Relevant bibliographies by topics / Guitar music (western swing)

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Guitar music (western swing)'

Author: Grafiati
Published: 4 June 2021
Last updated: 8 February 2022

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Journal articles on the topic "Guitar music (western swing)"

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Virtala, Paula, Minna Huotilainen, Esa Lilja, Juha Ojala, and Mari Tervaniemi. "Distortion and Western Music Chord Processing." Music Perception 35, no. 3 (2018): 315–31. http://dx.doi.org/10.1525/mp.2018.35.3.315.

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Guitar distortion used in rock music modifies a chord so that new frequencies appear in its harmonic structure. A distorted dyad (power chord) has a special role in heavy metal music due to its harmonics that create a major third interval, making it similar to a major chord. We investigated how distortion affects cortical auditory processing of chords in musicians and nonmusicians. Electric guitar chords with or without distortion and with or without the interval of the major third (i.e., triads or dyads) were presented in an oddball design where one of them served as a repeating standard stimulus and others served as occasional deviants. This enabled the recording of event-related potentials (ERPs) of the electroencephalogram (EEG) related to deviance processing (the mismatch negativity MMN and the attention-related P3a component) in an ignore condition. MMN and P3a responses were elicited in most paradigms. Distorted chords in a nondistorted context only elicited early P3a responses. However, the power chord did not demonstrate a special role in the level of the ERPs. Earlier and larger MMN and P3a responses were elicited when distortion was modified compared to when only harmony (triad vs. dyad) was modified between standards and deviants. The MMN responses were largest when distortion and harmony deviated simultaneously. Musicians demonstrated larger P3a responses than nonmusicians. The results suggest mostly independent cortical auditory processing of distortion and harmony in Western individuals, and facilitated chord change processing in musicians compared to nonmusicians. While distortion has been used in heavy rock music for decades, this study is among the first ones to shed light on its cortical basis.
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Mazlan, Chamil Arkhasa Nikko. "Utilizing Pragmatism Approach in Learning Jazz Guitar Reharmonization Technique using Malay Asli Song." JURNAL SENI MUSIK 9, no. 1 (2020): 50–57. http://dx.doi.org/10.15294/jsm.v9i1.37376.

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Details of developing jazz guitar reharmonization learning book using Malay Asli song will not discuss here, however, this article divulges pragmatism approach that can be transcending in explaining logic between learning jazz guitar reharmonization techniques using Malay Asli Song. Although music is a universal language, traditional music and western music educators do not come to an agreement diffusing learning western music elements such in traditional music or vice versa. As a result, reharmonization technique only become known on western music repertoires. While traditional music practitioners presenting the same old repertoires, with deep-rooted dogmatic excuses to maintain what they called traditional authentic values. To conduct this study, relevant data on pragmatism was done through document analysis. The result show pragmatism approach can help music educators to reconceptualize teaching and learning traditional music using jazz reharmonization technique to recreate and innovate a new sound and contextual of learning jazz harmony, not just using on jazz standards repertoires, in making music theory beneficial to both traditional and modern music educators and students.
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Budrianto, Budrianto Budrianto, Wilma Sriwulan, and Marta Rosa. "APROPRIASI GITAR DALAM KESENIAN REJUNG PADA MASYARAKAT SUKU BASHEMAH KABUPATEN KAUR PROVINSI BENGKULU." Gorga : Jurnal Seni Rupa 7, no. 2 (2018): 94. http://dx.doi.org/10.24114/gr.v7i2.10915.

