ensembles, and styles of popular music. The modern American wind band featuring brass, woodwinds and percussion, is modeled after British military bands. And the marches of John Phillip Sousa, who served as the director of the President’s Own Marine Band for twelve years, remain popular to this day. His “Stars

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Newmark, Jonathan. "Military Bands as a Population for Studying Musicians' Health." Medical Problems of Performing Artists 24, no. 1 (March 1, 2009): 50. http://dx.doi.org/10.21091/mppa.2009.1011.

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The largest employer of full-time musicians in the United States is the Department of Defense. There are, within the Department, four separate full-time band programs (Army, Air Force, Marines, and Navy), of which the Army is by far the largest. Not only are these musicians employed full-time, but they have completely free health care and a uniform, electronic, world-wide health record that follows them for the length of their careers. They also have to adhere to the physical fitness standards of their services, including both height and weight standards and biannual physical fitness tests; in

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NIELSEN, KRISTINA F. "Forging Aztecness: Twentieth-Century Mexican Musical Nationalism in Twenty-First Century Los Angeles." Yearbook for Traditional Music 52 (November 2020): 127–46. http://dx.doi.org/10.1017/ytm.2020.18.

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Abstract (Spanish/English)Forjando el Aztecanismo: Nacionalismo Musical Mexicano del Siglo XX en el siglo XXI en Los ÁngelesHoy en día, un creciente número de músicos mexico-americanos en los Estados Unidos tocan instrumentos indígenas mesoamericanos y réplicas arqueológicas, lo que se conoce como “Música Azteca.” En este artículo, doy a conocer cómo los músicos contemporáneos de Los Ángeles, California, recurren a los legados de la investigación musical nacionalista mexicana e integran modelos antropológicos y arqueológicos aplicados. Al combinar el trabajo de campo etnográfico con el análisi

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PARK, HYE-JUNG. "Musical Entanglements: Ely Haimowitz and Orchestral Music under the US Army Military Government in Korea, 1945–1948." Journal of the Society for American Music 15, no. 1 (February 2021): 1–29. http://dx.doi.org/10.1017/s1752196320000450.

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AbstractShortly after Japan's surrender to Allied forces, the Soviet Union occupied the northern part of Korea, and the United States moved into the south, where it established the US Army Military Government in Southern Korea (USAMGIK, 1945–1948). In the American zone, music played a unique role in forging US hegemony over Korea. Young American pianist Ely Haimowitz (1920–2010) was the central figure in shaping that policy. Associated with “highbrow” culture, Western orchestral music helped restore Koreans’ ethnic pride damaged by Japanese colonial rule, while countering the Soviet emphasis o

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FOSLER-LUSSIER, DANIELLE. "Cultural Diplomacy as Cultural Globalization: The University of Michigan Jazz Band in Latin America." Journal of the Society for American Music 4, no. 1 (January 14, 2010): 59–93. http://dx.doi.org/10.1017/s1752196309990848.

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AbstractFrom January to May 1965 the University of Michigan Jazz Band traveled extensively in Latin America for the State Department's Cultural Presentations Program. This tour serves as a case study through which we can see the far-reaching effects of cultural diplomacy. The State Department initially envisioned its cultural and informational programs as one-way communication that brought ideas from the United States to new places; yet the tours changed not only audiences, but also the musicians themselves and even the communities to which the musicians returned. Both archival and oral histor

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WARFIELD, PATRICK R. "SOUNDS TO ESTABLISH A CORPS: THE ORIGINS OF THE UNITED STATES MARINE BAND, 1798–1804." Eighteenth Century Music 16, no. 2 (August 20, 2019): 115–32. http://dx.doi.org/10.1017/s1478570619000046.

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AbstractThe Jeffersonian rise to power in 1801 ushered in sweeping political changes for the United States of America. It also focused attention on the newly established United States Marine Corps, as a group of hostile Congressmen sought to audit the service, dismiss many of its officers and do away with the executive function of its commandant. But Thomas Jefferson (1743–1826) was also a supporter of the new capital's growing cultural life, and no organization better defined the connection between music and the federal government than the United States Marine Band. While this ensemble was no

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MITCHELL, GILLIAN A. M. "Visions of Diversity: Cultural Pluralism and the Nation in the Folk Music Revival Movement of the United States and Canada, 1958–65." Journal of American Studies 40, no. 3 (November 22, 2006): 593–614. http://dx.doi.org/10.1017/s0021875806002143.

