Academic literature on the topic 'King's Men (Musical group)'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'King's Men (Musical group).'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Journal articles on the topic "King's Men (Musical group)"
1
Bailey, Betty A., and Jane W. Davidson. "Adaptive Characteristics of Group Singing: Perceptions from Members of a Choir Forhomeless Men." Musicae Scientiae 6, no. 2 (September 2002): 221–56. http://dx.doi.org/10.1177/102986490200600206.
Full textAbstract:
There is considerable evidence to suggest that music has adaptive characteristics. Individuals use recorded music to transform the emotional landscape to coincide with transitory needs and desires. Also, music has frequently been reported to provoke uncommon emotional and physical reactions often referred to as peak experiences. In many cultures, that have limited industrial and technological development, active participation in musical activities is pervasive and all individuals are considered musical. In contrast, the musical elitism that has evolved in the Western world intimates that musical ability is specific to a talented minority. The elitist notion of musicality restricts the majority to procurers of rather than producers of music. However, experimental and theoretical sources indicate that music is an innate and universal ability and, therefore, active participation in music may have adaptive characteristics at many levels of proficiency. Positive life transformations that occurred for members of a choir for homeless men, since joining the choir, provided an opportunity to determine if group singing was a factor in promoting adaptive behaviour. A phenomenological approach utilizing a semi-structured interview wasemployed to explore the choristers' group singing experience. Analysis of the interviews indicated that group singing appears positively to influence emotional, social and cognitive processes. The choristers' perceptions of the adaptive characteristics of group singing fell within four principal categories: clinical-type benefits, benefits derived from audience-choir reciprocity, benefits associated with group process and benefits related tomental engagement. Active participation in singing may act to alleviate depression, increase self-esteem, improve social interaction skills and induce cognitive stimulation. The themes adhere to the tenets of flow theory which advocate the importance of mental stimulation and social interaction in increased life satisfaction. The emergent themes provide a preliminary basis for the development of a theory of the adaptive characteristics of group singing and also provide a framework for further investigation in this area.
2
Söderman, Emma, and Anna Lundberg. "”Du förstår, men du förstår ingenting.”." Socialvetenskaplig tidskrift 27, no. 3-4 (April 22, 2021): 291–308. http://dx.doi.org/10.3384/svt.2020.27.3-4.3666.
Full textAbstract:
In the following article, based on two years of participatory ethnographic fieldwork with the No Border musical, as well as interviews with 16 of the musical’s 30 participants, community theatre is investigated in a context of deportability. We analyse the working process in the theatre group, in which actors with and without resident permits participated, through the concept of politics of translation. We show how inequalities due to the constant threat of deportation for several members were brought to the forefront during the work process of creating the musical. It concerned risks of detection for the undocumented participants as well difficult living conditions related to deportability (for example insecure access to livelihood, healthcare, housing etc.). The article conceptualizes various dimensions of working together in a group where participants live in unequal conditions as a politics of translation. This concept includes the work of language translation, and also captures translations of the different experiences mentioned above, and how different positions of power can be handled and understood, within a group with the ambition to work together, in this case on a theatrical performance. Our analysis shows how theatre in a context of asylum rights activism can challenge and create alternatives to the conditions of deportability, while these simultaneously condition the activism and translation. The article contributes to knowledge about mobilization in the context of vulnerability and inequality. We hope to also contribute to a development of critical social work both within and outside academia.
3
Kazimov A.G., Kazimova L.A., and Aliyeva D.M. "Psychophysiological correlates of musical therapeutic influences at young men with neurotic frustration." NATIONAL JOURNAL OF NEUROLOGY 7, no. 1 (May 19, 2021): 46–51. http://dx.doi.org/10.28942/nnj.v7i1.318.
Full textAbstract:
Research of age-related features in psychophysiological parameters dynamics under procedures of medical resonance therapeutic music (МРТМ) at practically healthy young men of 15-18 years and young men of the same age group with neurotic frustration was carried out. Procedures МРТМ made taking into account individual preferences in musical fragments, possess expressed аnti stress effects. Effects of МРТМ in essential degree are defined by individual preferences in musical fragments surveyed in a choice, and, on the other hand - depend on age and individual and typologicalfeatures of recipients.