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AbstrakPenelitian bertujuan untuk membahas peran gitar sebagai bentuk apropriasi dalam kesenian rejung pada masyarakat suku bashemah ,sekaligus bertujuan untuk menambah wawasan,mendeskripsikan dan mencari kebenaran tentang kesenian tersebut mengapa kesenian ini memakai iringan permainan gitar konvensional barat. Rejung adalah perpaduan antara sastralisan beserta iringan musik menggunakan petikan gitar. Irama-irama rejung sangatlah beragam dan khas.Sastralisan yangterkandung dalam rejung terletak pada tembang-tembangnya, berupa pantun nasehat, pesanmoral, sindiran, kisah seseorang, sebuah ungkapan perasaan antara muda-mudi dan ucapan-ucapan yang dirasakan dalam hati seperti merintih,meratapi nasib,dan menyesali hidup dengan menggunakan bahasa daerah. Gitar dalam kesenian rejung berfungsi sebagai melodi pokok sekaligus pengatur tempo. Dalam musik konvensional gitar difungsikan sebagai iringan musik modern atau musik barat. sementara berbeda halnya dengan kesenian rejung,secara musikal gitar tunduk sebagai alat musik tradisi di dalam kesenian rejung. Metodologi yang digunakan ialah metodologikualitatif dalam lingkup musik. Dengan adanya penelitian ini untuk menambah nilai historis sebuah kesenian daerah itu sendiri dan berharap menjadi suatu referensi literasi pengetahuan bagimasyarakat kabupaten kaurdan masyarakat umum. Dalam karya tulis ini disimpulkan bahwa musik rejung memiliki gaya khas musik timur dengan memakai instrumen musik barat dan memiliki ciri khas musik tradisional Indonesia. Kata Kunci : Rejung, Gitar Konvensional, Apropriasi. AbstractThe study aims to discuss the role of the guitar as a form of appropriation in the art of rejung to bashemah tribal people, as well as aiming to broaden insight, describe and seek truth about the art, why is this art using conventional Western guitar playing. Rejung is a combination of oral literature and musical accompaniment using guitar passages. The rhythm of the rejung is very diverse and distinctive. Oral literature contained in the rejung lies in the songs, in the form of rhymes of advice, moral messages, satire, the story of a person, an expression of feelings between young people and words that are felt in the heart such as moaning, lamenting fate, and regretting life by using local language. The guitar in the rejung art serves as the main melody as well as the tempo regulator. In conventional music the guitar is functioned as an accompaniment of modern music or western music. while in contrast to the rejung art, musical guitars are subject to traditional musical instruments in the art of rejung. The methodology used is a qualitative methodology in the scope of music. With the existence of this research to add the historical value of the regional art itself and hope to become a reference of knowledge literacy for the people of the district of Kaur and the general public. In this paper it was concluded that rejung music has a distinctive style of eastern music by using western music instruments and has the characteristics of traditional Indonesia music. Keywords: Rejung, conventional guitar, appropriation.
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Mazlan, Chamil Arkhasa Nikko, and Mohd Hassan Abdullah. "UTILIZING PRAGMATISM PRINCIPLES IN LEARNING JAZZ GUITAR REHARMONIZATION TECHNIQUE USING MALAY ASLI SONG." International Journal of Applied and Creative Arts 3, no. 1 (2020): 54–66. http://dx.doi.org/10.33736/ijaca.2188.2020.

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This article proposes a pragmatism approach useful in explaining the logic of learning jazz guitar reharmonization techniques. Music and practices are both unseparated and unified in the field of music education. This poses challenges for traditional and western music consolidation because reharmonization technique is only known in western music repertoires while traditional music normally utilizes old-style repertoires. Some practitioners rooted in dogmatic thinking still maintain authenticity and traditions. In this study, our data is gathered using qualitative content analysis. We then identified similarity of pragmatism principles along with the interpretation of jazz reharmonization techniques. We suggest that pragmatism approach is a useful pathway for music educators to reconceptualize teaching and learning of traditional music using jazz reharmonization technique and then, recreate and innovate a new sound and context of learning jazz harmony rather than using jazz standards repertoires.
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Gardner, Charles, Gary Ginell, and Roy Lee Brown. "Milton Brown and the Founding of Western Swing." Notes 52, no. 2 (1995): 500. http://dx.doi.org/10.2307/899073.

