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Books on the topic 'Maleki (Musical group)'

Author: Grafiati
Published: 4 June 2021
Last updated: 11 February 2022

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1

Peter, Walker. The book of Maleki. CreateSpace Independent Publishing Platform, 2013.

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2

Il Divo: Our music, our journey, our words. Headline Pub. Group, 2007.

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3

Wo ai INFINITE: Zui wu xian ke neng de mei li da sou mi. Hui hong qi ye gu fen you xian gong si, 2014.

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4

Emblem3: Test your super-fan status. Barrons Educational Series, Inc., 2014.

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5

Ian, Cranna, ed. Pete Burns, freak unique: My autobiography. John Blake, 2006.

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6

Jackson, Laura. Jon Bon Jovi: The biography. Portrait, 2003.

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7

Tiber, Elliot. Taking Woodstock: A true story of a riot, a concert, and a life. Square One Publishers, 2007.

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8

McIntosh, Jonathan. The women’s international gamelan group at the Pondok Pekak. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199352227.003.0008.

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Balinese gamelan music stresses notions of unity, community and totality that are realized through the interaction of players and instruments. Traditionally considered a male activity, Balinese women now perform gamelan music in sacred and secular contexts. Moreover, the rise of mass tourism and an increase in the number of expatriates living in Bali now means that gamelan music has become an important site for ‘intercultural’ collective music-making. Nonetheless, little research exists concerning this emerging and significant facet of Balinese musical performance, with no studies examining in
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9

Glass, Loren. Carole King's Tapestry. Bloomsbury Publishing Inc, 2021. http://dx.doi.org/10.5040/9781501355653.

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Carole King’s Tapestry is both an anthemic embodiment of second-wave feminism and an apotheosis of the Laurel Canyon singer-songwriter sound and scene. And these two elements of the album’s historic significance are closely related insofar as the professional autonomy of the singer-songwriter is an expression of the freedom and independence women of King’s generation sought as the turbulent sixties came to a close. Aligning King’s own development from girl to woman with the larger shift in the music industry from teen-oriented singles by girl groups to albums by adult-oriented singer-songwrite
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10

Amico, Stephen. Corporeal Intentions. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038273.003.0004.

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This chapter explores how male homosexuality is suggested via the presentation of the sexualized male body as object of the gaze—an objectifying gaze placing the male in the position of the “feminine.” It looks at the efflorescence of images of male physical beauty in the musical discourses of numerous singers and bands in the first two decades of the twenty-first century in Russia and how these images were conflated with homosexuality or homoeroticism. To this end, the chapter examines instances of the male body's foregrounding in the work of Andrei Danilko, the groups Hi-Fi and Smash!!, and
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11

Curtis, Sandra L. Music Therapy for Women Who Have Experienced Domestic Violence. Edited by Jane Edwards. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780199639755.013.30.

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Music therapists working in the area of domestic violence represent an emergent, but growing professional group. The termdomestic violenceis currently the most widely recognized. However, it has been criticized for the way in which it can serve to mask dimensions of gender and power involved, and can individualize the problem, ignoring its sociopolitical underpinnings. It also masks connections between this type of violence and all forms of male violence against women. As a result to ensure a better understanding, the preferred term for all types of this violence iswoman abuse, withintimate ma
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12

Helford, Elyce Rae. What Price Hollywood? University Press of Kentucky, 2020. http://dx.doi.org/10.5810/kentucky/9780813179292.001.0001.

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A prolific director of classic Hollywood cinema, George Cukor was known for his romantic comedies and dramas and his work with difficult leading ladies. For such work, he was labeled a “woman’s director.” He did build or enhance the careers of many strong, independent actresses, including Katharine Hepburn, Greta Garbo, Judy Holliday, Judy Garland, and Marilyn Monroe. However, the tag was also derogatory, referencing the fact of Cukor’s homosexuality. He was also called an “actor’s director,” for he emphasized his connections with his stars to draw out compelling performances even within his l
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13

Beale, Charles. “A Different Kind of Goose Bump”. Edited by Frank Abrahams and Paul D. Head. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199373369.013.20.