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This article focusses on the concept of cultural pluralism in the North American folk music revival of the 1960s. Building on the excellent work of earlier folk revival scholars, the article looks in greater depth at the “vision of diversity” promoted by the folk revival in North America – at the ways in which this vision was constructed, at the reasons for its maintenance and at its ultimate decline and on the consequences of this for anglophone Canadian and American musicians and enthusiasts alike.

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Randles, Clint, and Gareth Dylan Smith. "A first comparison of pre-service music teachers’ identities as creative musicians in the United States and England." Research Studies in Music Education 34, no. 2 (October 29, 2012): 173–87. http://dx.doi.org/10.1177/1321103x12464836.

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BURKE, PATRICK. "The Fugs, the Lower East Side, and the Slum Aesthetic in 1960s Rock." Journal of the Society for American Music 8, no. 4 (November 2014): 538–66. http://dx.doi.org/10.1017/s175219631400039x.

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AbstractDuring the mid-to-late 1960s, impoverished urban districts throughout the United States witnessed an influx of white middle-class youth who attempted to remake society and themselves against a backdrop of inner-city grit and decay. This article focuses on the Lower East Side of Manhattan to explore the significance of slumming in the creation and reception of 1960s rock. Lower East Side rock musicians drew little overt influence from their neighborhood's longstanding ethnic communities, which included eastern Europeans, Puerto Ricans, and African Americans. Rather, these musicians were

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Nash, Margaret A. "A Means of Honorable Support: Art and Music in Women's Education in the Mid-Nineteenth Century." History of Education Quarterly 53, no. 1 (February 2013): 45–63. http://dx.doi.org/10.1111/hoeq.12002.

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“The value of the Art Education becomes more and more apparent as a means of honorable support and of high culture and enjoyment,” stated the catalog of Ingham University in western New York State in 1863. The Art Department there would prepare “pupils for Teachers and Practical Artists.” This statement reveals some of the vocational options for women that were concomitant with the increased popularity of music and art education in the middle decades of the nineteenth century in the United States. Practical vocational concerns, along with notions of refinement and respectable entertainment, al

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Adler, Nancy J., and Linda M. Ippolito. "Musical Leadership and Societal Transformation: Inspiration and Courage in Action." LEARNing Landscapes 9, no. 2 (April 1, 2016): 43–67. http://dx.doi.org/10.36510/learnland.v9i2.763.

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Music is a form of leadership. Music-based interventions in organizations and society are being used throughout the world, including in situations of extreme con ict and consequence. Artists are going beyond the dehydrated language of economics, politics, and war to achieve goals that have eluded those using more traditional approaches. This article presents musical interventions in Bosnia-Herzegovina, Cyprus, Estonia, Northern Ireland, the Middle East, South Africa, the United States, and Venezuela, in which musicians have had the inspiration and courage to make a di erence.

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Adler, Nancy J., and Linda M. Ippolito. "Musical Leadership and Societal Transformation: Inspiration and Courage in Action." Kwartalnik Ekonomistów i Menedżerów 50, no. 4 (November 19, 2018): 41–65. http://dx.doi.org/10.5604/01.3001.0013.0629.

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Music is a form of leadership. Music-based interventions in organizations and society are being used throughout the world, including in situations of extreme conflict and consequence. Artists are going beyond the dehydrated language of economics, politics, and war to achieve goals that have eluded those using more traditional approaches. This article presents musical interventions in Bosnia-Herzegovina, Cyprus, Estonia, Northern Ireland, the Middle East, South Africa, the United States, and Venezuela, in which musicians have had the inspiration and courage to make a difference.

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Zou, Tianxin, and Baojun Jiang. "Integration of Primary and Resale Platforms." Journal of Marketing Research 57, no. 4 (May 4, 2020): 659–76. http://dx.doi.org/10.1177/0022243720917352.

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Consumers can buy concert tickets from primary platforms (e.g., Ticketmaster) or from consumer-to-consumer resale platforms (e.g., StubHub). Recently, Ticketmaster has entered and been trying to control the resale market by prohibiting consumers from reselling on competing resale platforms. Several states in the United States have passed or are discussing laws requiring tickets to be transferrable on any resale sites, worrying that platform integration—Ticketmaster controlling both the primary and the resale platforms—will increase ticket service fees and harm musicians and consumers. This art

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Campbell, Courtney. "THE NORTHEAST PLAYS FOOTBALL, TOO: WORLD CUP SOCCER AND REGIONAL IDENTITY IN THE BRAZILIAN NORTHEAST." Estudos Históricos (Rio de Janeiro) 32, no. 68 (December 2019): 720–43. http://dx.doi.org/10.1590/s2178-149420190003000009.