4
Durán, Lucy. "Ngaraya: Women and musical mastery in Mali." Bulletin of the School of Oriental and African Studies 70, no. 3 (October 2007): 569–602. http://dx.doi.org/10.1017/s0041977x07000845.
Full textAbstract:
AbstractThis article aims to contribute to an understanding of the evaluation of musical artistry in Africa, through Mali as a case study. The discussion focuses on the informal discourses of the occupational group of Mande artisan-musicians known as jeli (pl. jeliw, jalilu), concerning the ideal of musical greatness, signified by the polysemic term ngaraya; while there is consensus about the ideal, there is much debate about who qualifies. Drawing on extensive interviews and fieldwork with leading jeliw over the past twenty years, it pays special attention to the views of and about Malian women singers, who since the 1980s have – somewhat controversially, as explored here – been the “stars” on the home scene. The article shows how local discourses challenge the widely accepted view that only men are the true masters (ngaraw). Many women jeli singers (jelimusow) have a special claim to ngaraya, and some also seek to position themselves within the canon, as they increasingly move into centre-stage of Malian popular culture. The importance of learning directly from senior master jeliw remains a core issue in the evaluation of ngaraya for both men and women, encapsulated in the phrase “the true ngaraw are all at home”.
5
MOOK, RICHARD. "White Masculinity in Barbershop Quartet Singing." Journal of the Society for American Music 1, no. 4 (November 2007): 453–83. http://dx.doi.org/10.1017/s1752196307070423.
Full textAbstract:
AbstractThis article explores the cultural work of white masculinity in barbershop quartet singing in two historical contexts: the barbershop revival of the 1920s and 1930s and barbershop's struggle for survival in twenty-first century Philadelphia. It first details how revivalists attempted to re-create Victorian white masculinity by codifying and promoting a barbershop musical style and repertory that fostered closeness between men. By performing their musical style in public, masculine spaces, and admitting only white men to their gatherings, the organizers of the Barbershop Harmony Society opposed a number of contemporary social changes in the United States, including shifting gender roles, a rise in immigration, the economic instability of the Great Depression, and New Deal liberalism. The article then documents how and why barbershoppers in Philadelphia at the turn of the twenty-first century still perform this “close,” neo-Victorian mode of white masculinity. In this new context, barbershop whiteness enabled a group of white men to claim belonging in their racially divided city despite years of migration and displacement caused by deindustrialization and urban decay. In both historical moments, barbershoppers used whiteness to challenge social and economic change and to assert the continued relevance of their musical style.
6
Creighton, Sarah, Melinda Tenant-Flowers, Christopher B. Taylor, Rob Miller, and Nicola Low. "Co-infection with gonorrhoea and chlamydia: how much is there and what does it mean?" International Journal of STD & AIDS 14, no. 2 (February 1, 2003): 109–13. http://dx.doi.org/10.1258/095646203321156872.
Full textAbstract:
A cross-sectional study of new clients with either gonorrhoea or chlamydia attending King's College Hospital in 1998. One thousand two hundred and thirty-nine women and 1141 men had gonorrhoea, chlamydia or both. Overall, 24.2% (124/512) of heterosexual men and 38.5% (136/353) of women with gonorrhoea also had chlamydia ( P<0.001). Of heterosexual males 18.8% (124/660) and 13% (136/1022) of females with chlamydia also had gonorrhoea ( P=0.002). Ethnicity had no effect on the proportion of co-infection after controlling for age and gender. Clients with dual infection were younger than those with either infection alone ( P=0.0001). Over half of women and a quarter of men aged 15 to 19 years were dually infected so testing for both gonorrhoea and chlamydia may be appropriate in this age group in settings outside genitourinary clinics. The high proportion of cases of gonorrhoea that also have chlamydia justifies the policy of epidemiological treatment for chlamydia.
7
Bradby, Barbara. "Oh, Boy! (Oh, Boy!): mutual desirability and musical structure in the buddy group." Popular Music 21, no. 1 (January 2002): 63–91. http://dx.doi.org/10.1017/s0261143002002040.