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Koto, Erizon. "Idiom Musikal Minangkabau dalam Komposisi Karawitan, Sebuah Analisis Konteks Adaptasi Musikal." Gondang: Jurnal Seni dan Budaya 1, no. 1 (2017): 12. http://dx.doi.org/10.24114/gondang.v1i1.7918.

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The study aims at understanding and analyzing (a) understanding of the terminology of the composition and method of cultivation so that the terms of composition and arrangement can be understood contextually, (b) the mustering of Minangkabau musical idioms developed using Western elements and instruments to become a work of music; (c) Adapting Minangkabau karawitan to Western music concepts in a musical work in Karawitan ISI Padangpanjang. This research is field work, field includes observation, interview, and recording. Work in the laboratory includes processing, selecting, and filtering field data. The method used is qualitative method verivikatif begins with data collection both field, interview, and library then looking for theoretical approach to analyze the data that have been obtained. The results of the analysis show (a) The existence of inappropriate perception of the term compositional terms to be confused with the term arrangement. Cultivation works tend to be done collectively, not purely from the creativity of the owner of the work, but the work of the music on behalf of a person alone. (b) There is the use of Western musical elements and instruments in musical works in the form of harmonious harmonies, homophonic textures and polyphony and the use of flute instruments, alto saxophone, tenor saxophone, trumpet, trombone, tuba, guitar, bass guitar, keyboard and drum set. (c) Minangkabau Karawitan adapts to Western music in an academic context, in ISI Padangpanjang on musical forms.
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Sanjaya, Singgih. "New Composition Concept for Keroncong Music in the Oboe Concerto with Keroncong and Orchestra." International Journal of Creative and Arts Studies 5, no. 2 (2018): 75–85. http://dx.doi.org/10.24821/ijcas.v5i2.2413.

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this research aims to design a new concept in keroncong music creation with an explorative method. Keroncong is one kind of entertainment musics in indonesia that has a long existece and evolved up to today. Keroncong music is a musical mixture of a western diatonic music with Javanese gamelan music. the term of keroncong comes from the sound “...crong crong crong...” on the ukulele instrument that played rasquardo. an instrumentation music consists of: vocals, violin, flute, cak, cuk, cello, guitar, and bass. during this moment, keroncong is basically just served as a vocal accompaniment music. this becomes a driving force for the author to compose a special composition for keroncong music solo instrument. there is a new concept used in the arranging of this composition, as follows. this composition is designing a concerto, which is a type of the instrumental musics with a western diatonic instrument on the part-one of the solo oboe and an English horn in part-two, with keroncong music and orchestra. the conclusion of these designs are as follows. Keroncong music will be able to stand on its own as an instrumental music.
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Suranto, Joni, and Santosa Santosa. "Sistem pelarasan pada campursari." Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni 14, no. 1 (2019): 28–33. http://dx.doi.org/10.33153/dewaruci.v14i1.2534.