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ABSTRACT This article examines how ideas about northeastern regional identity circulated in discussions of World Cup football. It first presents the preparations of and discussion around the 1950 World Cup match between Chile and the United States in Recife. Then, it analyzes attention given to World Cup football by regionalist intellectuals and artists, including musicians, clay artists, poets, and authors of cordel literature. This analysis shows that World Cup football provided a space within which the terms of regional (and national) identity were contested and debated, emphasizing the mul

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McLeod, Kembrew, and Peter DiCola. "Non-Infringing Uses in Digital Sampling: The Role of Fair Use and the de Minimis Threshold in Sample Clearance Reform." Deakin Law Review 17, no. 2 (February 1, 2013): 321. http://dx.doi.org/10.21153/dlr2012vol17no2art82.

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In this book excerpt, the authors address the role of two major legal exceptions to copyright protection in the music industry’s practices surrounding digital sampling. Although the United States law on the books requires a balance between the interests of copyright owners and sampling musicians, the business practice has been to mandate licensing in almost every instance. Despite this hurdle to a more balanced approach to sampling, the authors discuss several benefits that might come through doctrinal or statutory reforms, or even through developing best practices for claiming fair use.

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gluck, robert j. "fifty years of electronic music in israel." Organised Sound 10, no. 2 (August 2005): 163–80. http://dx.doi.org/10.1017/s1355771805000798.

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the history of electronic music composition, technologies and institutions is traced from the founding of the state of israel in 1948. core developments are followed beginning with the founding generation including joseph tal, tzvi avni and yizhak sadai, continuing with the second and third generations of musicians and researchers, living in israel and the united states. the institutional and political dynamics of the field in this country are explored, with a focus on the challenges of building an audience and institutional support, as well as prospects for the future.

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Wenner, N. G., W. Merrill, and J. T. Moody. "Thyronectria balsamea on Abies fraseri in Pennsylvania and North Carolina." Plant Disease 81, no. 7 (July 1997): 830. http://dx.doi.org/10.1094/pdis.1997.81.7.830c.

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In August 1996, several 4- to 6-m-tall Abies fraseri (Pursh) Poir. in Adams County, PA, were found bearing numerous dead branches and/or dead tops. The trees had been severely stressed by being ball-and-burlapped and replanted in 1993. Distinct cankers occurred between the living and dead portions of stems and branches. Associated with these cankers were abundant, reddish-orange, erumpent stroma, each bearing three to 10 similarly colored cupulate ascomata. The latter contained asci bearing two to four large, muriform ascospores that, as they matured, formed large numbers of small ascoconidia,

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Ahlquist, Karen. "Playing for the Big Time: Musicians, Concerts, and Reputation-Building in Cincinnati, 1872–82." Journal of the Gilded Age and Progressive Era 9, no. 2 (April 2010): 145–65. http://dx.doi.org/10.1017/s1537781400003911.

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Like many midwestern cities in the nineteenth century, Cincinnati, Ohio, was home to large numbers of German immigrant musicians, among them the founders of the Cincinnati Grand Orchestra in 1872. Their model of musician-based organization eventually ran counter to the prestige-building potential of Western art music, which made it attractive to local civic leaders determined to earn respect for their city at a national level. The successful Cincinnati May festivals beginning in 1873 under the artistic leadership of conductor Theodore Thomas brought the city the desired renown. But the musical

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Yang, Mina. "Yellow Skin, White Masks." Daedalus 142, no. 4 (October 2013): 24–37. http://dx.doi.org/10.1162/daed_a_00232.