Full textAbstract:
If rock'n'roll represented new, sexualised gender identities for the teenagers of the late 1950s, why (and how) were such identities constructed through the multiple voices of the group? In Buddy Holly's ‘Oh, Boy!’ the chorus plays a prominent supportive role in relation to the lead singer; but its continual echoing of the singer's ‘Oh boy!’ allows also for a literal hearing of cries of mutual desire and admiration between two men. This representation of the ‘buddy group’ has continuities with other group, or dual representations of male identity, where mutual, male selves and desires are constructed around an imagined, comforting woman. The presence of traces of the maternal body (Kristeva's ‘semiotic’ sphere) is audible in ‘Oh, Boy!’ through the chorus's separation of rhythm and melody, and in particular, its use of ‘children's rhythms’, consistent with those analysed by the musicologist Constantin Brailoiu as a cross-cultural phenomenon. In ‘Oh, Boy!’ children's rhythms are reworked in a dialogue between singer and chorus, and between guitar and chorus in the instrumental break, in such a way that after the break the singer is able to resolve the rhythmic tensions introduced in the first half of the song and get ‘everything right’. The new symbolic identity of male adolescent independence is audibly structured by the semiotic, so reversing the surface hearing of the song as involving the subordination of the chorus to lead singer in the consensual hierarchy of ‘buddy’ relations. The relationship of Buddy Holly to Bo Diddley adds a further dimension to this structure, where ostensible equality cannot mask the uncomfortable social hierarchy of the white rock star and black mentor, and where an appeal to the other as ‘boy’ would evoke not the buddy group, but slavery.
8
Hawkins, J. D. "Kuzi-Tešub and the “Great Kings” of Karkamiš." Anatolian Studies 38 (December 1988): 99–108. http://dx.doi.org/10.2307/3642845.
Full textAbstract:
The recent discovery of a hitherto unknown king of Karkamiš of the Hittite Empire period is an event of some significance. This is the son of Talmi-Tešub (hitherto the last known king of the dynasty installed by Suppiluliumas I), Kuzi-Tešub by name, who is now attested on two impressions of his seal on bullae excavated at Lidar Höyük on the east bank of the Euphrates above Samsat.The seal has a fine Storm-God figure standing on two mountain-men in the centre, and the rest of this area, apart from filling motifs of a rosette and an animal, is occupied by an inscription in Hieroglyphic. Around the outer circle, only partially preserved in both exemplars, is a Cuneiform legend. The Hieroglyphs divide into four groups: (1) the name of the Storm-God written above his outstretched left hand; (2) in front of the Storm-God a group reading “Kuzi-Tešub, King of the land of Karkamiš”; (3) behind him a group “Talmi-Tešub, King of the land of Karkamiš”. This was all clearly read by Sürenhagen, who for the fourth group, below the Talmi-Tešub group, proposed a reading “Kunitimuwas the King's Son”.
9
Fehr, Marcie, and Pauline Greenhill. "“Our Brommtopp is of Our Own Design”." Ethnologies 33, no. 2 (April 4, 2013): 145–79. http://dx.doi.org/10.7202/1015029ar.
Full textAbstract:
In the past and to some extent the present, various Euro North American and other cultural groups marked the period from Christmas Eve to Twelfth Night with rowdy, disguised, playful/ludic or carnivalesque behaviour that mainstream Euro North Americans associate more with Halloween than with this holiday season. Many such customs, termed the “informal house visit” involve a group (usually young men) who perambulate from one location to another within a community. They include performative aspects–often dancing and singing–as well as the expectation of a reward--usually food and/or drink--and some sociability with the visited household members. A seasonal custom performed by young men, almost always on New Year’s Eve, in rural Manitoba Mennonite villages where the church tolerated it, Brommtopp is named after the musical instrument used during the performance. Traditionally a group of some dozen teenaged boys and young married men would drive and/or walk from house to house within their own village and sometimes beyond. At each residence, the group would sing the traditional song which generally asked for money in return for good wishes. We examine the sociohistorical surround of the practice and its past and current racialised and postcolonial implications.