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Campursari, keinginan manusia untuk selalu berkarya dan membuat hal-hal baru melahirkan sebuah musik yang terbentuk dari beberapa jenis musik yang memiliki latar belakang kebudayaan yang berbeda. Secara garis besar musik ini terbentuk dari dua jenis musik yang berbeda yaitu karawitan dan keroncong, tetapi campursari sudah memiliki ciri khas sendiri dengan estetika dan rasa musikal yang berbeda dengan musik aslinya. Alat musik yang digunakan dalam campursari mengambil beberapa dari gamelan jawa dan beberapa dari alat musik barat. Sistem pelarasan dalam campursari sebagian menggunakan tangga nada diatonis dan mengubah nada-nada pada gamelan menyesuaikan dengan keyboard atau alat-alat musik dengan sistem pelarasan diatonis yang lain. Seiring dengan perkembangan jaman beberapa seniman campursari mulai mencoba menerapkan sistem pelarasan pelog dan slendro pada gamelan Jawa kedalam campursari, alat-alat musik yang sebenarnya berasal dari musik barat ditalu untuk bisa menyesuaikan dengan gamelan Jawa. ABSTRACTCampursari, a human willingness to always make work and create something new, create a kind of music which is formed by different types of music that have a different cultural background. Mainly, this music formed by two kinds of music which are karawitan and keroncong. However, campursari has its characteristic with the esthetic and musical taste which differ from its original music source. The music instruments used in campursari consist of Javanese gamelan and western music instruments. From Gamelan, it uses saron, demung, gender, kendhang, siter, suling, and gong. It also uses cak and cuk / ukulele from keroncong and keyboard, guitar, guitar bass, and drum set from combo band. The tunings system in campursari partly uses diatonic scales and transforms the gamelan musical scales to suit the keyboard or other music instruments that use other diatonic tunings systems. With the development of technology, some Campursari artists start to implement pelog and slendro system of Javanese gamelan into campursari. The western music instruments used are played in such a way so it will suit the Javanese gamelan.
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Lamba, Linesti, Ni Wayan Ardini, I. Komang Darmayuda, and Ketut Sumerjana. "Analisis Lagu Toraja Marendeng Marampa Aransemen Tindoki Band." Journal of Music Science, Technology, and Industry 2, no. 2 (2019): 169–84. http://dx.doi.org/10.31091/jomsti.v2i2.865.

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This study aims to describe the musical form of Marendeng Marampa'", a local song in Toraja, Tana Toraja Regency, South Sulawesi Province, Indonesia, arranged by the Tindoki Band. The qualitative data in this research are obtained by doing observation, interviews, documentation, and discography. The results of this research show that " Marendeng Marampa'" arranged by Tindoki Band have two parts, i.e. the form A-B, with the sequence A-A' A-A-A'-B-B-B" consisting of several figures, motives, phrases (antecedent phrase and consequent phrase). Its musical instruments used in this arrangement are collaboration between the traditional musical instruments in Toraja, including Toraja gandang, Toraja flute, basin bassin/tulali, karombi, and modern (Western) music, i.e. electric guitar, bass guitar, keyboard, and electric drums, which lyrics are incorporated into the arrangement of Ma'bugi and Manimbong. Marendeng Marampa'" means safe, peaceful land of birth and is also a unifying song for the people of Toraja. The song is a reminiscent for the people of Toraja to remind their home region that tondok kadadian is their land of birth.
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Fauziyyah, Ai Shidqi Farchah, and Mardani Mardani. "Genre Baru Kasidah Sufistik di Indonesia 2001-2010." Historia Madania: Jurnal Ilmu Sejarah 4, no. 2 (2020): 373–88. http://dx.doi.org/10.15575/hm.v4i2.9533.

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The process of Islamization has caused acculturation among the Nusantara and foreign culture. One of them is in the field of music, namely “Kasidah”. Initially the kasidah only used a tambourine instrument (rebana), later in its development it was mixed with Western musical instruments (guitar, bass, keyboard and drums), its name became the modern kasidah. Along with the development of the times, the Kasidah also went through a process of deculturation. Where the kasidah is no longer unique to the rebana, musicians in Indonesia have left the tambourine and only use modern musical instruments. a new genre emerged in kasidah, namely pop kasidah. This study uses historical research methods, namely research models that study past events based on the traces they have left. This research method is carried out in four stages, namely heuristics, criticism, interpretation and historiography. In 2001, a Sufi Muslim music group was born with personnel from various countries, namely Dust. They use many musical instruments from various countries as well, this is what causes the music color of Dust to be different from the others.
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Dissertations / Theses on the topic "Guitar music (western swing)"

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Handel, Amanda Jane. "Music of balance circles and squares /." View thesis View thesis, 2004. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20041022.170632/index.html.