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Ethnic studies scholars have long bemoaned the near absence of Asians on the big and small screens and popular music charts in the United States, rendering them as outsiders vis-à-vis the American public sphere. In the last few years, however, Asians have sprung up on shows like “Glee” and “America's Best Dance Crew” in disproportionately large numbers, challenging entrenched stereotypes and creating new audiovisual associations with Asianness. This essay considers how emerging Asian American hiphop dancers and musicians negotiate their self-representation in different contexts and what their

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Weaver, Crystal, Mark Varvares, Elaine Ottenlips, Kara Christopher, and Andrew Dwiggins. "CLO19-058: Live Music to Decrease Patient Anxiety During Chemotherapy Treatments." Journal of the National Comprehensive Cancer Network 17, no. 3.5 (March 8, 2019): CLO19–058. http://dx.doi.org/10.6004/jnccn.2018.7132.

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Background: Music therapy began in the United States after World War II when community musicians went to veterans’ hospitals to provide live music to those experiencing post-war trauma. Music therapy programs continue to utilize community musicians who provide live music to patients in treatment centers to supplement formal music therapy sessions by credentialed professionals. Little evidence has been gathered regarding the potential ability of these live music performances to decrease the anxiety levels of oncology patients during chemotherapy treatments. Purpose: To determine if listening to

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GARCÍA, DAVID. "“We Both Speak African”: A Dialogic Study of Afro-Cuban Jazz." Journal of the Society for American Music 5, no. 2 (April 14, 2011): 195–233. http://dx.doi.org/10.1017/s1752196311000034.

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AbstractFrom 1947 to 1948 the Dizzy Gillespie orchestra with Chano Pozo produced some of the most important recordings that contributed to the development of Afro-Cuban jazz. Pozo had already led a successful career as a professional musician in Havana before he moved to New York City, where he met Gillespie and joined his bebop big band. The integration of a black Cuban percussionist into Gillespie's all-black band raises important questions about the racial politics enveloping the popularization of bebop, Afro-Cuban jazz, and the work of others in contemporaneous political, cultural, and int

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Gordon, Bonnie. "The Secret of the Secret Chromatic Art." Journal of Musicology 28, no. 3 (2011): 325–67. http://dx.doi.org/10.1525/jm.2011.28.3.325.

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In 1946, just after emigrating from Nazi Germany via the Netherlands and Cuba to the United States, Edward Lowinsky published The Secret Chromatic Art in the Netherlands Motet. He posited a system of chromatic modulations through musica ficta in sixteenth-century Netherlandish polyphony circulated by clandestine heretic societies during the period of religious struggle in the Low Countries. According to Lowinsky, in the second half of the century a small contingent of northern musicians with radical Protestant sympathies wrote pieces that appeared on the surface to set texts and use diatonic m

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SPRINGER, ROBERT. "Folklore, commercialism and exploitation: copyright in the blues." Popular Music 26, no. 1 (January 2006): 33–45. http://dx.doi.org/10.1017/s0261143007001110.

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Though federal law in the United States provides for the protection of artistic property, including music, African-American blues musicians, since the appearance of their first commercial records in the 1920s, have generally not received their due. Part of the problem came from the difficulty of squaring the discrete notions of folk composition and artistic property in those early days. But the exploitation of black artists was largely attributable to common practices in the record industry whose effects were multiplied in this case by the near total defencelessness of the victims. Imitations

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Lederman, Richard J. "Drummers’ Dystonia." Medical Problems of Performing Artists 19, no. 2 (June 1, 2004): 70–74. http://dx.doi.org/10.21091/mppa.2004.2011.

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Several reviews involving large numbers of instrumental musicians with focal dystonia from centers in the United States and Europe are available in the performing arts medicine literature, but only a relatively few percussionists have been included. This article describes 6 percussion instrumentalists, out of a total of 139 musicians with dystonia, seen in the Cleveland Clinic Medical Center for Performing Artists. The five men and one woman ranged in age from 21 to 51 years at the onset of dystonia; four were playing professionally, and two were students. Duration of symptoms at the time of e

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MOORE, ANDREA. "Neoliberalism and the Musical Entrepreneur." Journal of the Society for American Music 10, no. 1 (February 2016): 33–53. http://dx.doi.org/10.1017/s175219631500053x.

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AbstractIn 2012, the flutist Claire Chase, founder of the International Contemporary Ensemble, received a MacArthur Award for her work as an “arts entrepreneur and flutist.” The award's emphasis on Chase's entrepreneurship reflects the growing demand among classical musicians, educators, and critics for self-driven musical projects, promoted as an engine of classical music's concert culture and as crucial to its renewal in the United States. Entrepreneurship curricula are now in place at almost every music school in the country.In this article, I offer a critique of the increasingly institutio

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