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This chapter examines the musical practices and procedures of choruses such as the famous Gay Men’s Chorus within the LGBTQ (Lesbian, Gay, Bisexual, Transgender, Queer) communities of the United States and Europe, and more specifically the discourse in and around them. It focuses on choral pedagogy as it is found in such ensembles and communities, drawing on the literature and first-hand accounts from singers, conductors and audience members, and examines what they uniquely value in their singing. Specific questions include: what is a good sound for an early MTF (male to female) transgender si
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14

Kartomi, Margaret. Four Sufi Muslim Genres in Minangkabau. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036712.003.0005.

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This chapter examines four genres of Muslim-associated performing arts in Minangkabau: indang, salawek dulang, dikia Mauluik, and dabuih. Indang is a song-dance performed by a row of men or women in duduak (“sitting,” actually half-kneeling) position with rhythmic body movement, clapping, and frame-drum playing. Salawek dulang is performed by a pair of alternating male solo singers, each of whom accompany themselves on a brass percussion tray (dulang). Dikia Mauluik is a group vocal-instrumental form with mostly Sufi-oriented Muslim song texts based on dikia texts that are sung with body exerc
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15

Stephen Gately And Boyzone Blood Brothers. John Blake, 2010.

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16

Jackson, Laura. Jon Bon Jovi. Portrait, 2003.

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17

Jon Bon Jovi. Citadel, 2004.

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18

Jackson, Laura. Jon Bon Jovi. Citadel, 2005.

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19

Jon Bon Jovi. Portrait, 2004.

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20

Barrett, Rusty. “The Faggot God is Here!”. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780195390179.003.0003.

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This chapter analyzes the language of religious music among radical faeries, a gay subculture founded in Neopagan religion. The analysis focuses on Ye Faerie Hymnal, a collection of songs used during faerie gatherings (in which faeries meet together in a rural or outdoor setting, usually for several days). Particular attention is given to Bakhtin’s concept of chronotopes, or the spatial and temporal associations indexed by a particular use of language. The songs in the hymnal index chronotopes associated with anti-Christian stances. The songs include multiple appropriations from religious trad
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21

Uy, Michael Sy. Ask the Experts. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197510445.001.0001.

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From the end of World War II through the U.S. Bicentennial, the National Endowment for the Arts, the Rockefeller Foundation, and the Ford Foundation granted close to $300 million (approximately $2.3 billion in 2017 dollars) in the field of music alone. In deciding what to fund, these three grantmaking institutions decided to “ask the experts,” adopting seemingly objective, scientific models of peer review and specialist evaluation. They recruited music composers at elite institutions, professors from prestigious universities, and leaders of performing arts organizations. Among the most influen
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22

Barrett, Rusty. From Drag Queens to Leathermen. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780195390179.001.0001.

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This book analyzes gendered forms of language use in several different gay male subcultures. The subcultures considered include drag queens, radical faeries, bears, circuit boys, barebackers, and leathermen. The chapters include ethnographic-based studies of language use in each of these subcultures, giving special attention to the ways in which linguistic patterns index forms of masculinity and femininity. In each case, speakers combine linguistic forms in ways that challenge normative assumptions about gender and sexuality. In an extension of prior work, Barrett discusses the intersections o
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23

O'Brien, John. Keeping It Halal. Princeton University Press, 2019. http://dx.doi.org/10.23943/princeton/9780691197111.001.0001.

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This book provides a uniquely personal look at the social worlds of a group of young male friends as they navigate the complexities of growing up Muslim in America. The book offers a compelling portrait of typical Muslim American teenage boys concerned with typical teenage issues—girlfriends, school, parents, being cool—yet who are also expected to be good, practicing Muslims who don't date before marriage, who avoid vulgar popular culture, and who never miss their prayers. Many Americans unfamiliar with Islam or Muslims see young men like these as potential ISIS recruits. But neither militant
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24

Richards-Greaves, Gillian. Rediasporization. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496831156.001.0001.

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This book examines how African-Guyanese in New York City participate in the Come to My Kwe-Kwe ritual to facilitate rediasporization, that is, the creation of a newer diaspora from an existing one. Since the fall of 2005, African-Guyanese in New York City have celebrated Come to My Kwe-Kwe (more recently called Kwe-Kwe Night) on the Friday evening before Labor Day. Come to My Kwe-Kwe is a reenactment of a uniquely African-Guyanese pre-wedding ritual called kweh-kweh, and sometimes referred to as karkalay, mayan, kweh-keh, and pele. A typical traditional (wedding-based) kweh-kweh has approximat
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25

Monte, Tom, and Elliot Tiber. Taking Woodstock. Square One Publishers, 2007.

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