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Thesis (M.A. (Hons.)) -- University of Western Sydney, 2004.<br>Presented in fulfilment of the requirements for the degree of Master of Arts Honours to the School of Contemporary Arts, University of Western Sydney, April 2004. Includes bibliography.
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Roberts, Samuel Christian. "A portfolio of compositions expanding the role of the electric bass guitar in contemporary Western art music." Thesis, Oxford Brookes University, 2013. https://radar.brookes.ac.uk/radar/items/2170e787-93d7-4739-a7cd-ef6105beab6d/1.

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My original contribution to knowledge is a portfolio of work that, through composition, improvisation and performance, expands the role of the electric bass guitar in contemporary Western art music. More specifically, these works address three areas that were hitherto underexplored in existing repertoire: • Works for solo bass guitar and electronics. • Works for bass guitar and ensemble that incorporate the instrument as an equal and important part of an overall sound. • The use of the bass guitar in sonic arts idioms. This research, as well as challenging the role of the bass guitar, also aims to expand the sonic and technical palette of the instrument whilst demonstrating its potential to be a valued part of the modern composer’s instrumental resource. This project comprises: a compositional portfolio of solo and ensemble works; eight CDs, containing recordings of both improvised and scored works; an accompanying written commentary (original musical scores are included as an appendix in the commentary).
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Bäckman, Mikael. "One Lick - Two Harps : How can practicing the chromatic harmonica make me a better diatonic player and vice versa?" Thesis, Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-64260.

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The objective of this study was to see if practicing a lick on the chromatic harmonica could influence or inspire my playing on the diatonic harmonica, and vice versa. The licks I practiced were all in the style of Western Swing. To answer this, I used the following research questions: In what ways can practicing the chromatic harmonica make me a better diatonic harmonica player and vice versa? What are the similarities and differences between the diatonic and the chromatic harmonica in the context of playing Western Swing? What possibilities and limitations does each instrument have when playing Western Swing? The method I used was to record my practicing process and to record two different versions of three tunes. On these three recordings I improvised using both diatonic and chromatic harmonicas. The results showed that, though the differences between the instruments are significant, there is enough common ground to enable an exchange of ideas. The differences were not an obstacle, but a means to find new ways of playing a certain lick. These new ways could then be applied to the other harmonica, creating new variations on licks that I would not have come up with otherwise. Playing the same lick on the two different instruments proved to be an efficient way to learn more about both instruments. Through my method, I was able to become my own teacher and my own muse. I also discovered two distinct sides of me, the chromatic me and the diatonic me.
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Svanström, Oscar. "Känsla för improvisation eller improvisation för känsla : En självstudie av improvisationsövning i historisk västerländsk konstmusikalisk kontext." Thesis, Karlstads universitet, Institutionen för konstnärliga studier (from 2013), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-84952.

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Denna självstudie undersöker en lärprocess i improvisation med avstamp i historisk västerländsk konstmusikalisk repertoar och två sonater av Domenico Scarlatti. Syftet med projektet var att se hur min förmåga att improvisera påverkades av övning och att studera historisk improvisation. Under studiens övningsperiod utforskades improvisation med utgångspunkt i historiska improvisationstekniker och nutida forskning. Utforskningen ägde rum under tio veckor och dokumenterades med videoobservation och loggbok som sedan transkriberades och analyserades utifrån tematisk analys. I resultatet beskriver jag designen av min improvisationsövning och konsekvenserna av den designen. Utforskningen av improvisation gick från fri utforskning mot att begränsningar lades till under övningstidens gång. I resultatet kunde ett antal tecken på utveckling av improvisationsförmåga ses. Det framkom också att mina improvisationer blev mer stringenta, med stabilare flöde och med fler musikaliska idéer under projektets gång. I diskussionen diskuteras olika perspektiv på improvisation i relation till resultatet.<br>This study examines a learning process in improvisation based on historical western art music repertoire and two sonatas by Domenico Scarlatti. The purpose of this project was to see how my ability to improvise was affected by practice and study of historical improvisation. Improvisation was explored on basis of historical improvisation techniques and contemporary research during the practice period of this study. The practice period took place over ten weeks and was documented with video observation and a logbook, which then was transcribed and analyzed using thematic analysis. In the result section I describe my design of my improvisation practice and the consequences of that design. The exploration of improvisation went from free to exploration to a more restricted exploration by the end of the practice period. A number of signs of development of my ability to improvise could be observed by the end of the practice period. I also found that my improvisations became more stringent, with a more stable flow and with more musical ideas during the project. The discussion section discusses different perspectives of improvisation in relation to the result.
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Books on the topic "Guitar music (western swing)"

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Western swing. Friedman/Fairfax, 1997.