10
Truyền], Nguyen The Truyen [Nguyễn Thế. "What is Known About Some Music Features and Song Lyrics of the Khmer Living in the South of Vietnam?" ASIAN-EUROPEAN MUSIC RESEARCH JOURNAL 7 (June 21, 2021): 55–68. http://dx.doi.org/10.30819/aemr.7-4.
Full textAbstract:
In this article, the author will present some research issues as follows: Musical expressions of love for the homeland, Love among men and women, family affection, and attachment to work. The Khmer inhabiting South Vietnam practice all these expressions. In another short section, common characteristics with the music of other ethnic groups in Vietnam include similar instrumental music, scales used and rhythmic structures applied. Thereby, the author reviews categorizations undertaken in the past demonstrating that Khmer music strictly belongs to one ethnic group in the country. Also, musical instruments have been categorized in similar ways, using the Hornbostel-Sachs descriptive tools: Chordophone, Arephones, Idiophones, Membraphones, which are using a variety of scales and modes. It is also said that the inheritance and promotion of the typical values of Khmer music into social life, was a very pragmatic fact, which needs more attention. The use of the term “Folk Music” is only reflecting on a certain approach supported by cultural policies toward minorities from the 1970s to 2010.
Dissertations / Theses on the topic "King's Men (Musical group)"
1
Sakadakis, Stella. ""Where do the boys go?" : tracking the development of careers in the music industry." Thesis, McGill University, 1994. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=55453.
Full textAbstract:
Musical careers develop along particular trajectories as a consequence of the relationships that are established between the musician and the industry. This thesis studies the nature of these relationships and the manner in which they contribute to the development of a musical career. The dichotomy between the artistic concerns of the musician and the economic interests of the industry that informs many popular music studies is re-oriented in light of the economic interests that are inherent in the musician's pursuit of a musical livelihood. The importance of commercial success in the maintenance of a musical living is explored in the case study of Men Without Hats, a Montreal based pop band that has maintained a fifteen year career despite a lack of commercial success over the past decade. This study suggests that the maintenance of a musical career over an extended period of time is a consequence of the types of relationships that are cultivated by the musician over the course of his/her career.
Books on the topic "King's Men (Musical group)"
1
Marten, Neville. The Kinks: Well respected men. Chessington, Surrey: Castle Communications, 1996.
Find full text
5
Henderson, Rita Elizabeth. The Boyz II Men success story: Defying the odds. Los Angeles: Aynderson Press, 1995.
Find full text
6
Blayney, David. Sharp dressed men: ZZ Top behind the scenes from blues to boogie to beards. New York: Hyperion, 1994.
Find full text
7
Fathomless riches: Or, How I went from pop to pulpit. London: Weidenfeld & Nicolson, 2014.
Find full text
8
Thompson, Dave. Red Hot Chili Peppers: True men don't kill coyotes. London: Virgin, 1993.
Find full text
9
Dalton, Linda S. Playing in the sand with Boyz II Men: The making of the video Water runs dry. Syracuse, N.Y: L.S. Dalton, 1996.
Find full textBook chapters on the topic "King's Men (Musical group)"
1
Boyle, OP, Elizabeth Michael. "Call and Response." In Preaching with Their Lives, 191–214. Fordham University Press, 2020. http://dx.doi.org/10.5422/fordham/9780823289646.003.0008.
Full textAbstract:
“Call and Response: American Dominican Artists and Vatican II” describes the work of fifteen American Dominican artists as each exemplifies or anticipates the priorities of the Second Vatican Council. Each artist personifies the response to a specific call: to reanimate the original scriptural and historical roots of the religious congregation, to provide leadership in liturgical renewal, to feed the spiritual hungers of the poor, to spread the gospel of justice through contemporary means of social communication. As Dominicans, these artists fulfill their vocation to preach the gospel in the multiple languages of genres ranging from design of sacred space and liturgical music to folk art, musical theatre, videography, and film. Most of the men and women chosen here to demonstrate this theme are active members of the Dominican Institute for the Arts, a national support group whose mission is to promote preaching through the arts.