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Ginell, Cary. Milton Brown and thefounding of western swing. University of Illinois Press, 1994.

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1921-, Brown Roy Lee, ed. Milton Brown and the founding of western swing. University of Illinois Press, 1994.

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The jazz of the Southwest: An oral history of western swing. University of Texas Press, 1998.

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Thomson, Ryan J. Swing fiddle: An introduction. Captain Fiddle Publications, 1990.

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Wills, Rosetta. The king of western swing: Bob Wills remembered. Billboard Books, 1998.

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Wills, Rosetta. The king of western swing: Bob Wills remembered. Watson-Guptill Publications, 2000.

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Kienzle, Richard. Southwest shuffle: Pioneers of honky tonk, Western swing, and country jazz. Routledge, 2003.

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Southwest shuffle: Pioneers of honky-tonk, Western swing, and country jazz. Routledge, 2003.

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Dunbar, Tom. From Bob Wills to Ray Benson: A history of western swing music. Term Publications, 1988.

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Book chapters on the topic "Guitar music (western swing)"

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

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Fujibayashi, Akiko. "Exploring the Collaborative Musical Experience of Swedish Bunne® Method in Japan." In Advances in Early Childhood and K-12 Education. IGI Global, 2019. http://dx.doi.org/10.4018/978-1-5225-8042-3.ch007.

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Universal design has been a timely and important research topic of our time both in the realms of music therapy and education. Bunne Method, Swedish music method, was developed by Sten Bunne in 1980 to overcome physical and social difficulties and age gaps by sharing musical ensemble experience. This qualitative study explores the collaborative musical experience of elderly people and children in Japan by implementing Bunne Method. Bunne instruments are made in universal design with a four string swing bar guitar, one string mini bass, chime bar, monophonic flute for the use of anyone regardless of music experience, handicap, etc. In music activities with Bunne instruments, human physical, psychological, and social nature are activated in a synergistic manner so that it also helps to create positive feelings and confidence and livelihood through the pleasure of playing music.
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Russell, Tony. "“Truck Driver’s Blues”." In Rural Rhythm. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190091187.003.0077.

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Chapelle, Peter La. "Rhythm Kings and Riveter QueensRace, Gender, and the Eclectic Populism of Wartime Western Swing." In Proud to Be an OkieCultural Politics, Country Music, and Migration to Southern California. University of California Press, 2007. http://dx.doi.org/10.1525/california/9780520248885.003.0004.

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Carlin, Richard. "3. “Back in the saddle again”." In Country Music: A Very Short Introduction. Oxford University Press, 2019. http://dx.doi.org/10.1093/actrade/9780190902841.003.0003.

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“Back in the saddle again” explains how the figure of the singing cowboy was cemented by a series of radio and Hollywood stars, from Gene Autry to Roy Rogers and Patsy Montana. Much of this music was popularized over the radio, particularly on Chicago’s National Barn Dance, which led to pressure on the Grand Ole Opry to modernize its sound. This era also saw the rise of the so-called “brother acts”—notably the Blue Sky Boys—who created a smoother form of old-time singing. During the mid-1930s, Western swing combined the cowboy image and country instrumentation with big-band stylings through the work of artists like Bob Wills.
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Carlin, Richard. "6. “Mama tried”." In Country Music: A Very Short Introduction. Oxford University Press, 2019. http://dx.doi.org/10.1093/actrade/9780190902841.003.0006.

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While the Nashville sound dominated much of country radio in the 1960s and countrypolitan turbocharged its pop leanings in the 1970s, other styles of country music were still being played that would ultimately help bring a revival of “traditional” country sounds back to the charts. “Mama tried” describes the new amalgam of rockabilly, honky-tonk, and Western swing that was developed by artists like Merle Haggard and Buck Owens in the mid-1960s, along with the outlaw movement in Nashville, the members of which rebelled against the major labels’ limitations and returned to country’s roots. Other artists who formed their own unique sounds included Johnny Cash.
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Booker, Vaughn A. "God’s Messenger Boy." In Lift Every Voice and Swing. NYU Press, 2020. http://dx.doi.org/10.18574/nyu/9781479892327.003.0006.

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This chapter provides an overview of Duke Ellington’s Sacred Concert tours in the United States and Western Europe to showcase the promise of ecumenical and interracial fellowship. These occasions served to affirm belief in God in the late 1960s, a time when the public questioning of God’s existence animated the anxieties of many white mainline and liberal religious communities. Duke Ellington’s three Sacred Concerts were interfaith projects in which his musical professions of faith lived and came to acquire religious authority due to his prominent celebrity status. His personal religious reflection ultimately resulted in the production of religious music for public consumption. Ellington’s theological explorations marinated in a world saturated with popular religious literature that he studied to compose his Sacred Concerts. Moreover, the presence of Ellington in houses of worship across theological and racial lines also revealed differences in the ways that black and white religious audiences were receptive to his musical work.
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Clark, Walter Aaron. "Encore." In Los Romeros. University of Illinois Press, 2018. http://dx.doi.org/10.5622/illinois/9780252041907.003.0017.

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The Romeros have had an enormous impact on the world of the guitar and of classical music in general. Their spiritual views do not fit into conventional categories, though they feel comfortable with a blend of Eastern and Western traditions, especially Buddhism and Catholicism. The saga of their family is a remarkable one, and their road to success has featured many unexpected twists and turns. Along the way, their music has touched the lives of countless thousands of people, and their legacy endures.
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9

Bidgood, Lee. "Learning and Playing Americanness on the Fiddle." In Czech Bluegrass. University of Illinois Press, 2017. http://dx.doi.org/10.5622/illinois/9780252041457.003.0004.

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Czech fiddlers are criticized for not producing bluegrass as well as their compatriots who are mandolinists or banjoists. The author's own fiddling becomes a point of discussion, raising questions of genre, style, and even ethnic identity as factors that play into a fiddler's approach to the music. Like their American counterparts, Czech fiddlers draw upon a range of styles (bluegrass, old time, western swing, new acoustic, jazz, and classical music) in trying to forge a distinctive yet idiomatic fiddle sound. Through active consumption of media, transcription practices, and community engagement they negotiate the gaps they find between themselves, their abilities, and their musical ideas.
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10

Brackett, David. "The Corny-ness of the Folk." In Categorizing Sound. University of California Press, 2016. http://dx.doi.org/10.1525/california/9780520248717.003.0006.

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Country music in the late 1930s was more disconnected from the mainstream than swing. Appearing initially only in cover versions of songs by crooners, or in the recordings of “singing cowboys,” turmoil in the music industry during the war years created an opening for a few extremely successful country recordings exemplified by Al Dexter’s “Pistol Packin’ Mama.” “Hillbilly Music” (as country was usually called during this time) was associated with the concept of “corn,” which allied the music to rural agricultural production and lowbrow, “corny” comedy routines. The popularity of recordings like “Pistol Packin’ Mama” affected a discursive shift, and the status of the music was worked out via the use of labels such as “Folk Music,” “Hillbilly,” “Country,” and “Western.” By the late 1940s, a major hillbilly hit like “Smoke! Smoke! Smoke! (That Cigarette)” drew on some of the same minstrelsy tropes as had “Open the Door, Richard.”
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